I constantly find myself stopping to take in
what he is saying and re-reading sections of the book because what he is saying
and how he is saying it is just too beautiful to read just once. His writing is so heartbreaking that I find
it hard to read and hard to stop reading all at the same time. The first moment I realized that this was
entirely different book now than when I read it five years ago was when I read
Thomas’s first chapter and he says “when I rub my hands against each other in
the middle of winter, I am warming myself with the friction of YES and NO… I
signify “book” by peeling open my clapped hands, every book, for me, is the
balance of YES and NO” (17). Extremely
Loud & Incredibly Close make me want to keep reading it and re-reading
the beautiful language of it, but its’ language also makes me want to cry…which
gives me heavy boots.
Tuesday, April 24, 2012
Heavy Boots and Five Years
Back in
high school, a very dear friend of mine gave me Extremely Loud &
Incredibly Close as a gift, and so I read it quite soon after she gave it
to me. I never admitted it to her,
because she gave it to me because it was one of her favorite books, but I did
not actually like the book…which gave me heavy boots. At the time, I did not really understand nor
like Jonathon Safran Foer’s writing. I
found it confusing and somewhat disorienting, and I especially did not like the
fact that the book is never resolved and the whole theme of the book is quite
sad, which also gave me heavy boots.
However, five years later my feelings about this book have done a
complete 180. Within the context of this
class I have learned to appreciate the way Safran uses media other than writing
and the placement of certain text within the book. In one of the chapters titled “My Feelings,”
Oskar’s grandmother talks about the day of 9/11 and how on television they
showed “the same pictures over and over” and then continues to repeat the same
phrases throughout the chapter, such as “Bodies falling” and “Planes going into
buildings” (230-31). I love how he uses
the words woven throughout the chapter to create imagery without using a picture
at all.
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I wonder how you might connect the historical/cultural context of the book with its innovative use of media/form. In other words, what is foer trying to say through incorporating these other forms?
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