AOW #28

"Cross My Mind" by Jill Scott is one of my favorite songs.  In the song, Scott reminisces about an old lover.  She revisits their memories together but realizes that ultimately, and honestly, they were never meant for each other.  I think this song is really beautiful because it transitions from nostalgic attachment to heartbreaking honesty.  As you listen to the song, you would like to believe that there is no ending; you would like to believe that there is still a chance to amend things, that there is an opening for reparation, even if the situation does not pertain to you personally.  But when the Jill finally ends with the words, "you were never good for me, and I was never good for you," the reader realizes that there is a conclusion - a sad one at that.  It is tragic because of the outcome but beautiful for its honesty.  The song is an example of natural poetry.  It is not forced, it is not scripted.  Rather, it is intimate, real, pure in its expression.  Although I don't like to get technical with works of art like these, Jill Scott does incorporate a good variety of diction.  She uses both literal as well as metaphorical lyrics.  She also doesn't fail to remain personal, constantly making allusions that probably only she and her subject fully understand.  It is as if she is speaking to herself on record..  While this may seem fairly obvious, since music is supposed to be "self-expression," I think this aspect of her song sticks out because most artists often struggle with true-expression.  They often give in to outer influences such as their fans, critics, fame; they start to talk about things not for their own sake but for other people's sake.  This song by Jill Scott is a good rhetorical example of staying true, and as a result of that truthfulness, the song becomes  emotionally-appealing and effective.  It is important not to mistake the cause for the effect: the song focuses on being true; its effectiveness and appeal come afterward.

AOW #27

Independent, IRB - Your Voice in My Head by Emma Forest

Your Voice in My Head is a memoir.  Emma writes about a very complicated and tragic phase in her life.  She had somehow become attached to a person who was not good for her, extremely depressed, and suicidal.  She talks about a failed suicide attempt and her meetings with her deceased therapist who played a huge role in her life.  Without this therapist, Emma is now left in the world alone.  She reflects on what he was to her, how he helped her overcome her depression, and what it meant to lose him. 

I had high expectations for this book.  At first, it was the title that caught my eye.  It sounded interesting to me, and a good book review from Eat Pray Love's author Elizabeth Gilbert also persuaded me to give this book a try.  However, nearly a third of the way in now, I admit I'm a little bit disappointed.  Part of it is because I’ve been through my share of difficult circumstances and therefore I expected something deeply personal, given the description of the book. I expected something that would make me feel, make me empathize, perhaps even give me insight into my own life.  But instead, I have found the memoir to be a bit dry.  I don’t want to speak too soon but her words seem, to me, a bit scripted.  They are not real or passionate enough.  Also, the quotations she draws from her therapist are only mildly impressive.  Hopefully, the book will start to dive in deeper as I read on; after all, some books do take a while to get started.  But if I were to give a suggestion on what could have helped the introduction of this memoir to be more interesting, I would have approached it in a more serious tone (even if it is only at intervals).  The author’s voice is overly unserious and comical.  I understand that this can be seen as her humorous personality but if her reason for writing this book was to establish any type of connection with the reader, I’m not especially feeling a spark right now. 

AOW #26

Barack Obama Weekly Address: Investing in Clean Energy Future

The speech was about the state of the economy as well as investing in clean energy resources.  President Obama presents statistics and real life proof to show that there is progress being made.  He also uses reservations to show that he has made an effort to compromise, but more needs to be done besides drilling for oil.   He approaches the speech in a semi-casual tone.  He remains professional, but he lights up the mood by using the word "stuff."  In some ways, this might help Barack acquire a better relationship with his audience.  In some ways, it might show that he is not out of touch with the people, and that he is still an everyday American, not some high-minded, snotty-nose politician.  Personally, I appreciate how he kept everything very simple but clear.  It is not drowned in dramatic hyperbole or complicated terms.  He is concise and efficient in the examples he brings in.  His words are minimal, which I think is helpful.  There is enough logic there to satisfy his audience (unless of course they are out to get him).  He presents only what is necessary, which I think is important so that he doesn't end up annoying the audience (being that he does give a speech weekly).

IRB: Everything is Illuminated

Everything is Illuminated is different from most books that I have read.  Even the plot is somewhat difficult to grasp until you actually start reading it.  It is essentially about a boy Jonathan Safran Foer (also the author), his translator and an old man who go out to find a woman who supposedly saved Foer's grandfather from the Holocaust. 

The structure of the book is somewhat odd.  The story starts as if it has already passed.  Everything has already happened and the story is just a series of flashbacks.  I feel like this arrangement allows the author to do a good amount of reflection.  Since the story isn't constantly progressing and constantly moving forward, the author has time to let his thoughts linger.  Also, the POV is also somewhat bizarre.  It is not consistent throughout the book.  Point of views may switch with each chapter.  One chapter it will be first person (Foer's translator) and the next it will be in third person.  In fact, the "jumping around" of point of views confused me a great deal at first.  I actually had to force myself to read the first 30-40 pages to actually start to get a feel for what was going on.  After that, however, it started to become pretty interesting.  Since the POV keeps on changing, the voice changes as well.  For example, the translator's voice is really conversational.  His English can be very choppy and he might use the wrong word at the wrong time, which can be very humorous.  I love the relationship this character establishes with the reader (me).  Since he is so direct and human, I actually enjoy his persona. 

The last thing I observed about the book so far is that it is not so focused on being "professional."  It is not your typical intellectual-sounding writing.  It is loose, normal, direct.  There is not much description on things.  Details are not specific.  The author merely states a thought and then another thought and then states a reaction to that thought and so on.