Categories
Unit 1

1.5 The Girl Who Watched Waves

There was a girl who came from a small town by the sea, and what made her more happy than anything else was to watch waves. She would walk down to the water’s edge, passing the little white houses that speckled the foggy shoreline, until she was right above the water on a rocky ledge or a beach of little stones, and there she would stay for hours, alone, watching the waves rise and fall, crest and crash. The tide would come and go, the fog would roll in and roll out, and still the girl would gaze at the sea.

The other people in the town did not understand why the girl did this. They did not enjoy sitting and staring all day at the water. Instead they built boats, and fished, or they cut down great towering pines, to build their houses, while others cultivated little green gardens and pastures of sheep. The people in the town worked on the land and in the water to make a living, to make food and shelter and things to sell to one another and this was what their forebearers had done, too. But the girl who watched waves did none of this, she did nothing at all, so far as they were concerned, and so to them she seemed quite useless, quite strange.

Is it strange to stare for hours at the surface of the sea? Maybe. Is it less strange to haul fish or fell trees or hammer nails or kill sheep? Maybe.

In any case it so happened that a doctor arrived in the town. Doctors were considered very wise. They trained for many, many years, and became skilled at poking and prodding the living, at peering inside noses and ears and mouths and eyes and saying “this is what is wrong with you” and if you payed them they would tell you how to get better, how to change. Sometimes the doctors gave good advice, and sometimes they didn’t, but in the end very few people were willing to forgo paying for such advice, once they discovered they were sick. Everyone listens to the stories a doctor tells.

So the people in the town decided that they would ask the doctor to look at the girl who watched waves, and talk to her. She would not listen to any of them, but perhaps she would listen to the doctor. If he told her to stop watching waves and come work, then likely she would do just that. The doctor found the girl sitting by the seashore and he began to examine her. He checked her pulse and her temperature, he checked her reflexes and vision, he checked everything. He also talked to her, asking her many questions. When his examination was over the doctor told the girl a story about how she was healthy in her body but sick in her mind. Initially the girl ignored the doctor, and continued to stare out at the sea, untroubled by his words. But the doctor’s diagnosis had planted a seed of doubt. Before he went away the doctor told the girl that it was not healthy to sit apart from the townsfolk, to shun their company and way of life in favour of the grey churning water. Such behaviour was called “antisocial” and “melancholy” and these were characteristics of someone who was ill.

These words began to churn in the girl’s mind, just like the grey water. The slosh of waves upon rock seemed to say “sick! sick!” again, and again, while the wind that came reaching from the sea howled sadly, whistling through the ancient pines with a sound like “ill!” For some reason the girl could not sit and watch the water in peace any longer. The doctor’s story about sickness was all around her, in the very salt-air she breathed.

The girl knew, as the townsfolk knew, that it really would be madness to ignore a doctor and his diagnosis. So she got up and left the shore and returned to the foggy little town to work. She tried cutting wood, she tried herding sheep. She worked in the gardens and in the houses. But she was no good at any of it. She was constantly staring out to sea, from a distance, longing to be closer, close enough to watch the waves. But she could not watch waves anymore because the doctor’s words had changed everything. She was ill, now, and when she looked at the sea, she no longer saw waves she saw her illness.

One day the girl who no longer watched waves went out to sea with the fishing boats. She had no skill for other types of work. She tried her hand at hauling nets full of fish and crab and other sea creatures. However, though she had been used to staring at the surface of the sea she was unaccustomed to standing atop it. The waves rocked the boats and the the girl could feel them beneath her. She smiled, to be reminded of the presence of her previous waves, but as she paused she lost balance and slipped. She could not swim, so she was washed away and drowned.

The people in the town by the sea would tell this tale and say, in the end, that the doctor simply told his story too late. If the girl had never been allowed to watch the waves at all, perhaps she would have learned to work in the woods or the pastures or water, like the other townsfolk. But as it was her illness festered, she was too sick to be saved, they said. No one thought to suggest that the doctor should have never diagnosed her at all. Madness.

Categories
Unit 1

1.3 Social Media and Hypertextuality: their influence on our storytelling

I regularly indulge in the use of online social media platforms, like Facebook and Instagram, and I frequently utilize functions that typify the virtual medium, such as hypertext. I feel certain that these online platforms have altered the way I express myself as a writer. How could they not? Over the course of my life I’ve experienced innumerable changes in the virtual domain.

As a child, in the late 90s, my family owned a computer and a handful of basic computer games, but we didn’t have internet until I was about 9 years old. We didn’t need it. Then internet became more accessible, more common, and suddenly my family was connected to the www. The internet got faster, I made a hotmail account, and I started to use msn messenger. I was aware “chat rooms” existed but they seemed rather distant and a little arcane. Hotmail, MSN, and Neopets defined my online horizons.

When I started highschool there was no such thing as Facebook, and I was the only kid I knew with a cellphone or a laptop, and this was only the case due to special circumstances involving a short-lived modelling career that necessitated such “high tech” equipment. By grade 12 everyone, including me, had Facebook and access to some sort of rudimentary cellphone with a tiny screen and T9 text messaging capabilities, while a few really lucky kids had heavy, angular Mac Books, the sort that have since become museum curio.

Though my high school days weren’t terribly long ago, in the grand scheme of things, it admittedly feels like an eon. I’m now 27 years old, I have an iPhone 6, a laptop and a tablet, two FB profiles, and accounts on Instagram, Snapchat, Tumblr, Blogger, Gmail+, the list goes on and on. Compared to my 17 year old self, awkwardly hammering out text messages to the one or two other people I knew with Motorollas, totally unaware that there would eventually be an extensive lexicon of SMS Shorthand condensing whole sentences into tiny groupings of letters, years from ever hearing the word “selfie” let alone trying to take one, and likely convinced that Apple could never release anything more impressive than my Ipod touch, the current version of me, sitting here typing this rambling blog post for an online university course is far, far more connected to, well, everything.

marinetti_freeverse

I’m working from my home on Vancouver Island, but with incredible speed I can touch base with a professor or ask questions of classmates currently situated in Vancouver, miles away. In fact, I can do both those things at once. Meanwhile, I’m preparing to curate an Instragram takeover for an independent publishing house in Montreal, and I’m exchanging Facebook messages with friends in the US. Followers and friends on various different platforms are posting photos, videos, and status updates about life as it is a world away, or a click away, depending on how you look at it.

The www and social media platforms provide me with connectivity characterized by immediacy, and these are qualities reflected throughout the virtual realm, a great example being hypertext. In the same way i can use three characters in a Tweet to indicate three separate words (omg), or “share” one photo to multiple social media platforms at the same instant, hypertextuality enables one blog post to contain within it countless other online sources, all of which may be “summoned” immediately (more or less depending on the strength of one’s Internet connection). I’ve used variations on the word “immediacy” to emphasize how central speed is to these online processes: access to people, media, and information is instantaneous and I believe this emphasis on speed has greatly impacted how I write.

Though the context in which I’m writing leads to variation (am I typing a tweet or a 2500 word essay?), it’s generally accurate to state that a heightened awareness of the dimension of time pervades my consciousness as a writer. I place a premium on being brief and concise (can I say what I need to say in under x-amount of characters?). Readers are often scrolling past, surfing, skimming: getting my message across quickly is important in such a context, and it also becomes important to consider the role of other forms of media in drawing attention to my text. Graphics engage readers visually and also seem to play some sort of trick on increasingly microscopic attention spans.

Hyperlinks are another useful method of engaging or, perhaps more accurately, of entangling readers. Because they typically utilize colour coded indications hyperlinks involve the attraction of graphic variety embedded in the textual. But they also have the value of guiding the reader fluidly through a text, directing their movement through a multiplicity of virtual sources with comparative ease. Clicking a hyperlink embedded in a virtual text is much easier and much faster than the time consuming process of, for example, flipping through a physical book to locate endnotes.

Thus it seems to me that social media platforms, such as Twitter or Instagram, centered around continual access to immediate updates, impress a consciousness of time, its limitations, the need for rapid access. The value of immediacy is supported online by pervasive hypertextuality and ultimately, and environment is created which projects a (possibly false) sense of urgency. In such an environment, such urgency has certainly impacted my own approach to self expression, particularly in the virtual domain.

Works Cited:
Marinetti, Filippo Tommaso. Action. 1916, Free Verse + Futurism, Designhistory.org, 2011.http://www.designhistory.org/Avant_Garde_pages/Futurism.html. Web.

Categories
Unit 1

1.1 Salutations!

Hi,

My name is Anne and I am a 4th year English Literature major. I chose to take this course for a variety of reasons, though a particularly important factor for me is its online platform. Because I have health issues attending a normal, IRL seminar or lecture simply isn’t possible. I’ve been attending online courses at UBC for a few years now and in that time I have seen the availability and variety of courses online expand. To me, this growth indicates that educators are becoming more aware of the learning potential inherent in the virtual medium, not just as a useful method for accommodating students like myself, passionate about academics but prevented from attending typical classrooms, but also as a great tool for educating in general. To cite a brief example, some of my classmates have already mentioned the way in which online courses open up a previously underutilized space where many students who might otherwise have refrained from class participation feel more at ease interacting with their peers.

As I understand it, this course introduces to students the subject of literature in Canada. On a more specific level, my access to this overarching subject will be influenced and guided by considering themes such as “identity” and “home” in conjunction with an examination of the process of storytelling: how do the stories we tell ourselves and one another contribute to the definitions of situatedness and selfhood that shape our realities as individuals and as a nation?

This focus on story-telling, particularly as it relates to the construction of identity, is something I’m very interested in, and I am looking forward to seeing how this avenue of inquiry progresses over the course of the semester. I think it is a subject that will lead to many fruitful discussions. I am also excited by the emphasis placed on hyperlinking in Dr. Patterson’s introductory posts.

As an lover of literature I am fascinated by text in all its manifestations and, as an individual engaging regularly with the virtual medium, I am particularly fascinated by hypertext. Hypertext, as it functions in the virtual domain, seems so fundamental that it becomes easy to take for granted, but it is actually a really thought-provoking phenomenon in its strange psychospacial effects and ergodic nature.

In fact, I wrote a term paper for an English Honours seminar in which I incorporate hyperlinks and hypertextuality into a discussion of Mark Z. Danielewski’s novel House of Leaves. In the paper I underscore the resemblance between hypertextuality and labyrinths, a comparison I’m certain we will all be able to relate to by the end of this semester!

 

labyrinth

 

Works Cited:

“Introduction.” Hannah’s Blog, https://blogs.ubc.ca/engl470westerman/. Web. 2016.

Paterson, Erika. “Lesson 1:1 Blogging Guidelines.” ENGL 470A Canadian Studies, https://blogs.ubc.ca/courseblogsis_ubc_engl_470a_99c_2014wc_44216-sis_ubc_engl_470a_99c_2014wc_44216_2517104_1/unit-1/lesson-11/. Web. 2016.

Saward, Jeff. “The Chartres Cathedral Labyrinth.” Labyrinthos, http://www.labyrinthos.net/chartresfaq.html. Web. 2009.

Tastad, Anne. “The Hypertext House.” Blogger, https://the-new-library.blogspot.ca/. Web. 2011.

Salutations!

Spam prevention powered by Akismet