TOW #7- Mother Tongue

Known for her portrayal of mother-daughter relationships, Amy Tan explores “all the Englishes” that are part of her identity in “Mother Tongue”. She examines the power of language, specifically English, and the different ways that it can be used. Through anecdotes and juxtaposition focusing on Tan and her mother, the essay reveals how language is not only an element of communication, but a measure of individual worth.

            Tan’s Chinese-American background plays a significant role in this essay. Expressing feelings of guilt, she describes her mother’s second language, English, being “broken” or “fractured”, “as if it were damaged and needed to be fixed”. Tan presents anecdotes to display the condescending attitudes given towards her mother due to the limitations of her English. In one situation, she recalls her mother going to an appointment to see a CAT scan. She said that the hospital did not apologize after they had lost the CAT scan, did not seem to have any sympathy, and would not give her any more information. But after having the doctor call Tan, who spoke perfect English, they had assurances that the CAT scan would be found and apologies for the inconvenience. By telling this story and juxtaposing the English spoken by Tan and her mother, she demonstrates the assumptions made by people through language. Because her mother’s English is different than “American English”, it is deceiving in that her mother understands more than one might think when listening to her speak. When Tan speaks on the phone to help her mother, she is taken more seriously. Through this, she displays how language can generate prejudice.

            Despite this, Tan concludes that there are things that language ability can never show; intent, passion, imagery, rhythms of speech, and nature of thought. “Mother Tongue” effectively proves this, revealing a new perception of language. 

TOW #6- Drowning Girl

Drowning Girl is considered one of Roy Lichtenstein’s most significant works. Painted in 1963, it illustrates the image of a woman crying in a turbulent sea with a thought bubble that reads, “I Don’t Care! I’d rather Sink—Than Call Brad for Help!” The graphical and narrative elements display a representative work of the pop art movement. Lichtenstein is able to create a melodramatic effect through intertextuality and parody based on popular culture.

Based on a 1962 DC Comics panel and Hokusai’s The Great Wave off Kanagawa, Drowning Girl shapes a distinct meaning influenced by preexisting texts. The original piece depicts the boyfriend holding onto a capsized boat in the background and has different words in the thought bubble. By cropping the image to focus on the drowning girl and changing the narrative component, Lichtenstein places emphasis on the melodrama of the situation. His parody of various sources such as commercial illustrations, comic imagery, and modern masterpieces serves as a statement about pop culture.

The elements of modernism display Lichtenstein’s returning theme of women in tragic situations. Drowning Girl’s depiction of someone preferring death out of feelings of spite is a representation of the drama. The melodramatic quality about this piece draws upon the influence of popular culture—both contemporary and historical.

Lichtenstein’s impact on the pop art movement marked a shift away from abstract expressionism, art aimed at subjective emotional expression from the souls of the artists. Instead, his inspirations came from the culture at large and suggested little of the artist’s individual feelings. The style, subject matter, and techniques of reproduction referenced through popular culture appeared to dominate the artwork. Drowning Girl exemplifies this concept and effectively displays the melodramatic aspect of pop culture.

TOW #5- What Art Unveils

From The Opinion Pages of The New York Times, “What Art Unveils” analyzes what art is, why it matters, and what it tells us about ourselves. As a philosopher and writer, Alva Noë’s work on perception and consciousness is the foundation for his thoughts on art. Through his contradictory opinions, captivating perspective, and applicable examples, he effectively explains how art unveils us ourselves.

            He begins by discussing the approach to art, acknowledging the common idea that the key to answering questions is through neuroscience. Opposing this, Noë concludes that “neuroscience has yet to frame an adequate conception of our nature”. He explains that our biological nature cannot explain art and its place in our lives and instead moves in a different direction stating, “Art can help us frame a better picture of our human nature”. Through this contradictory configuration, Noë’s disagreement to the speculations of others engages the audience in understanding his philosophical ideas. Following this, he introduces his perspective of what art unveils: a way of learning about ourselves. He explains that artists make stuff “not because the stuff they make is special in itself”, but because “making stuff is special for us”. As a making activity, it reveals our nature. Noë explains this concept by comparing and contrasting an example of an everyday object: a doorknob. As something that is plain looking and does not puzzle us, it is taken for granted. Art, in contrast, “disrupts plain looking” and “discloses just what plain looking conceals”. This example displays how art disrupts our habitual activities and makes us anew, by displaying us to ourselves.

            By contradicting common ideas and simple examples, he is able to explain his complex perspective on what art unveils. His insights throughout this editorial introduce new ideas to readers interested in art. Expanding on how art unveils us ourselves, he presents a fascinating, abstract philosophical standpoint. 

TOW #4- Slouching Towards Bethlehem

            Known for her works exploring American cultural, Joan Didion observes California life in the 1960s in Slouching Towards Bethlehem. The first half this collection of essays consists of the first part of three, “Life Styles in the Golden Land”. Discussing figures from John Wayne to Howard Hughes, Didion captures the unique time and place of her focus. The combination of the wide-range of subjects are compiled perfectly to create the theme of California.
            The aesthetic in Didion’s distinctive style of prose is what makes each essay so special. She captures a vision of America with realism and a unique perspective. With subjects concerning the dislocation and change of the time, she approaches each with seriousness, truth, and awe. Although her personal essays are not included until the second part of the collection, her memorable voice is essential to “Life Styles in the Golden Land”. The journalistic, deadpan, but individual tone that she writes with has made her an accomplished author and has made Slouching Towards Bethlehem a modern classic. 

            To some readers, the scattered subject matters are confusing and lack an important meaning. Through reading and thinking deeper about this collection of essays, the theme of California in the 1960s becomes clearer. Didion wants to be understood, to provide insight to the world around her. The events she describes, in her own life or not, effectively do this through her unique prose. She is able to bring the time and place alive in a beautiful way.