Pie Glog Video

Pie Glog Essay

Grandma’s Pie

Cara Roth

I am a picky eater. I always have been and always will be. But every time we take a trip to my grandparents’ house we end up having pie for dessert. Cherry, apple, blueberry. I don’t like pie. I’m sorry, pie-lovers. I really don’t. So I never eat it; I stick to my ice cream. On every day of the year except one: Thanksgiving. Thomas C. Foster tells us that “breaking bread is an act of sharing and peace” (Foster 8). And what better time to focus on sharing and peace than the holidays? And thanksgiving is certainly the only time when I am at peace with a piece of pie. Pumpkin Pie.

There is no pumpkin pie quite like grandma’s. My mom can’t quite make it and I’m not really sure I can make it either. But my grandmother can’t make it anymore. So the pie I bake is as close as it gets. A little background: a few years ago my grandmother suffered a stroke that paralyzed her entire left side. So she can no longer cook; and the loss of her meals, most noticeably that pie, is what enlightened for me the importance of food. As Kathryn Twiss said, “We are what we eat. We also are where we eat, how we eat, and whom we eat with.” And although the who, where and how are still factors in our annual Thanksgiving meal, losing a part of the “what” means I lose a part of myself. The part of me that loved to visit her grandparents on sundays and holidays. The part that was seven years old, sitting on the couch next to grandma, enjoying the only pie I didn’t gripe and complain about. The only pie that meant my grandparents need not chuckle at my stubbornness and pull out the ice cream and sprinkles for. We find ourselves in food and the relationships that introduced us to those foods. Mervyn Claxton writes that “the techniques utilized to prepare and process foods . . . can have an important influence on social and familial relationships” as they did for me. I can’t say for sure whether I achieved my grandmother’s technique for pie but I found a connection to her and to my family in the process of trying.

Works Cited

Claxton, Mervyn. "Culture, Food, and Identity." N.p., n.d. Web. 4 Dec. 2013.

Foster, Thomas C. "Nice to Eat With You: Acts of Communion." How to Read Literature like a Professor: A Lively and Entertaining Guide to Reading between the Lines. New York: Quill, 2003. 8. Print.

Twiss, Katherine C. "Join Academia.edu & Share Your Research with the World." The Archaeology of Food and Identity. Southern Illinois University, 01 Jan. 2007. Web. 08 Dec. 2013.

Pie Glog Screenshot

"Grandma's Pie" Glog

Blog Post 20: Rainbow Essay Reflection

The initial score given for my essay was a 3. Scored by Kayla Burns, I believe she was actually too generous with her rating. It is clear that I was completely unfocused when I attempted this essay and the essay did indeed contain, "an unfocused . . . presentation of ideas." It lacked both thought and effort on my part and for that I am truly sorry. Besides being so rough in composition, the essay falls more so under a two essay as it is, "unacceptably brief." While the writing is substandard and crudely put together, I can't say that this essay is a correct assessment of my skills. Looking back at my notes on the passage, however, I do believe I missed several themes that are of import to D. H. Lawrence's style and recurring subject matter.
If I were given a second chance at this essay, there are several themes of Lawrence's that I would like to touch on and give a fuller analysis. The first would be to more deeply analyze the contrast that the woman sees between her men and the vicar. It should be said why she is comparing them, that it is her own desire for knowledge, for something more that pulls her away from the blood and the land that she has been taken into. I feel it is also important to articulate what that connection means: that she, a woman, is bound to her husband, by both law and expectations of society, yet strives to leave, to get away from him and what he stands for. Lastly, one needs to consider the irony in which the men who work the land and live and breath in the sun, the source of life for all, seem dull, dead almost, in comparison to the more intellectually advanced vicar. His intelligence gives him more "life" in the eyes of the woman than the Brangwens who share this "blood intimacy" with life. These important insights into the mind of Lawrence most definitely need to be included in an apt analysis of this piece.
How that analysis is put together, however, is also of great importance. My first attempt at this essay was unstructured in that I did not pace myself correctly, ran out of time, and found myself rushing to simply get some basic ideas down on the page. A better essay would begin, as the Five Steps to a Five workbook suggests, with a strong opening paragraph, complete with a more direct and in depth thesis and a more creative opening line. The ideas that I got down on paper themselves needed to be more spaced out with more textual evidence in between. There was not time for a deep enough analysis into the passage for the essay to be successful or for it to flow well. With more careful planning, both these kinks can be smoothed out.
Overall, the essay that I wrote for D. H. Lawrence's  "The Rainbow" was incomplete and raw. There were a few good, basic ideas written down but they needed to be more fully developed. With the knowledge I have gained about Lawrence's writing, it is clear that I missed some very major concepts within the work. The essay could also use a lot of organizing, especially when it comes to the flow of ideas. By reflecting on this, I have gained a better sense of what needs to be fixed with my skills in organization, analysis, and most importantly, time management.

Blog Post 19: "The Rainbow" Essay

In his 1915 novel, The Rainbow, D.H. Lawrence uses parallels and repetition to characterize the woman's plight of being confined to the underdeveloped and unchanging world of farm life while yearning for the skills and company of those more evolved.
As the woman analyzes her own situation, Lawrence uses repetition to mimic her thought pattern as, over time, the woman ponders over and over the difference between her men and those more advanced men like the vicar. The parallels emphasize her constant comparison of her husband with the vicar. She realizes that, "As Brangwen had power over the cattle, so the vicar had power over her husband."

Final Blog Portfolio Reflection

I think both my second Hamlet post, post #14, and my Independent American Drama Assignment posts demonstrated the most hard work when it comes to this electronic portfolio. The American Drama pieces exhibited a long, involved group project that showed great effort and cooperation while the Hamlet post a lot of creativity.
The American Drama Assignment took a long time and was rather difficult to post onto the blog. I think the fact that I managed to get the whole project posted alone makes up a good portion of how proud I am of this assignment. Because the project was made in a group, it combines a range of perspectives on a single play, Buried Child by Sam Shepard, and remains clear and cohesive as a whole. Admittedly, the drawing of the storyboards and a few other pieces to the assignment were rushed and to not contribute as much as they could to the work. But still, this project showed me how well group work on such difficult pieces can go if everyone equally contributes. It also allowed em and my group mates to improve upon a variety of skills having to do with the filming and editing of the video as well as the online research and in-depth reading of the text that was required.
My second Hamlet blog post successfully compared a rather silly movie with Hamlet, a play of a more serious nature. I spent more time on the work than was necessary and I feel that over-thinking shows in the writing. The composition may be less than satisfactory because part of it was very rushed. But the creativity int he comparison, I believe, makes up for that. I was able to deeply analyze and find meaning in a movie that I previously viewed as a nonsensical film with no real significance in the plot. In that respect, this project has taught me to more deeply analyze things instead of just taking them at face value.
I felt that I participated well enough in class but I know I could have done more. For the group projects in the beginning weeks of class, I was still trying to get my bearings with how the class worked and was mentally unable to contribute to the best of my ability. I was unfamiliar with the idea of writing an essay in a group in such a way and I believe the other members of my group were better at taking charge on such things. This group work was even more difficult when done separately from each other; the times when we were forced to work with each other across google docs or skydrive. For example, I was absent from class and could only contribute through the internet for a few days. I wasn't even there for the presentation. I feel like that post was one I unfortunately was able to participate in the least.
As for individual work, I believe I did as much as I could do for how busy I was this past trimester. The switch from having no work in the summer to tons of work during the school year wasn't easy, either. That being said, therew were days where I did not fully complete the homework which made it difficult to participate in class discussions. I will keep this in mind so that I can hopefully get more out of class next trimester.
To be honest, I haven't paid much attention to my goals since the start of the trimester. My original goals were to write practice essays, take full practice AP exams, familiarize myself more fully with literary terms and read poetry in order to get used to its structure and nuances. The final goal was difficult to achieve because I did not have the time to find any poetry to read let alone actually read it. I underestimated the work load of this class. At the same time, I misunderstood what exactly we would be doing in this class, which made the other goals difficult.
This class has not involved as much preparation for the actual AP exam as I had expected. That has made the first two goals impossible and unrealistic. I believed opportunities would arise for some of it as we practiced timed essays and such in class. While the few practice multiple choice exams were  a step in the right direction, we have not been assigned a single 40 minute essay in this class. I also have not become as familiar with literary terms as I had expected to. Perhaps it's because of my lack of participation at times, but I feel as though the terms were more so brushed over than really studied. I believe it was difficult t o make and keep goals that we made at the beginning of the trimester because we did not know what to expect coming into this class. I relied on my knowledge of how AP Language and Composition worked and some students didn't have even that. You cannot make goals for a class you know nothing about.

Hamlet Blog Post #6

Hamlet Blog Post #4

I agree. In response to Peter J. Seng's analysis of dear Ophelia's songs of madness, I \agree that there were hidden meanings. Her words bared her confused young soul to the world, her last clear thought and realizations, her perceptions and reactions to those people around her, changing, and dying. Laertes realizes upon seeing her that when face with, "though and affliction, passion, hell itself, she turns to favor and to prettiness" (4.5. 178-179). Ophelia was face with Laertes being gone while her love went mad and her father was killed. It makes sense that, through her poor, broken mind, all that would remain to be sung through songs would be these last, horrific events. And so she was in mourning through her madness. But, as Seng said, "that the ballad relates to the death of Polonius - is not wrong; it simply does not go far enough" (Seng 217).
Ophelia's songs do contain hidden meaning. She talks not only of her own tragedy, but of others' as well. Learning that her ramblings meant much more than they seemed is something of a relief. She had not completely lost herself and was cognizant enough to remark on her father's death. She tells Laertes that she, "would give [him] violets, but they withered all when [her] father died" (4.5.175-176). Not only does she realize that her father is gone, she recalls earlier conversations which Seng calls attention to. Violets are also known as emblems of faithfulness which could be symbolic of Ophelia's loss of faith in Hamlet after he kills Polonius. Seng also found an interesting double meaning to Ophelia's lament that Polonius, "to the grave did not go with true love showers" (4.5.39-40). Seng present the idea that she is not only talking about her father's improper burial, but also the Queen's improper mourning of the late king. You can tell that Queen Gertrude and King Claudius notice none of this as they don't know what to do with her.
Nor does her brother, Laertes as he, "wholly fails to comprehend his own measure of responsibility for the events that have befallen" (Seng 223). In the minds of both Laertes and Polonius, they were aiding poor, innocent Ophelia with their advice. Little did they know they were actually hurting her. She may not have even realized at first. It is sad to think that, "the distorted version of the world that Polonius and Laertes impress on Ophelia . . . is clearly the beginning of her tragedy" (Seng 222). It is certainly frustrating to be told from the start that, "you do not understand yourself" (1.3.96) when it comes to love. Seng was exactly right when he said it was their advice that drove her off the edge. Adding to that, I believe their lack of trust i her and her judgement was also detrimental to her state. Thus, she begins to doubt those around her. Those doubts are pushed further when Hamlet tells her that, "we are arrant knaves, all; believe none of us" (3.1.123) That she loses both the trust and support of her loved ones as well as losing their actual presence is too much to bear all at once. It is all she can do after her fragile mind is shattered to try and piece things together through song.

Hamlet Blog Post #3

Soliloquy Analysis

Imagery for the uncertainty of death:

• Death is called, "the undiscovered country from whose bourn no traveller returns" (3.1.79-80).

Imagery for life's negative experiences:

• A "sea of troubles" (3.1.59).
• "The whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay, The insolence of office and the spurns That patient merit of th' unworthy takes" (3.1.70-74). 
• "To grunt and sweat under a weary life," (3.1.77).

The speech focuses mainly on the appeal to pathos.  The imagery quoted above that he uses as well as several other lines within the speech are examples of life that all men may go through at some point. By detailing these very human troubles of his, he strikes a chord with his audience who has no doubt suffered at some point, "the heartache, and the thousand natural shocks that flesh is heir to" (3.1.62-63). He gains sympathy from the audience in the process and they understand his wish, given his situation, "to die, to sleep"(3.1.60).

The paradox in his speech is that, although he would end his earthly troubles by killing himself, he may face worse, unknown troubles in the afterlife. He draws parallels between death and sleep as well as "an undiscovered country" (3.1.79). He uses synecdoche in referring to life as a "mortal coil" (3.1.67) as well as when he calls the world time as in "the whips and scorns of time" (3.1.70). These examples serve to show you his perspective of life and the world respectively. His tone is contemplative, if not a little confused which is understandable for the complex topic he is addressing. The two main metaphors Hamlet uses throughout his speech is death as sleeping and life as a "sea of troubles" (3.1.59) for which he gives many examples later in the speech.

Evidence for comparisons:

• "And by a sleep to say we end the heartache" (3.1.61-62). Sleep as an end to the suffering in life.
• "Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles" (3.1.57-59). Is it better to bear your troubles or fight against them.

Oppositions made by Hamlet in his speech:

• "For who would bear the whips and scorns or time,...when he himself might his quietus make with a bare bodkin?" (3.1.70, 75-76)
• "That the dread of something after death... makes us rather bear those ills we have than fly to others that we know not of?" (3.1.78, 81-82). 
• "The native hue of resolution is sicklied o'er with the pale cast of thought" (3.1.84-85).

In the speech, Hamlet questions what come after death and if it is better in the afterlife than it is to remain on earth, suffering.

Hamlet concludes that life after death is much to uncertain and "thus conscience does make cowards of us all" (3.1.83). He realizes that it is too much of a risk especially since he, being catholic, could face hell or purgatory for his actions.

Acting Analysis

Kenneth Branagh
The beginning of Branagh's speech was accompanied by nothing, just the sound of his voice. This works well to pull the audience into his words and thoughts. When the music starts halfway the through the speech, although it does add to his rise in emotions the further along he gets, it is a little distracting to the audience. The setting is a bit awkward knowing that his uncle and mother and Polonius are all spying on him from the next room. Ignoring that fact, though, the idea that he is so confused and uncomfortable in the castle in which he grew up, his own home, provides a nice contrast to the scene. The dagger or bodkin, he pulls out reveals to the audience that he is seriously considering suicide and adds emphasis to Hamlet's struggle with death. Lastly, the camera angles are mostly mid-range to close-up views of Hamlet's face which pulls you into his emotion and thought. It is interesting that they are shown by the reflection in the mirror instead of being directly on Hamlet's face as the camera seems to be showing the audience how Hamlet sees himself.


Laurence Olivier
The music is the first thing I noticed in this scene of the "To be or not to be" speech. It is very erratic and extremely distracting, especially as it continues, in waves throughout his speech, taking away from the more serious subject of his words. The fade between his face and the sea that follows is interesting as it sets up Hamlet's restless and confused mindset. Because the scene is set by the sea, it shows just how small and insignificant Hamlet is feeling when faced with this "sea of troubles" (3.1.59). There are some rather awkward close-ups during the scene that, although they do succeed in pulling you into his mindset, are too distracting and almost comical with respect to the tone of his words. The dagger he is constantly holding emphasizes the severity of his intentions and emotions during the scene.

Mel Gibson
 The sound in this version is completely diegetic. I loved that there was no distracting music in the background, a very refreshing change from the last video. Because he is underground in the catacombs, his voice echos off the walls which I feel adds a very natural sounding emphasis to his words and there importance therein. And the setting is quite perfect, debating life and death while Hamlet is still a part of the living, but hangs currently among the dead. The dark, depressing atmosphere set by this lighting helps add to Hamlet's mood, pulling the audience into his melancholy. The mid-range shots of his face allow the audience to take in the setting and his words all at once, enhancing the meaning of both.

Ethan Hawke
The setting of this particular version made it very hard to grasp what he was saying. The scene may have been easier to understand with more background to that version of Hamlet. It was also delivered quickest but that was somehow fitting for the modern setting. His outfit was also confusing in that he was wearing a nice jacket with a cheap hat but helped to show his own confusion and discombobulation with his life during the scene. There are several close ups that help pull the audience into his emotions. The scene is accompanied by a soft, sad music which, unlike the others, doesn't take away from the mood of the scene. It doesn't quite fit with the video store setting, though. There are some shots of the TV screens in the video store that show, all too appropriately, men dying and being blown up. They are a representation of the death he is facing himself with but can also be representative of "the thousand natural shocks that flesh is heir to" (3.1.62-63).

Mel Gibson's delivery of this famous soliloquy of my dear friend, Hamlet's, was the most engaging version. His very emotions, so strong and clear, ranging from anger to sorrow, mixed well with the setting. There wasn't any distracting music or outfits or props and the serene echo provided by his location added extra emphasis on the importance of his words over anything else that was going on. The lighting was a nice plus to this scene, only adding to Hamlet's dark mood. I believe this Mel Gibson did Hamlet's emotions throughout this scene justice, delivering them in a way that was most befitting, and focused the most on what he was trying to say.

I think I would have tried to get a little more expression out of Kenneth Branagh's Hamlet. For the Laurence Olivier performance, I would definitely take out that distracting music and replaced it with something more serene and more melancholic. I also would have avoided some of the shots in the scene such as the crazy shot up the stairs at the beginning as well as the too close close-ups on his forehead and scalp. I have nothing to change about Mel Gibson's performance. As for the Ethan Hawking version, I do not think the delivery or overall effect was bad, it would simply have been less confusing had I seen the whole film.

Hamlet Blog Post #2

Note: For the sake of this assignment, I have chosen to temporarily switch my character to Hamlet as my initial choice, Horatio, does not appear in Act II.




"I don't know what's right any longer" admits Hillary, one of the main characters in Top Secret. The movie centers around American singer, Nick Rivers who, when invited to East Germany for a cultural festival, gets roped into aiding the French resistance by Hillary Flammond. The two are out to rescue Hillary's father, a scientist who was kidnapped and forced to build a dangerous weapon for the German government. With help from many others in the French resistance, the two manage to rescue Mr. Flammond and escape the country.

The character of Hillary greatly loves and respects her father, a sentiment I share though I have so recently lost my own. Since my father’s passing, “it goes so heavily with my disposition that . . . the earth, seems to me a sterile promontory” (2.2.273-274). For Hillary as well, life is meaningless without her father with her and just as it is important that I avenge my father’s cruel and untimely murder, it is important that Hillary rescues hers from the German government. I have devised a plan, as she and her fellow resistance members did, to help my father and prove my uncle as his murderer. I am sure that, “The play’s the thing wherein I’ll catch the conscience of the king” (2.2.532-533). But before she can help her father, she too must deal with spies. My wretched uncle has called two close friends to spy on me. They betray me and yet still act as though all is fine, remaining jovial in conversation, being, as they said,  “Happy, in that we are not over-happy” (2.2.218). Likewise, Hillary’s long-lost friend, Nigel, turns out to be a spy for the Germans. He greatly hinders the French resistance secretly throughout the movie. Unlike Nigel’s evil intent, at least my companions Rosencrantz and Guildenstern do not mean me ill will. They rather wish that, “Heavens make [their] presence and [their] practices pleasant and helpful to [me]” (2.2.38-39). I am in part thankful for that, as it seems their loyalty is not completely lost, only misguided. As I feel I am in the ways of love, a thing “whose violent property fordoes itself” (2.1.101) and has caused an awful mess for me, for Ophelia, and for Polonius. Hillary’s attraction to the singer, Nick Rivers, is also disastrous in that it pulls him into a battle in which he has no part. Still, I envy the lovers as they do not allow their predicament to pull them apart as Ophelia and I have done. Yet Hillary does put Nick into danger in asking him to continue to help her in her mission. She says that he should stay, “If not for [her], for the cause of freedom” admitting that she requires his help to keep going. Just as I require the support of my good friend Horatio. A member of the resistance remarks of Nick and Hillary’s accomplishments, they will “hear it in the hearts of the people” and “as long as we do, we know that we are not alone in our fight”; just as my father will be remembered as he was, “so excellent a king; that was, to this, Hyperion to a satyr” (1.2.139-140), a well beloved and righteous king.

Hamlet Blog Post #1

 I pity my lord Hamlet. His noble father, our king, not two months gone and already his wife, remarried. Hamlet is too oft alone for one so shrouded in grief. Claudius, even in marriage and title, is as Hamlet said, “[His] father’s brother, but no more like [his] father than [him] to Hercules” (1.2.152-153).  What a contrast Hamlet sees between his good father and his uncle, “the serpent that did sting [his] father’s life” (1.5.38).  In marrying the queen so soon after his death, King Claudius has done the whole of Denmark wrong. He has poisoned the country, turned it into, “A couch for luxury and damned incest” (1.5.83). And now that Hamlet has seen his father and knows for certain, the cause of his death, he means to exact his revenge. Meanwhile Queen Gertrude ignores his villainy, ignores even the death of her husband as today, at her wedding, she stood before Denmark in wedded bliss. Although it is not my place to say, the both of them, King and Queen, hath wronged the late king and the whole of Denmark. I only wish for my dear friend Hamlet that he not “let [his] soul contrive against [his]mother aught”(1.5.85-86) in exacting his revenge on King Claudius. The royal family has gotten itself into quite a tangle indeed. After all this, I believe, as Marcellus put it, “something is rotten in the state of Denmark” (1.4.90).

Hamlet Character Choice

I have chosen to follow Horatio for the duration of our reading of Hamlet. In a play where most of the characters seem to still be figuring life out, in between the death, incest and insanity, Horatio is the one character who remains sensible and grounded in his ways. He also has, out of all the characters, the greatest insight into Hamlet's thoughts. Because Horatio knows Hamlet better than anyone, he would see the events of the play differently than anyone else. Attempting to summarize the play from his point of view would force me to look into the deeper meanings behind Hamlet's actions and would give me a chance to make some sense out of a plot involving several mentally unstable main characters. Seeing Hamlet from Horatio's eyes will help me to focus on the true meaning behind the play so that I can fully understand Shakespeare's intent for his audiences.

Independent American Drama Assignment Part 4: Video Presentation

Independent American Drama Assignment Part 3: Storyboards

Independent American Drama Assignment Part 2: Script and Bibliography

Script

Buried Child

Sam Shepard

Cast in order of appearance:

• Mom: Andrea Oh
• Dad: Ashleigh Plummer
• Daughter: Cara Roth
• Dodge: Ashleigh Plummer
• Tilden: (unvoiced)
• Halie: Andrea Oh
• Father Dewis: Ashleigh Plummer
• Shelly: (Unvoiced)
• Bradley: Cara Roth
• Vince: (unvoiced)

Introduction with Thesis Statement:

It is revealed later in the plot that Dodge, the head of the family, killed his own wife and son’s child to keep the family from falling apart. Though originally intended to retain prosperity, Dodge's betrayal of his family through murder, in Sam Shepard's Buried Child, suspended familial development by seeding a dysfunctional rift, focusing on how the strain of fixating on achievements alienate relations.

   

Text

Scene 1:

“(Dodge falls into deep sleep. Tilden just sits staring at him for a while. Slowly he

leans toward the sofa, checking to see if Dodge is well asleep. He reaches slowly under

the cushion and pulls out the bottle of booze. Dodge sleeps soundly. Tilden stands quietly,

staring at Dodge as he uncaps the bottle and takes a long drink. He caps the bottle and

sticks it in his hip pocket. He looks around at the husks on the floor and then back to

Dodge. He moves C. and gathers an armload of corn husks then crosses back to the sofa.

He stands holding the husks over Dodge and looks down at him as he gently spreads the

corn husks over Dodge and looks down at him as he gently spreads the corn husks over

the whole length of Doge’s body. He stands back and looks at Dodge. Pulls out bottle,

takes another drink, returns bottle to his hip pocket. He gathers more husks and repeats

the procedure until the floor is clean of corn husks and Dodge is completely covered in

them except for his head. Tilden takes another long drink, stares at Doge sleeping then

quietly exits L. Long pause as the sound of rain continues. Dodge sleeps on.

The figure of Bradley appears U.L., outside the screen porch door. He holds a

wet newspaper over his head as a protection from the rain. He seems to be struggling

with the door then slips and almost falls to the ground. Dodge sleeps on, undisturbed.)”

(Shepard 25-26)

Scene 2:

“(Halie appears outside the screen porch door, U.L. with Father Dewis. She is

wearing a bright yellow dress, no hat, white gloves and her arms are full of yellow roses.

Father Dewis is dressed in traditional black suit, white clerical collar and shirt. He is a

very distinguished gray-haired man in his sixties. They are both slightly drunk and felling

giddy. As they enter the porch through the screen door, Dodge pulls the rabbit fur coat

over his head and hides. Shelly stands again. Dodge drops the coat and whispers intently

to Shelly. Neither Halie nor Father Dewis are aware of the people inside the house.)

DODGE. (To Shelly in a strong whisper.) You promised! (Shelly sits on stairs again.

Dodge pulls coat back over head. Halie and Father Dewis talk on the porch as they cross

toward R. interior door.)

HALIE. Oh father! That’s terrible! That’s absolutely terrible! Aren’t you afraid of being

punished? (She giggles.)

DEWIS. Not by the Italians. They’re too busy punishing each other. (They both break out in giggles)

HALIE. What about God?

DEWIS. Well, prayerfully, God only hears what he wants to. That’s just between you and

me of course. In our heart of hearts we know we’re every bit as wicked as the Catholics.

(They giggle again and reach the R. door.)

HALIE. Father, I never heard you talk like this in Sunday sermon.

DEWIS. Well, I save all my best jokes for private company. Pearls before swine you

know. (They enter the room laughing and stop when they see Shelly. Shelly stands. Halie

closes the door behind Father Dewis. Dodge’s voice is heard under the coat talking to

DODGE. (Under coat, to Shelly.) Sit down, sit down! Don’t let ‘em buffalo you. (Shelly

sits on stair again. Halie looks at Dodge on the floor, then looks at Bradley asleep on the

sofa ands sees his wooden leg. She lets out a shriek of embarrassment for Father Dewis.)

HALIE. Oh my gracious! What in the name of Judas Priest is going on in this house!

(She hands over the roses to Father Dewis.) Excuse me Father. (Halie crosses to Dodge,

whips the coat off him and covers the wooden leg with it. Bradley stays asleep.) You

can’t leave this house for a second without the devil blowing in the front door!

DODGE. Gimme back that coat! Gimme back that goddamn coat before I freeze to

HALIE. You’re not going to freeze! The sun’s out in case you hadn’t noticed!

DODGE. Gimme back that coat! That coat’s for live flesh not dead wood. (Halie whips

the blanket off Bradley and throws it on Dodge. Dodge covers his head again with

blanket. Bradley’s amputated leg can be faked by having it under a cushion on the sofa.

Bradley’s fully clothed. He sits up with a jerk when the blanket comes off him.)

HALIE. (As she tosses blanket.) Here! Use this! It’s your anyway! Can’t you take care of

BRADLEY. (Yelling at Halie.) Gimme that blanket! Gimme back that blanket! That’s my

blanket! (Halie crosses back toward Father Dewis who just stands there with the roses.

Bradley thrashes helplessly on the sofa trying to reach the blanket. Dodge hides himself

deeper in the blanket. Shelly looks on from staircase, still holding cup and saucer.)

HALIE. Believe me, Father, this is not what I had in mind when I invited you in. I keep

forgetting how easily things fall to pieces when I’m not here to hold them together.

DEWIS. Oh, no apologies please. I wouldn’t be in the ministry if I couldn’t face real life.

(Father Dewis laughs self-consciously. Halie notices Shelly again and crosses over to

her. Shelly stays sitting. Halie stops and stares at her.)

BRADLEY. I want my blanket back! Gimme my blanket! (Halie turns toward Bradley

HALIE. Shut up Bradley! Right this minute. I’ve had enough! It’s shameful the way you

carry on. (Bradley slowly recoils, lies back down on sofa, turns his back toward Halie

and whimpers softly. Halie directs her attention to Shelly again. Pause.)

BRADLEY. You gave me that blanket.”

(Shepard 56-58)

Scene 3:

“HALIE’S VOICE. Dodge? Is that you Dodge? Tilden was right about the corn

you know. I’ve never seen such corn. Have you taken a look at it lately? Dazzling.

Tall as a man already. This early in the year. Carrots too. Potatoes. Peas. It’s like

a paradise out there, Dodge. You oughta take a look. A miracle. I’ve never seen

it like this. Maybe the rain did something. Maybe it was the rain. (As Halie keeps

talking offstage, Tilden appears from L., dripping with mud from the knees down.

His arms and hands are covered with mud. In his hands he carries the corpse

of a small child at chest level, staring down at it. The corpse mainly consists of

bones wrapped in muddy, rotten cloth. He moves slowly D. toward the staircase

ignoring Vince on the sofa. Vince keeps staring at the ceiling as though Tilden

wasn’t there. As Halie continues, Tilden slowly makes his way up the stairs.

His eyes never leave the corpse of the child. The lights keep fading.) Good hard

rain. Takes everything straight down deep to the roots. The rest takes care of

itself. You can’t force a thing to grow. You can’t interfere with it. It’s all hidden.

Unseen. You just gotta wait ‘til it pops up out of the ground. Tiny little shoot.

Tiny little white shoot. All hairy and fragile. Strong though. Strong enough to

crack the earth even. It’s a miracle, Dodge. I’ve never seen a crop like this in

my whole life. Maybe it’s the sun. Maybe that’s it. Maybe it’s the sun. (Tilden

disappears above. Silence. Lights go to black.)”

(Shepard 73)

Transitions:

Transition to scene 1:

This scene is Tilden’s symbolic way of getting revenge on Dodge for his son’s murder. By covering him in corn husks he is not only “burying him” but also allowing the empty corn husks to symbolize the absence of prosperity among the family and their farm.

Transition to scene 2:

The nasty fight that takes place here shows just how dysfunctional the family has become after Dodge’s actions. The family is split apart, they are shown to be emotionally immature and unable to deal with one another.

Transition to scene 3:

At the end of the play, the family finally renews itself when the secret of the buried child is revealed, the child’s corpse is unearthed, and the family passes into a new age the hands of Vince who intends to restore the family’s prosperity. The corn Halie finally sees out the window is symbolic of the family’s rebirth.

Conclusion:

    In the end of the play, it explains that the family’s dysfunction is because of the act that Dodge commits and even though he intended to bring his family together, it actually causes a rift in which the family was suspended by the strain of trying to retain prosperity.

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