Response to “Metaphysics has always struck me as a prolonged form of latent insanity” by Fernando Pessoa

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The Lost Origins  of the Essay

There are many writers whom we have read who inspire me to copy, emulate, and experiment with their approaches in order to grow as a writer and to improve my own writing. With Pessoa, however, I feel that he is actually me, in another life. I like to underline things while I read, things that are interesting and things that really speak to me. After the first couple of pages, I’ve noticed myself underlining every other sentence because it felt like he was speaking for me and revealing things I never even realized about myself. It is hard for me to analyze this essay critically because I feel so personally attached it. Nevertheless, I will try.

Some parts of the essay are thoroughly philosophical. For example, “to recognize reality as a form of illusion and illusion as a form of reality is equally necessary and equally useless” and “That is why the contemplative person, without ever leaving his village, will nevertheless have the whole universe at his disposal. There’s infinity in the cell or in a desert.” Other parts of the essay a personal. For example, “While I once took the smile is an insult, because it seemed to imply a superior attitude, today I see it as a sign of an unconscious doubt. Just as adults often recognize in children a quick – wittedness they don’t have” and “I am still obsessed with creating a false world, and will be until I die” and “I have a world of friends inside me, with their own real, individual, and perfect lives. Some of them are full of problems, while others live the humble and picturesque life of Bohemians. Others are traveling salesman. (To be able to imagine myself as a traveling salesman has always been one of my great ambitions – unattainable, alas!) Others live in the rural towns and villages of a Portugal inside me.”

Then of course there are parts of the essay (the best!) where the personal and philosophical bleed into one: “Better and happier those who, recognizing that everything is fictitious, write the novel before someone writes it for them and, like Machiavelli, don courtly garments to write in secret” and “ I am at one of those points, and I write these lines as if to prove that I’m at least alive.”

It is hard to separate the philosophical from the personal parts of the essay and it is even harder to know if they truly belong to the author. What I do find curious, however, is that perhaps it is like this with many writers. The only difference is that Pessoa and possibly a handful of others are honest enough to create authentic and independent and often contradictory personas that exists within all of us.

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Response to ‘The Night’ by Campana, The Lost Origins of the Essay

The Lost Origins of the Essay
This essay is broken up into numerous disjointed paragraphs that are more like a collection of prose poems than anything else. One thing that I noticed right away is Campana’s use of setting and colons. Each paragraph discusses setting, making the entire essay appear almost obsessed with it. Even the characters (the narrator and others) are somehow part the setting, as if they are mere placeholders within the setting.

Another major thing that stands out about this essay is the author’s use of colons. I’m undecided whether it is the colons or the author’s approach to sentences that give many of the sentences within the essay an uncomfortable feel. For example, “at the edge of the countryside a door cut in the stone, watched by a young woman in a red dress, pale and fat, caught its eye: I entered.” There is a definite lack of action verbs and I’m sure that this is a conscious decision on the part of the author. However, I’m not sure if that works. Furthermore, there are many other sentences which are much more complex, mostly as a result of the use of more than one colon within the same sentence.

I have never seen more than one colon used per sentence before and, though it makes for an interesting style, I’m not entirely sold on it. It seems to me the literary devices such as these should be used sparingly so that they did not standout too much and take away from the actual writing. This essay’s style makes me consider my own essay and my decision to use footnotes. I’m trying very carefully to use footnotes in such a way that they actually add to the writing and the content of the story rather than standout as a novelty act (even though footnotes in fiction are no longer that novel). Perhaps footnotes and colons and other devices in writing should be treated like decorations in a house. While a few oddball pieces may add just the right amount of eccentricity to enhance the house’s beauty with a touch of authenticity, a large amount of oddball decorations can hide the house’s beauty and make it look like a bad garage sale/crappy thrift store.

Response to Egypt by Butor, The Lost Origins of the Essay

The Lost Origins of the Essay

This is an interesting essay that expands and plays with the concept the sentence. After checking a couple of times, I am confident to say that the first sentence ends in the middle of page 546. The author makes use of semicolons, commas, and paragraphs to allow the sentence keep going in a semi-organic form. The essay is both set and centered around Egypt but the author’s use of literary devices appears to take away from the content of the essay. I don’t think I am a very old-fashioned reader or writer and I enjoy experimental writing. However, my enjoyment of experimental writing ends when the experiment interferes with the actual writing. In particular, this essay is a good example of a literary device which passed the first paragraph or two starts to take away from the actual quality of the writing by bringing too much attention to itself.

Response to “The Raven” by Barry Lopez

Response to "The Raven" by Barry Lopez, The Next American Essay

The tension of this piece is the difference between crows and ravens and why there are no longer any crows in the desert. The raven (both as the bird and the metaphor for this type of person) is the protagonist while the crow is the antagonist. Lopez spends a lot of time discussing the crow’s faults (his arrogance and flamboyance) in order to illustrate how and why the raven has survived. In particular, the author shows how the crow’s arrogance leads to its downfall while the raven’s humble way of life and its quiet confidence allows him to thrive. The essay is written in third person and has no dialogue except a few instances where the author addresses the reader directly as ‘you.’ The essay is set in the desert but is not limited to it. Instead the author uses this setting to illustrate what characteristics of the the crow allow it to thrive in the city and die in the desert. As a result, the theme or the moral of the story is that people should try to live their lives like the raven, in a quiet and measured confidence.

The essay works on many levels because Lopez does an excellent job of illustrating why ravens (both as birds and metaphors) are superior to crows. The essay is reminiscent of a fable or fairy tale in that it does not cross into the realm of fiction any more than necessary and makes its point without being the least bit judgmental. This is one of my favorite essays and there is nothing about it that does not work.

Response to “The Death of a Moth” by Virginia Woolf

Response to “The Death of a Moth” by Virginia Woolf, The Lost Origins of the Essay

The thing that is at stake in this essay is the life and death of the moth. As a simple creature that is often overlooked, the moth has a lot to teach people. The moth is the main character that undergoes a change from living (and fighting to live) to dying. There is no traditional dialogue but Woolf does put herself in the story in first person. The moth fights its epic battle in the corner of a room with a window (setting). The theme or the moral of the story is life is worth fighting for no matter how insignificant and inconsequential one might feel.

This is a marvelous essay which works on many levels, just like “The Raven.” It uses a simple commonplace being like the moth to illustrate the meaning of life, perhaps to say that the meaning of life is just to live. For example, “this gigantic effort on the part of an insignificant little moth, against a power of such magnitude, to retain what no one else valued or desired to keep, moved one strangely.” Perhaps what Woolf is also trying to say is that people need to stop relying on other people’s metrics of what is valuable and instead find their own value in life. The essay does not cross into fiction and there is nothing about this essay that does not work.

Response to “Definitions of Earthly Things” by Bernardino de Sahagun

Response to “Definitions of Earthly Things” by Bernardino de Sahagun, The Lost Origins of the Essay

The tension is man vs nature and the essay is separated into different parts under various subheadings like forest, a mountain, mirror stone, etc. Man or human kind serves as the protagonist while nature is the antagonist. For example, the forest is described as a desolate place where there are no people and nothing is edible. Man has the tendency to view the natural world as separate from him and society and this essay is great at illustrating that. There is no traditional dialogue but there are instances of first person. The essay has numerous settings, all of which are elements of the natural world. The theme or the moral of the story is that man has a lot to fear about nature but that he should nevertheless confront and become one with it.

The essay works by being way ahead of its time in its approach to creative nonfiction. However, while this approach is creative it does not work particularly well because it makes the essay appear disjointed. The cross into fiction is effective and thoughtful. For example, “A Mushroom: It is round, large, like a severed head.” This sentence, and others like it, make me think of an encyclopedia entry turned on its itself.

Response to “To the Reader” by John D’Agata

Response to "To the Reader" by John D’Agata, The Next American Essay

The tension in this piece is the meaning of nonfiction. D’Agata begins the essay by listing facts and then uses them to illustrate why and how nonfiction is an art. Essentially, he uses this essay to illustrate Emerson’s quote “There are no facts, only art.” The essay does not have a traditional protagonist or antagonist but the main character (perhaps the reader’s perception of nonfiction) undergoes a change by listing the so called facts that the reader expects from nonfiction and then using them to create art (creative nonfiction). The essay does not have any traditional dialogue but it is written in the first person (which can be interpreted to mean that it is all dialogue). The piece has no particular setting and its theme is that nonfiction is as much of an art as fiction.

The essay works on many levels and does a great job of illustrating the meaning of nonfiction. It is also quite effective in addressing the reader’s prejudices about creative nonfiction (that it is not art but rather a collection of facts). The middle of the essay (that discusses the Latin word for fact and lists words like artifice, counterfeit, etc.) does not work as well because it feels a little disjointed from both the beginning and the end of the essay. Finally, essay does not cross the line by entering the realm of fiction and is an excellent introduction to the book as a whole.