Update: I’ve received a few questions about our plans after my absence. We’ll continue the schedule as laid out, but I’ll be looking over your journals on Monday the 19th. Thanks, JS

Love in the Time of Cholera is not for the faint-of-heart, as I’m sure you’re all aware by now. I’ve posted a reading schedule below. It would be wise to read ahead (and journal all the way) over the weekends and breaks if you’re afraid of falling behind. (For those who find themselves lost in discussions of passages they’ve read beyond, the reading journal is a good way to refresh your memory.)

Journaling is vital to the creation of a solid paper towards the end of this novel. If you scroll to the end of the schedule, you’ll notice that we end the novel on a Wednesday (the 28th) and turn in a final draft of your term paper the next week (the 3rd). By journaling as you go, you are keeping track of patterns that emerge (see “Some things,” below). When you formulate your thesis, you are explaining what these patterns say about the work as a whole. From there, creating an outline is a matter of going through your journal and grouping quotations and insights that support your thesis, then putting them in a logical order. Writing a rough draft should be mostly copying your comments and their accompanying quotations from your journal.

It is not a simple process, but most of the insight work should be done while you’re reading and during our discussions. The writing process is communication work: organizing, working on flow, reinforcing your points.

I’ll work with each of you as we go, but I can’t read/journal for you; I can merely guide you in the right direction.

Possible essay topics:

• Explore the use of water imagery and how it reflects the themes of the novel.
• Contrast the characters of Dr. Urbino and Florentino Ariza using the symbolism that surrounds each.
• Explore the many types of love found in this novel. Are there any commonalities?
• Explain Marquez’s use of setting to reflect the tone of particular scenes.
• Explain the parallels between the city and the characters (particularly Dr. Urbino) as they age.

These are only ideas; let me know if you come up with another one.

Some things to be journaling:

• All liquid imagery (particularly water, but all other fluids)
• Mixed metaphors or images that seem contradictory
• First impressions and sketches of Dr. Urbino, Fermina Daza, and Florentino Ariza
  • As the characters interact, note how they compare or contrast. (“Would Urbino react like Florentino does in this scene?”)
• Keep tracking the different types of love!
• Always
  • Questions
  • Vocabulary
  • Cool passages
  • Your interpretations/reactions of events

We will have a brief quiz on Monday. If you are having difficulties keeping up with the reading, see me and we’ll work it out.

To check your understanding, check out this site, which has a list of basic questions about each section. This isn’t an assignment, though it would be beneficial to read over them after you finish a section.

Reading/writing schedule:

We will culminate this year with creative projects based on your chosen archetype. So far, you have discovered many examples (at least 50) of your archetype in literature ancient and modern, in music, in film, and in television. You created a visual representation of this archetype, combining elements from all of these sources in an attempt to discover the “essence” or most basic characteristics. The papers you have just completed not only further illustrated the ubiquity of your archetype, but also showed that the way an archetype changes over time can also reflect changes in cultures (father and damsel archetypes after WWII is an excellent example of this).

Your final job in this project is to continue the story of your archetype. You have seen where they’ve been, you have seen how they are being portrayed; now it’s time to continue the story. The parameters of this part of the project are broad, so I will be working with each of you closely in the next week to guide your progress. The only requirement that applies to all projects is that you must tell a complete story that reflects your archetype. That’s it.

Some thoughts to get you started:

You may choose your medium (play to your strengths). Short story, fable, song (with lyrics), visual art (must tell a story; that is, it must be more than one “panel” long), movie script, television show pitch… The possibilities are endless.

As far as ideas go, you should look back at how your archetype has been/is being portrayed. Do you like it? If not, change it! The power to control your archetype’s fate is in your hands as the author. Want to take her back to her roots? Do it. Want to completely re-interpret it? You can.

Have another idea? Post it in the comments area; you may inspire others.

Find something like this on the Interwebs, on youTube, etc? Post a comment for the same reason.

I’m excited. We’re finishing strong.

Do remember that you must have your final paper in to me by Friday at three. I will not grade it without a Works Cited page, so be sure to include one. If you’ve forgotten the structure, go here for instructions. For specific citation instructions, go to the links at the bottom of the page.

Email with questions.

Here’s the outline so far.  If you have a brilliant idea, post it below.  We’ll continue discussion tomorrow.

1. I. Peace

1. A. Characters Introduced

1. 1. Billy, the only one who has hair

2. 2. Otto, has a wrench

3. 3. Deric MacGrave, extremely thin

B. Talks about normal life

1. 1. Spend days playing in streets

2. 2. Rules/guiding strings

3. 3. School, self-writing blackboard

4. 4. Market

5. 5. Our songs

2. II. Rules for Breaking/Market Vandalized

1. A. Billy is guided by the Strings to vandalize the market (Couldn’t control himself, enjoyed destroying the market)

2. B. Wakes up next day and looks for Deric MacGrave, finds him on the street, broken, with X’d-out eyes. He had fallen

1. 1. 1st miss rule

3. III. Nothing test

1. A. Billy is terrified, decides to stay in bed all day.

2. B. Later, Otto comes in to find Billy. Billy is guided to yell at Otto.

1. 1. 2nd miss rule

3. C. Otto says he is going to tell the Blackboard. Leaves, Billy runs after him.

4. IV. Twisted School

1. A. Billy follows Otto out into the street

2. B. Otto trips and neck snaps on his own Strings. His eyes roll up to X’s.

3. C. Billy drags Otto to the school to see if he can help.

4. D. Writes Question on Blackboard.

5. E. The Board gives a Twisted Drawing in response.

6. F. Billy throws Otto’s body into Blackboard, breaking it. He finds a recording machine…

5. V. End of the Line

1. A. Billy decides to solve his own problems.

2. B. He climbs his Strings.

3. C. Finds nothing, just his Strings tied to a bar.

4. D. Realizes he had been controlling himself all along.

5. E. He has grown out of his strings.

During the last three weeks of this session we will be pulling from everything we’ve done before: critical analysis of texts, cultural analysis of works, integration and synthesis of works from different eras and cultures, and explication of literary devices.  "How will we do this?" you ask?  By answering an apparently simple question:

What do Mary Shelley’s Frankenstein, Wilfred Owen’s "Dulce Et Decorum Est," H.G. Wells’s The Time Machine (and The Days of the Comet, and The Island of Dr. Moreau, and Conrad’s Heart of Darkness), the Danse Macabre, 1984, punk music (The Clash!), Twitter, Wikipedia, The Wisdom of Crowds, The Starfish and the Spider, DIY, Internet piracy, and podcasting have in common?

Our answer can be as simple and complex as we want, but it will take our understanding of all these cultural phenomena and works and the skills we’ve acquired this year to pull off a solid answer.

Now that’s a cumulative test.