Second Variety

"Second Variety"
Philip Dick

"'How did you happen to have a bomb like that?'  Tasso Shrugged.  'We designed it.  You shouldn't underestimate our technology, Major.  Without such a bomb you and I would no longer exist.'" -page 244

This quote is one of many ironic tidbits throughout the piece that seem to make up the artists main point.  Like most short stories, sometimes you can feel the twist coming before it happens.  From the very beginning, you can tell Hendricks harbors some disdain for the claws.  He speaks negatively of the underground factories, describing the claws as "coming like flies" and even stating they may have been better off without them.  The ironic portion enters with the line "If we hadn't invented them, we would have".  The overall theme of this story, as with many post apocalyptic tales, is mankind's undoing by his own hand.  The internal conflict within man leads to competition and extensive weaponization.  This quote is repeated because of its importance.  The thought "if we didn't they would have" is one of mankind largest flaws.  This innate skepticism and mistrust coupled with morale detachment and self justification leads mankind down a dark path, in which even the worst atrocities can be rationalized as necessary, even ethical actions.  The author's critique of this flaw is made clear in his storyline.  I admit, I did not foresee David as being an enemy robot.  However, once that twist was unveiled it was easy to see in which way the story would head.

However there are some discrepancies in the author's ideals.  Hendricks is far more conscientious than the general mankind and the claws.  When Klaus kills Rudi, Hendricks is levelheaded and understanding, contrasted with Tasso who would rather punish Klaus.  Although we learn later they are both mechanical, the Hendricks is still our protagonist, contrary to the fact that all of this is mankind's fault.  The Story "August 2026: There Will Come Soft Rains" by Ray Bradbury purposefully has no human characters, to make mankind's downfall seem more deserved.  In "Second Variety", we hope that mankind triumphs over the apocalypse through our protagonist Hendricks.  There is an intriguing argument, however, when Hendricks first reaches the Russian base.  He comments on the possible evolution of the claws, and although Rudi deems them incapable of such things, Hendricks cites their already astounding progress.  This idea comes full circle at the end when Hendricks comments on the bomb the claws made, and how their already learning how to destroy each other.  In this way, they are evolving just as mankind did, and the general idea is that they will meet the same fate.  

The Most Dangerous Game, Good and Evil

"The Most Dangerous Game"

Richard Connell, 1924

"Rainsford did not want to believe what his reason told him was true, but the truth was as evident as the sun that had by now pushed through the morning mists. The general was playing with him! The general was saving him for another day's sport! The Cossack was the cat; he was the mouse. Then it was that Rainsford knew the full meaning of terror." -page 13

"The Most Dangerous Game" seems as straightforward a message of irony as it was in high school.  Almost painfully straightforward is the twist at the center of the story.  Rainsford, who dismisses even the thought of prey having any sense of awareness becomes the prey himself.  The conversation at the beginning is designed to foreshadow the irony to come.  Whitney attempts to make a humanitarian case to Rainsford, claiming that jaguars at least sense fear.  Rainsford states that the world is simply divided into hunters and huntees, and they are lucky to be the latter.  Of course, when the General turns the tables on Rainsford he gets his cumuffins!  In the quote above, Rainsford experiences the fear that prey truly experience when one is being hunted.

That being said, Rainsford is not completely wrong in his original statement.  Literally speaking, a brain operating at a less higher order will experience less fear, and a born predator is programmed to feel aggression far before something such as human terror.  This however, is besides the point.

The theme of this story seems to point towards good and evil.  Rainsford only truly changes his mind when confronted with a more drastic version of himself.  The General specifically references how Rainsford is younger than him, almost implying that someday they could come to be of the same mind.  They are both professional hunters and veterans, and aside from the finer points of the General's ideology, their personalities also seem compatible.  That being said, how far was Rainsford along the path to "evil" when the flaws in his own thinking were pointed out?  We can assume upon his return home that he quit hunting, hunted less, or at least considered the feelings of the creatures he killed.  The General, referenced to be "the devil" himself, attempts to corrupt Rainsford into hunting mankind, only to fail and hunt Rainsford himself.  It's possible given time, Rainsford would've succumbed to the powers of the General, and compromised his own moral compass.  However, Rainsford's travel to this otherworldly place, inhabited by the devil and his minions, seems to correct his own morality and thinking.  In this way, this classic story's theme of "good prevailing" sends us all the message to be kinder, more considerate people.   

Farquhar's Fantasy

"An Occurence at Owl Creek Bridge"
Ambrose Bierce, 1890

"Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud splash; a frightful roaring was in his ears, and all was cold and dark." -page 4

The further I got in this story, the more aware I became of its probable ending.  In addition to the irony characteristic of most short stories, there is a specific writing style present indicative of the story's outcome.  Bierce's intimate descriptiveness makes seconds feel like ages, reflective of the feelings of a dying man.  It is this portrait-like writing style that hints at Farquhar's fate.  In his dying moments, he experiences everything within his own mind.  His sense are heightened and sharpened with his bodies response to its demise, and in asphyxiation he seems to hallucinate this beautiful fantasy in his head.

I call it a fantasy because it seems to me that Farquhar enjoys his faux experience.  We are specifically told of his desire to join the army, and his thirst for action is proven in his real life actions.  Throughout the story, we see his intimate knowledge of weaponry and army etiquette.  He knows the sergeants next move, and is internally classifying the cannons and rifleman.  Although seemingly horrifying, it appears to make Farquhar euphoric.  Never having the chance to join the military himself, this action and application of otherwise un-honed skills excites him beyond belief.  Every scene, every action is described intensely as if to signify Farquhar's lust for this experience.

That being said, this story could likely be referencing heaven.  As an Alabama southerner it is highly likely Farquhar is Catholic.  Especially with the quote at the end describing his beautiful, bright home and family, it is clear that there is some sort of hallucination.  The description at the end especially is filled with words like "joy" and "sunshine", a very unrealistic description of his current situation.  Nevertheless, a picturesque ending to his escape fantasy.  

 

Cupid's Arrow

God of Love 
Luke Matheny, 2010

"We can help you get Kelly."

"That's nice but aren't you guys kind of in love with me?  Isn't that like a conflict of interest or something?"

"That is why we'll help you, we love you and we want you to be happy"

Throughout God of Love, there are multiple intriguing themes.  First is that of love itself.  As Raymond Goodfellow finds out, love is not a possessive force that takes hold over one another, but a caring and nurturing energy meant to inspire both parties.

It is clear that Raymond's fate is not to be with Kelly from the beginning.  His best friend knows far more about the girl that Raymond supposedly "loves".  He spends his 6 hours with her focused on himself, not taking into account her desires and instead taking her along to please his own.  It is this failure that seems to cause her lack of response to him.

In his walk around town, Raymond then tries to find solace in others, pricking everyone he can find with various love needles.  After realizing that numbers do not fill the void, he vents to them about Kelly.  Their response at first inspires him to try harder with Kelly.  However, almost as if this quote replays in his head, he pricks his friend instead, giving Kelly a chance with her true love and by default happiness.

This story is both inherently sad and happy.  Cupid, who feels love as strongly as anyone else, is destined to be alone.  It is his job, his love that inspires so many others to find their own.  However, even though Cupid is on his own, the story seems to end happily.  Raymond rides off to god knows where ready to spread Cupid's work far and wide and upbeat music plays.

Overall, there is an optimistic tone to this story, a happy ending.  While true love may not be achieved, a true understanding of love is, and more some that may be just as important.  Raymond gives up his own desires for the better of the one he loves and the one who truly cares about.

Still, there are unanswered questions about love.  Is it fate?  Choice?  Premeditated union determined by some unqualified, lonely deity?  To say that there is one single type, or absolute version of love is impossible.  Love cannot be set in stone, as it can be experienced in a plethora of ways, each with its own expression of feeling.  God of Love doesn't seem as though it intended to the viewer to feel sad, or overly contemplative.  However, these are questions one cannot help but ask when so few were answered.  God of Love is quirky, upbeat and comical.  It leaves the viewer optimistic, and when it comes to love sometimes that's all people really need.

A Short, Uneventful Story

"A Very Short Story"
Ernest Hemingway, 1924

"The major did not marry her in the spring, or any other time. Luz never got an answer to the letter to Chicago about it. A short time after he contracted gonorrhea from a sales girl in a loop department store while riding in a taxicab through Lincoln Park."

Although I lament having picked the final paragraph as my quote (especially after reading "Happy Endings"), this ending is simply too intriguing to not analyze.  Here, Hemingway's plot is as dry as his writing style, mentioning not one name save "Luz".  What seems to start as an unconventional love story quickly tapers out into essentially nothing.  The title "A Very Short Story" is befitting, as this story ends bluntly without satisfaction or resolution.  There are a million ways Hemingway could've ended this story.  Love, death, tragedy, drama, etc...were all completely viable plots and endings for this story.  However, the story does not make it that far.  Almost prematurely, a developing story ceases to develop, ending in naught but loneliness and an STI.

It is the realism of Hemingway's story that make them so believable, so brutally honest.  Like "A Clean, Well-Lighted Place", this story has a bleak outlook on the world.  An implication about purposelessness is made in the conclusion of this story.  Young love fades during time apart, and an unfaithful girl does not find replacement in her new partner.  The man left by Luz contracts gonorrhea.  This story is sad, and it is sad in the simplest of ways.  There is no anguish, no heartbreak of dark ending.  There is almost nothing worth mentioning, and that in itself is the saddest part.

I enjoy Hemingway's writing because of the message I perceive from it.  Whether I am taking the correct message is up for debate, but Hemingway's work often seems to advocate a purposelessness with which I empathize.  I am not religious or spiritual, I do not believe anything happens when you die.  Should we all be here for no reason and to no purpose, that is something we must live and die with.  Hemingway's simple, yet depressing style of writing seems to communicate just that.

Marie's Regret

"Saint Marie"
Louise Erdrich

"'Come forward, Sister Leopolda.' I gestured with my heavenly wound. Oh, it hurt. It bled when I reopened the place where it had begun to heal. "Kneel beside me," I said.
She kneeled, but her voice box evidently did not work, for her mouth opened, shut, opened, but no sound came out. My throat clenched in the noble delight I had read of as befitting a saint. She could not speak. But she was beaten. It was in her eyes. She stared at me now with all the deep hate of the wheel of devilish dust that rolled wild within her emptiness." 

I find it hard not to empathize with Marie, although from a different standpoint.  Here, we see Marie's religious triumph over her oppressor.  Using Catholicism against Leopolda, she demonically becomes a false idol, and the other trusting nuns readily embrace her christening as "saint".  On a personal note, I am a raging atheist.  Throughout my years of Catholic education I found it impossible not to butt heads with my elders, who attempted to "educate" me contrary to my own conceptions about the world. 

Of course, Marie has no such predisposition.  In fact, she seems to take the religion to heart, so much so she feels the devil in herself.  I see this as a story about a girl possessed by the "devil", hoodwinking the good and pious into seeing her as something she is not.  Marie's "devil" can be seen in two ways.  If you see this as a story about a clash between heaven and hell, then it could be seen as the actual devil moving through Marie.  However, I see it more as a metaphor for her narcissism and hate.  Her "devil" is her vow of vengeance against Leopolda, and she uses it to become the idolized character she wishes to be.  

Of course, there is the irony at the very end.  In the above quote, we see Marie's sick joy at having dominated Leopolda, beaten her at her own game.  Using the very religion that beats her, humors her condescendingly, Marie manages to become a type of god.  Aware that she is not a saint, Marie still plays the part, taking narcissistic pleasure in impersonating saintliness, all the while having internal ulterior motives.  However, at the very end Marie experiences remorse.  This part is likely the most interesting.  Instead of the story ending with Marie as the victor, she walks away unsatisfied.  Completely consumed by her desire, she loses sight of what would actually make her happy.  In the end, she did not desire sainthood, but something else.  Looking at Leopolda, Marie realizes this, all far too late.  I hate to use cliches, but "you don't know what you've got until its gone" seems appropriate.  We've all taken something for granted, only to be reminded of its importance as it leaves.  That for me is one of the harshest and most relatable points for this story.  

The Treason of The Artist - Omelas

"The Ones Who Walk Away From Omelas"
Ursula Le Guin, 1973

"The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil is interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain." -page 76

This quote highlights the incredibly ironic truth of most "intellectual " art, writing or stories.  In the sophisticated, intellectual world, happiness is undervalued.  It is an ironic truth that the greater minds of the creative world would likely focus on loss, pain and suffering than triumph, or solace.  However, a case can be made for this affinity.  I must admit, I do find happiness inherently boring.  Happiness is not a story, it is a result, an ending.  Loss however, can be the basis for any number of inspiring, debatable topics.  This quote points out the irony, but does not prove its own advocacy.  However, this is relative to the story itself.

For 3/4 of this story, I was convinced this was an actual utopia.  Or, that is, a utopia for everyone.  The author specifically mentions that one would look for a king or slaves, but they were not present, almost as if to discourage any questioning of the flawless society.  The people of Omelas are for the most part, completely happy.  It is odd, however, that the author specifically mention guilt non-existent before commenting on the guilt of those who go to see the child.  Still, this could be referencing the ones who walk away.  Guilt does not exist in Omelas, for the guilty leave and take no more part in the child's humiliation.

The story itself, seems to be one large oxymoron.  Is perfection achievable?  Can you call it a perfect society for some, even with its dehumanization of this poor child?  The authors phrasing and words all speak out against doubt.  We are led to believe in this cities absolute perfection.  However, just as we begin to accept there is no flaw, it turns out the perfection only exists at terrible cost.  At the necessity of one's complete misery, all others live happily.

It is a confusing commentary on human nature.  We truly are obsessed with sadness, with loss.  Maybe there can be perfection for some, but only if another experiences relative pain.  I am unsure as to why some walk away from Omelas.  The author describes their destination as something even less imaginable, perhaps something even closer to utopia?  Or, instead are they leaving out of guilt, giving truth to the author's earlier statements.  Either way, there is undebatable darkness to Omelas.  People practicing ignorance by choice, may themselves be happy, but at the cost of their own morality and intelligence.  Perhaps I am proving Le Guin's point by fixating on the horrible, and fighting to give up so much happiness at the "small" cost of another's anguish.  Perhaps the author is saying intelligence is stupid, to care is stupid.  By feigning blindness in the face of an evil, we ourselves can be happy.  That sort of happiness, however, is something I neither desire or could live with.  That sort of happiness is evil itself.  By choosing such a satisfaction, making such a deal with the devil, we would continue our fixation with evil through personal practice.  

"A Diamond Guitar"

"A Diamond Guitar"  

Truman Capote, 1950

"They had wrestled around until Mr. Schaeffer and another man got them separated. "Is my comb. You tell him!" Tico Feo had demanded of Mr. Schaeffer. But Mr. Schaeffer .with quiet firmness had said no, it was not. his friend's comb-an answer that seemed to defeat all concerned. "Aw," said Wink, "if he wants it so much, Christ's sake, let the sonofabitch keep it." And later, in a puzzled, uncertain voice, Tico Feo had said, "I thought you was my friend." "I am," Mr. Schaeffer had thought, though he said nothing." - pages 147-148

This passage highlights the classic quarrel between morality and the duty of a friend.  When your friend does something that conflicts with your own morale compass, you must decide to either support them or do what you believe to be the right thing.  Of course, friends can easily see such actions as betrayal, exactly the issue Mr. Schaeffer has come to face.

What's interesting about Mr. Schaeffer's character is his age and experience.  He is a respected man at the prison, 50 years old having spent 17 of those working on the prison farm.  Although friendless, he seems content in that position, never having any reason to even desire freedom.  We have no real glimpse into his past besides that he murdered, and that the act was justifiable by morality even if punishable by law.  In this way, we come to know Mr. Schaeffer as a simple and kind man, undeserving of his fate.

In contrast to Mr. Schaeffer's persona we are faced with Tico Feo.  Although at first described as beautiful, we see something vain and selfish in him.  The words "nimble" and "clever" are tactfully used in his description on page 142 as if to convey that there is deceit hidden beneath his gift of beauty.  In addition, his possessions seem superfluous, narcissistic.  His guitar is studded with diamonds, Tico himself stating his old one contained rubies.  The cologne and world map add to this image.  

We see confirmation of Tico's devious nature in his lying.   Mr. Schaeffer is aware of this, stating that "he did not look for the truth in Tico's tales of adventure"(page 146) but instead relished the thought of excitement and promise.  In this way, this cunning, attractive boy plays the devil, or snake.  Enticing Mr. Schaeffer with ideas of grandeur, he pulls him from his content solace, and makes him unstable.  Tico consistently put ideas of "the world, el mundo" in his head, and this illustrious goal inspired the nervous Mr. Schaeffer to try.  

Of course, there is no happy ending for Mr. Schaffer.  Tico Feo's diamond guitar, adventures, beauty...they were all for himself.  As the poor old man lies on the ground he realizes Tico's betrayal.  However, Mr Schaeffer still idolizes the boy.  When the paper prints the story of Mr. Schaeffer's attempt at stopping Tico, he still worries about what Tico would think.  Even after being left with a broken ankle in that stream, Mr. Schaeffer treasures Tico's guitar.  The sad old man, who believed he had finally found a friend was completely betrayed, but still loved his tormentor.  

  

"A Clean, Well Lighted Place"

"A Clean, Well Lighted Place"
Ernest Hemingway, 1933

"'Good night,' the other said. Turning off the electric light he continued the conversation with himself. It was the light of course but it is necessary that the place be clean and pleasant. You do not want music. Certainly you do not want music. Nor can you stand before a bar with dignity although that is all that is provided for these hours. What did he fear? It was not a fear or dread. It was a nothing that he knew too well. It was all nothing and a man was a nothing too. It was only that and light was all it needed and a certain cleanness and order. Some lived in it and never felt it but he knew it all was nada y pues nada y nada y pues nada." - page 4

What I love about short stories, especially Hemingway, is the purpose hidden within what is seemingly just simplicity.  These happenings could have all taken place within the span of only 10-15 minutes, and there is no aggressive or harsh conflict.  In fact, were this to happen in real life it is a piece of history easily ignored or forgotten.  However, in short story format, it becomes so much more.  The implications carried through the simple, flat dialogue in this piece go beyond the actual actions portrayed.  Something as trivial as the setting, a well-lit cafe, becomes the very core the story depends on to carry across its purpose and feeling.  Characteristic of Hemingway's writing is the emphasis on dialogue.  It is difficult sometimes impossible to tell who is talking.  Most of the time, the dialogue never goes past one line, but instead occurs in short, simple bursts.

This specific quote is more relative to the story.  As it progresses, we see a much more pronounced dichotomy between the older and younger waiter.  Although not entirely uncritical of the old man, we see similarities between the older waiter and their patron.  The man is old, deaf, and obviously depressed.  However, he seems to have a sense of honor, and the word "dignity" is used multiple times throughout the piece.  The man does not seek solace in parties, loud music or late-night bars, but this "clean, well-lit" cafe.  Every evening, this man sits alone in this cafe, and drinks.  As stated, the elderly man does not possess fear or dread, but is plagued by nothingness.  The man is deaf, condemned permanently to silence.  Why would he further dull his senses by placing himself in darkness, or clutter?  The solace he finds within the clean, well-lit, and dignified environment is something the older waiter empathizes with.  As earlier stated, he enjoys staying late at the cafe, lest someone need it at the later hours of the night.  This proud old man, who has lost both his wife and hearing, failed suicide, is all too familiar with nothing.

This quote, and the following passage almost foreshadows the future of the older waiter.  As proven in his understanding of the old man, they are alike.   At the very end, the old waiter thinks to himself about his own sleeping patterns.  Like the old man, he disliked bars and bodegas, but would not fall asleep until the early hours of the morning.  The story finishes with: "After all, he said to himself, it's probably only insomnia. Many must have it" (Hemingway 4).  This final sentence holds a passive irony.  The old waiter brushes off his insomnia as irrelevant, and insignificant.  The ironic implication is that the older waiter may be glimpsing his own future in the old man.  The insomnia he brushes off is the first symptom of a sad, yet somehow wise and learned future.  They say more intelligent, or creative people sleep less and are less happy.  In their simplistically jaded view of the world, the elderly man and older waiter see the beauty of a clean, well-lit place, and the crushing weight of nothingness.

Although unrelated, my second favorite segment of this piece would easily be "'Finished,' he said, speaking with that omission of syntax stupid people employ when talking to drunken people or foreigners. 'No more tonight. Close now'" (Hemingway 3).  Besides a hilariously accurate critique of the stupidity in this act of belittlement, is shows the nature of the young waiter.  Unlike the less rushed, passive older waiter, he is impatient and unexperienced.  His condescending words remove him as a candidate for protagonist, communicating to the reader sympathy for the old man.  

"A Clean, Well Lighted Place" is a beautiful example of how a story in which nothing seems to happen can be so incredible.  In its simplistic, uneventful four pages, are a plethora of implications about existence, nothingness, and happiness.  It reminds me of Hemingway's "The Sun Also Rises", and I look forward to reading more of his work.