For Monday: Watchmen, Chs.4-7

For Tuesday: Moore/Gibbons, Watchmen, Chs.4-7

Answer 2 of the 4 questions that follow:

1. The background comic, Tales of the Black Freighter, is a tour de force of parallel word + image storytelling.  The question is, what role does it ultimately play in the narrative?  While the actual narration seems to echo what occurs in the frames themselves, what other themes/ideas seem to resonate from the background comic to the comic proper? 

                        

2. The idea of time, keeping time, and in a sense, making time is a central metaphor in Watchmen.  As Dr. Manhattan reflects, “But it’s too late, always has been, always will be too late.”  If Dr. Manhattan is able to observe time as a continuous event, why does he also seem powerless to prevent future events from becoming “present”?  Is this an example of his callous, indifferent nature to the fate of man (thus making him a kind of super villain)?  Or are there other ways to interpret his lack of interference with the wheel of time? 

3. Chapter Six ends with the famous quote from Nietzsche, “Battle not with monsters lest yet become a monster…and if you gaze into the abyss, the abyss gazes also into you.”  This describes much of Rorschach’s career as a superhero, which consists of an uncompromising mandate: “never despair.  Never surrender.”  How do we interpret the “blot” of Rorschach’s soul as a crime fighter?  Is he merely an “Invisible Man” deluding himself that he’s on the side of right?  Is he a madman as dangerous—indeed, even more dangerous—than many of the criminals he prosecutes?  Or does he suggest the inevitable fate of every superhero, who necessarily removes the distinction between good and evil in order to “save the world”?

4. In Chapter 7, pages 16-17, we get an entire page without dialogue or narration at all: in this series of frames, we watch Nite Owl embrace a woman who tears his “costume” off, revealing his true self—the costume of Nite Owl.  He does the same for her, revealing Jupiter’s true form before a nuclear bomb destroys them both.  How do we read a wordless comic differently than one with various layers of written language?  Why is this an important scene to tell visually, and are there other scenes that dispense with language to make an important point?  

Paper Sources for Wells/Watchmen

Below are a few (but not all, of course) sources you might want to consult en route to your Paper #1. Remember, knowing the conversation of a given literary topic, whether it's Shakespeare or Science Fiction, gives you more to write about and respond to.  In the end, whenever you write a paper, you're entering a conversation that has been going on for years or centuries, so there's no need to reinvent the wheel.  Hearing what people outside of class have to say on the subject will not only jump start your paper, but will make you more knowledgeable on the topic itself.  Below are some places to start, but be sure to search EBSCO and JSTOR for more options if these don't work for you.  

The Invisible Man

* Christopher Priests' Introduction to the Penguin Edition: this is an excellent introduction by an acclaimed master of modern science fiction (he wrote the novel, The Prestige, which became a film not long ago with Christian Bale).  

*  Primitive Modernity: H. G. Wells and the Prehistoric Man of the 1890s

Richard Pearson The Yearbook of English StudiesVol. 37, No. 1, From Decadent to Modernist: And Other Essays (2007), pp. 58-74 (via JSTOR)
* An appreciation of H.G. Wells, novelist.  Austin, Mary Hunter, 1868-1934 Charlottesville, Va. : University of Virginia Library, 1996  (ECU library)

* The future as nightmare; H. G. Wells and the anti-utopians.  Hillegas, Mark Robert, 1926-New York, Oxford University Press, 1967  (ECU library)

* H. G. Wells.  Parrinder, Patrick New York : Putnam, c1977 (ECU library)

*  The ECU Library also has copies of many of his other novels, notably The Time Machine, The Island of Dr. Moreau, and The War of the Worlds, among others.  

Watchmen

* Watchmen and Philosophy: A Rorschach test.  ed. Mark White.  Hoboken: John Wiley & Sons, 2009.  (in ECU library)

* Keating, E.  The Female Link: Citation and Continuity in Watchmen.  Journal of Popular Culture, 2012, Dec. (EBSCO)

* Miettinen, Mervi.  Men of Steel?  Rorschach, Theweleit, and Watchmen’s Deconstructed Masculinity.  Political Science and Politics 47.1 (2014) (EBSCO) 

*  Barnes, David.  Time in the Gutter: Temporal Structures in Watchmen.  Kronoscope 9 ½ (2009) (EBSCO)

* Dubose, Mike.  Holding Out for a Hero: Reganism, Comic Book Vigilantes, and Captain America.  Journal of Popular Culture 40.6 (2007) (EBSCO)

Short Paper #1 Assignment

Paper #1: The Science of Superheroes

“Somebody has to do it, don’t you see?  Somebody has to save the world…” (Watchmen, Ch.2, page 11). 

In your first paper, I want you to examine the metaphor of superheroes which have arguably become our 20^th/21^st century mythology.  We know, too, that they are metaphors, since they are reinterpreted for each new generation (Superman, Batman, etc.) and represent ideas which are more symbol than substance.  Yet, the idea of an alter ego ties reminds us that they are “us,” a metaphor we’ve consciously invented to view the world through the frame of science fiction (or fantasy).  Superheroes continue to live because they continue to speak to us, as much for their image of superhuman abilities as well as the uneasiness of what those powers might bring—for ourselves, and for all humanity.

Using Wells’ The Invisible Man and Moore/Gibbons’ Watchmen, I want you to answer one of the following questions in a short 5-6 page essay.  Each question can lead to a variety of answers and should not be considered to have an obvious answer; as with most literary questions, the answer lies in your perspective and how you can make the books “speak” to your discussion. 

·         What is the essential difference between a superhero and a supervillain?  Both want to change or save the world, and both, at some point, are viewed as criminals.  Is being a hero/villain a state of mind?  A moral conviction?  Or is it simply egotism and madness?  In other words, what separates Griffin and Rorschach?  Captain America and the Comedian? 

·         How do modern-day superheroes (including Watchmen) consciously play on the original script of Wells’ The Invisible Man?  Where do we see the seeds of the modern superhero/villain in the exploits of Griffin, who sought to institute the “Epoch of the Invisible Man”?  How might many of our current heroes—and anti-heroes—be traced to his prophetic example?

·         While superheroes and villains are often presented in very black and white terms (good vs. evil), the reality is far more complex.  How does the narration of both books change how we perceive the metaphors of superheroes/villains?  Consider how the storytelling techniques of a comic challenge the perspective of this straightforward storyline, and how Wells’ unusual narrative style offers us a distinct look at the making of the first super villain. 

REQUIREMENTS:

·         5-6 pages, double spaced using MLA format, Works Cited

·         At least 2 outside sources, helping you respond to the conversation of superhero science fiction, H.G. Wells’ novels, or Moore’s novels (check the blog for source ideas)

·         DUE Friday, February 13^th by 5pm (in my office—no e-mail if possible) 

For Thursday: Starting Moore/Gibbon's Watchmen, Chs. I-III

For Thursday: Moore/Gibbons, Watchmen, Chs.I-III

NOTE: If your edition of Watchmen has the extra materials between chapters (the excerpts from “Under the Hood,” etc.), you don’t have to read that.  These are “extras” added for the deluxe edition of Watchmen.  Just stick to the comic for now.  ALSO, take your time reading the comic and don't worry if you get confused.  There's a lot going on in the first three chapters that makes more sense as you get further into the narrative.  Some of the story is also a bit graphic, so read in small doses it if bothers you.  Remember that the story, like all science fiction, is a metaphor: don't take it too literally!  

Answer any 2 of the 4 questions below in a short paragraph:

1. Describe the style of the artwork in Watchmen.  If you’ve read graphic novels/comics before, how it is similar or different to other works you’ve read, particularly comics in the superhero vein?  What is the overall tone/feel of the work based on the style of the artwork and the coloring?  How does it complement the story being told and create a sense of a “narrator” telling the story?

2.  What kind of superheroes do we have in Watchmen?  Are they similar to the familiar staple of heroes we’ve seen in comics and film (Superman, Batman, Wonder Woman, Spiderman, Captain America, etc.)?  Are any of them satires or exaggerations of the Marvel/DC framework?  Something to consider is why Moore would create his own superheroes when the comic was published by DC: why not simply use Superman, Batman, etc.?  What do new characters based (however loosely) on old ones allow him to explore/show us about the science fiction metaphor of superhuman characters and their society? 

3. Watchmen is a rather complex comic  and employs many of the sophisticated techniques of comics storytelling, particularly the technique known as parallel narrative.  This is where we see one story in the frames, yet hear a second story being narrated by speech bubbles or other text.  Discuss a scene where this technique changes how we experience the story based on multiple layers of storytelling (both visual and linguistic) working together. 

4. How does some of the themes of Wells’ Invisible Man get reinterpreted or re-examined in this comic?  Where do we see shadows of Griffin and his mad ambitions sprinkled throughout the text?  Consider ideas such as the primitive man, the “id,” the “invisible” outsider, the Racist-Savior, and the documentary or “objective reporter” approach to narrative.  Be specific and highlight a specific scene in your response.  

For Thursday: The Invisible Man, Chs.12-20

From the 1933 adaptation of The Invisible Man 

For Thursday: Wells, The Invisible Man, Chs. 12-20

As before, answer two of the following in a short paragraph, and cite individual passages whenever possible.  Remember, any writing you do now will pay off on the papers to follow! 

1. How does the Invisible Man exhibit many of the qualities and mannerisms of the typical “super villain” we find in movies and comics today?  Though we can argue he isn’t as maniacal as a Joker or a Green Goblin, he still offers a blueprint for these later villains.  Related to this question, would you consider Griffin a psychopath, a man who (like an evil Sherlock, perhaps) is built to test the boundaries of society?  Would he be the way he is even without invisibility? 

2. Many writers have argued that science/technology is neither bad nor good; the question is simply who uses it and to what ends.  With this in mind, what are the Invisible Man’s goals in pursuing the science of invisibility?  What is he will to do to see his project through?  Why might it be telling that his immediate uses for the “miracle” of invisibility are all criminal (or comic) in nature? 

3. Ursula K. Le Guin remarks that “science fiction is metaphor,” reminding us that the future, science, and ideas like invisibility are speculative and allegorical.  In other words, they offer a novel framework in which to view our own lives and ideas.  How might much of these chapters be satirizing late 19th century English society through the “haunting” of an Invisible Man?  Where do we see H.G. Wells’ own ideas about society shining through his seemingly unbiased journalistic observations? 

4. Many early works of science fiction, such as Frankenstein, glossed over how the science was accomplished in favor the larger themes of the book.  Why, then, does Wells offer us a scientific explanation of Griffin’s achievement?  Do we need to understand how Griffin became invisible in order to appreciate or understand the story?  Wouldn’t adding technical details/information threaten to alienate his non-technical readers?  You might compare this to the way Michael Crichton, among others, sneaks in actual science into his otherwise quite commercial novels such as Jurassic Park, Sphere, The Andromeda Strain, etc.  

For Tuesday: H.G. Wells, The Invisible Man

For Tuesday: H.G. Wells, The Invisible Man, Chs.1-11 (pp.4-55/Penguin edition)

Answer TWO of the following in a short paragraph, at least a few sentences but with sufficient detail so I can see you thinking.  Avoid one sentence and/or vague responses that are simply answers.  I don’t want you just to say “yes or no,” but to really think about the question since each one has a range of possible responses. 

1. Describe Wells’ style of narration: many have called it “journalistic” or even “impersonal.”  Why is this style well-matched to the story being told, which is quite fantastic in nature?  Discuss a specific passage in your response. 

2. What do you feel makes the Invisible Man “snap” and become what we might call today a super villain?  While he doesn’t seem necessarily evil or malicious at the beginning of the novel, he clearly becomes so by Chapter 5.  Does Wells let us see the psychology of a super villain in these opening chapters?  Or is his personality,  like his appearance, a mystery? 

3. Much of the effect of this novel is lessened for 21^st century readers, as we’ve read about every magical and technological marvel imaginable.  But in 1897, this was almost completely original and undoubtedly shocking for its readers.  What elements of the story would read like real “science fiction” for 19^th century readers?  Where do we see Wells trying to bridge the gap between reality and fantasy for an audience unaccustomed to science fiction? 

4. In Christopher Priest’s excellent Introduction to the novel (Priest is a science fiction writer himself), he notes that “[The Invisible Man’s] improbable appearance therefore has quite the opposite effect.  People cannot help staring at him, so paradoxically he is more noticeable than an ordinary man” (xxii).  What do you think his “costume” says about his alter ego, the non-Invisible Man, who is supposed to be a “normal person”?  As one of the first super villains in literature, how does Wells introduce the idea of a man who has two personalities, one visible, the other invisible?  

Welcome to the Course!

 \

“...fairy-stories deal largely, or (the better ones) mainly, with simple or fundamental things, untouched by Fantasy, but these simplicities are made all the more luminous by their setting.  For the story-maker who allows himself to be “free with” Nature can be her lover not her slave.  It was in the fairy-stories that I first divined the potency of the words, and the wonder of the things, such as stone, and wood, and iron; tree and grass; house and fire; bread and wine.” (J.R.R. Tolkein, Tree and Leaf) 

Welcome to the first post of the Spring 2015 semester!  I look forward to sharing this course with the 20-odd students courageous enough to enroll in it.  This is a class I've long considered teaching, and have taught in bits and pieces, but was reluctant to make an entire class (mostly for fear it wouldn't make).  However, with that fear behind me, we can now tackle two of the most important genres in modern literature (fantasy and sci-fi), both of which have ancient origins--and might easily be seen as two leaves from the very same tree.  We'll spend a lot of time this semester discussing the uses of fantasy and science fiction, and whether or not "escapism" can illuminate our experience of the so-called "real world."  From vigilantes, Orcs, Monoliths, and even Merlin himself, this class has it all--though sadly, we can only scratch the surface of the true history of both genres.  The seven books for class will at least give us a way of thinking about and responding to the British tradition of fantasy and science fiction, and will offer your own avenues of discovery.  Be sure you have the books for the course (listed below) so we can start reading next week.  Also bookmark this site since all your daily responses will be posted here, along with other assignments and research links.  As Bilbo Baggins once sang, "The road goes ever on..." and this class will be the beginning of what I hope is an exciting and often discursive journey.  

Required Texts & Editions:

• Clarke, 2001: A Space Odyssey (any edition)
• Coleridge, The Rime of the Ancient Mariner and Other Poems (Dover)
• Lord Dunsany, In the Land of Time and Other Fantasy Tales  (Penguin)
• Moore/Gibbons, Watchmen (DC comics)
• Tolkein, The Hobbit (any edition)
• Wells, The Invisible Man (any edition)
• White, The Once and Future King (any edition)