ENGL 202 PAPER 1 DOC
ENGL 202 PAPER 1 DOC ENGL 202 01
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This 29 page Study Guide was uploaded by Sierra Taylor on Wednesday April 27, 2016. The Study Guide belongs to ENGL 202 01 at California Polytechnic State University San Luis Obispo taught by Dr. Ryan Hatch in Spring 2016. Since its upload, it has received 53 views. For similar materials see Introduction to Literary Studies in Foreign Language at California Polytechnic State University San Luis Obispo.
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Date Created: 04/27/16
Sierra S. Taylor Dr. Ryan Hatch ENGL 202 01 20 April 2016 Creative Title Intro: Grabber: Purpose Statement (to argue what..?): Thesis Statement: list main topic of each paragraph and POINT of writing the essay How does narrative point of view contribute to the significance of the story? The third person limited point of view of narration allows us to look into the scene of Connie’s life with few biases and make our own judgments, as well as has the ability to leave us in a numbing fear and worry for the characters. awareness and consideration of our surroundings, lack of setting meaning the situation could happen to anyone at anytime How does the narrative voice contribute to the significance of the story? How does the characterization of the “who” doing the telling impact this significance and the “what” that’s being told? Although the voice is attempting to be unaffiliated with the work, the pollution of Connie’s biases towards characters affects the trustworthiness and legitimacy of the perspectives and events being narrated to the reader. How does subjective perspective of narration affect the story? As a third person narration is typically defined, the narrator is supposed to be an external voice looking into the story and simply telling us what is happening, how it is happening, and a limited view of the characters’ thoughts and perspectives. Our narrator attempts to do this, but the perspective become subjective once we are made aware of the pollution of the narration by Connie’s own biases towards her mother, sister, herself, and how she treats others. This then leads us to no longer view the narrator as reliable and makes us second guess the true relationships between the characters and why it is that Arnold Friend pays a special visit to Connie in the first place. Two outlets the prompt is asking us to speak on. 1. SIGNIFICANCE: lasting impact on the reader and how he/she feels about the work 2. STORY ITSELF: how it reads and how much it tells P1: How does the narrative point of view affect the significance? How does the third person limited narration affect the lasting impact of the work? Although a limited narrator who him/herself is not a character of the story and is supposed to be an external view looking in, due to a combination of voice and ____ we can see that this supposedly objective viewpoint is really a subjective lens and often times is polluted with Connie’s thoughts and ideas. Although a limited third person narrator is supposed to have access to Connie’s thoughts and perspectives, this specific narrator not only has access, but it telling the story with these opinions in mind and in few instances comes off as bias. By telling the story from Connie’s distinct point of view, we are made to realize instances of Connie’s adolescent ignorance and are also brought into the realm of Connie’s numbing fear. Although “pollution” has a bit of a negative connotation being that Connie’s thoughts and ideas are not supposed to be considered in the narration of the work, they definitely aid the feeling and relatability of the reader. The reader is drawn in due to the descriptions of Connie’s sights and viewings and can almost say to be placed “in her shoes”. “She thought, I’m not going to see my mother again. She thought, I’m not going to sleep on my bed again” (Oates, p. 136). blatant lack of quotes whereas in other points of narration dialogue is quoted, or thoughts are italicized. “She thought, I have got to think. I have got to know what to do” (Oates, p.136) “She had a high, breathless, amused voice that made everything she said sound a little forced, whether it was sincere or not” (Oates, p.126) we are told by the narrator specifically that Connie is not always trustworthy, so in knowing that in instances the narration may be polluted with Connie’s perspective, we are left to no longer have faith in the narrator to be giving a purely objective point of view of the scene. “Connie had long dark blond hair that drew anyone’s eye to it…” (Oates, p.126) “It made them feel good to be able to ignore him” (Oates, p. 127) “… they would lean together to whisper and laugh secretly if someone passed who amused or interested them” (Oates, p. 126) “Her mother was so simple, Connie thought, that it was maybe cruel to fool her so much” (Oates, p.128) “… rolling her eyes to let her mother know just what she thought of it” (Oates, p. 128) “Connie would raise her eyebrows at these familiar old complaints and look right through her mother, into a shadowy vision of herself as she was right at that moment: she knew she was pretty and that was everything” (Oates, p.126) adolescent ignorance, obvious obsess with self, typical teenage trait of beauty over comfort (beauty over everything) feeling as if they area above others, so much so to the point that they can laugh at and ignore whoever they choose to because it is out of the bystanders power to have an opinion on the matter, they are ranked higher on the popularity scale and are therefore not subject to take into consideration other people’s feelings Connie feels due to her superior looks and interests, she is even ranked above her own mother and older sister, therefore she shows a lack of respect and in some ways pities the two women for not being more like herself. P2: How does narrative voice (the verbal quality of narration) affect the significance of the story? How does the characterization of narrator impact what is being told? “… Connie’s mother kept picking at her until Connie wished her mother was dead and she herself was dead and it was all over” (Oates, p.126) dramatization of feelings towards Mom, and Connie’s Mom’s feelings towards her a very teenage way of describing chores and criticism, that or one of depression or suicidal thoughts (which has no evidence to back it up so don’t include this) The mother/daughter relationship portrayed is archetypal and very relatable to many readers. There is an immediate legibility to how Connie feels about her mom and how her mom thinks Connie feels about her because all, if not the majority, of readers have felt this way too in their adolescent years. This relationship in a teenager’s eyes is often dramatized and misunderstood, but later on in the growth to adulthood it is often realized that this belief is wrong. This realization is what allows the readers to realize this misconception and know that Connie is impacting the dramatization of the narration since she is still an early teen and has not yet had this epiphany. “He spoke in a simple lilting voice, exactly as if he was reciting the words to a song” (Oates, p.131) romanticized view of love, comes from music Connie gets her fantasies from listening to music. lilting: REMEMBER TO PARAPHRASE OTHERWISE PLAGIARIZED, a cheerful or lively manner of speaking, in which the pitch of voice varies pleasantly; a light or happy tune or song “… and listened to the music that made everything so good: the music was always in the background, like music at a church service; it was something to depend on” (Oates, p.126) not only do we already know Connie is insincere and is not dependable, we also know that the narrator is polluted by Connie and is not dependable as well. If Connie is depending on the music, we can then also assume that the music is not dependable. The music is therefore the source of the tainted viewpoint, or truth. extremely descriptive and detailed used of imagery, very adult another outlet to shoe the ignorant adolescent viewpoint when going into a romantic view of sex and first love the third person limited narrator shapes what we can know about the story in that we are only knowledgeable of Connie’s thoughts and fears and her opinions of others, hence why we assume due to her age and immaturity that it is very much dramatized due to the teenage hormonal perspective very one sided Although polluted with Connie’s biases, the narrative voice is still more so adult and monotone, allowing us to notice the points of which the limited narrator is now not just telling the story, but is taking into account how Connie would think and feel and how she herself would tell the story. P3: How does the subjective perspective of narration affect the story? “… and the rest of the time Connie spent around the house it was summer vacation getting in her mother’s way and thinking, dreaming about the boys she met” (Oates, p.127) we are made to not like Connie’s Mom due to Connie’s (the narrator’s) depiction of her “Connie’s mother kept dragging her back to the daylight by finding things for her to do or say suddenly, ‘What’s this about the Pettinger girl?’” (Oates, p.128) “… and Connie couldn’t do a thing, her mind was all filled with trashy daydreams” (Oates, p.126). Connie’s fantasies are referred to as trashy daydreams “His whole face was a mask, she thought wildly, tanned down to the throat but the running out as if he has plastered makeup on his face but had forgotten about his throat (Oates, p. 134). Connie would never forget to blend her neck, therefore she judges Arnold Friend makeup as mask, a mask for Connie in that it serves her beauty, a mask for Arnold in that is hides his age “… dreaming and dazed with the warmth about as if this were a kind of live, the caresses of love… how sweet it all was, not the way someone like June would supposed but sweet, gentle, the way it was in movies and promised in songs…” (Oates, p. 128). can also be used in paragraph one in reference to Connie belittling her mother and sister The narrator has the authority of the focus, the control of direction of which the reader can view the scene. focus: the visual angle, chooses direction of our gaze and then framework of which we see things (definition coming straight from the textbook, be sure to rephrase) The narrator has control over the style and tone of which the story is told. In our narrator’s case, we can imagine the person telling the story is an adult (whereas the protagonist is an early teenager), and when read aloud excluded the details and dramatic imagery, we can imagine a very monotone voice of a storyteller without purpose of persuasion. This however is only our primary thought. Once we realize the narration has been polluted by Connie, we can no longer trust the narrator to be giving the accurate account of the scene. The tone and style aid this in that it accentuates Connie’s adolescence and immaturity, specifically when putting herself above others and obsessing over her looks and rank in others’ eyes. Connie’s fantasy almost overwhelms her reality, therefore overwhelms the narration. Since the narration is supposed to be objective, this subjectivity of Connie’s fairy tale perspective pollutes what the narration’s reality is supposed to be told as. Conclusion: Restatement of thesis: Notes: Fiction: Reading, Responding, Writing p.1216 fiction: stories or narratives about imaginary persons and events Accused wife kills her alleged lover: Kate Uhl (wife) stabs Bryan Pownall because alleged infidelity to husband Mervin Uhl. i. certain points of view better representd ii. certain details highlighted iii. “Women Become Desperate” iv. accusations of adultery and rape are they true? The Elephant in the Village of the Blind (Buddhist story) blind village encounters elephant, each having a different description of what it was argued about the truth different versions of the telling stories alter meanings combine descriptions to satisfy and create one description Cathedral by Raymond Carver (193888) Background: Born in Clatskanie, Oregon; married at 19, 2 kids by 21; died of lung cancer at age 50; alcoholic; characters are a reflection of himself: poor, alcoholic, selfdestructing and lonely labeled as “good people” Notes: narrator not excited about blind fiend of wife’s coming to visit because his wife (blind guy) died, uncomfortable with blindness because of media portrayal wife hired by the blind man to read and organize because her and exfiance had no money, on last day of employment the blind man asked to touch her face, she allowed so, tried to write a poem about it (does twice a year after important things happen) wife married officer and began tape communication with blind man, told him everything about not liking being a military wife, she tries to commit suicide wife shows narrator tape from blind man blind man’s wife’s name is Beulah blind man (Robert) met Beulah because she worked for him after narrator’s wife quit, married in small church wedding, Beulah died from cancer, Robert never saw Beulah, left with small insurance policy and ½ of 20 peso Mexican coin after Beulah’s death Robert in late 40’s wearing all brown, full beard, no cane or dark glasses (stereotype), roaming eyes, likes Scotch, smokes cigs eats dinner, wife and Robert talk about the last 10 yrs, wife doesn’t mention marrying narrator which he was hopeful for, Robert traveled in past Robert prefers colored TV (ironic), can tell the difference between black and colored tvs. Robert and narrator smoke weed and wife wife falls asleep between Robert and narrator while watching TV TV shows: men dressed as cows (?) tormented by men dressed as skeletons and devils took place in Spain 3 cathedrals one in Paris narrator describes cathedrals (now more than 3) to Robert narrator asks if Robert knows what a cathedral looks like “took 100’s of workers to build, same generations of families, workers never lived to see completion no different from the rest of us” Robert asks if narrator is religious, says no. narrator helps Robert draw cathedral on paper asks narrator to close eyes and draw, and then to open and see work keeps closed “it’s really something” Sample Essay Notes gives away/negates everything within first sentence good point about use of name involving intimacy and relationships, which the narrator lacks good use of time period background knowledge and the narrator’s phrases. What makes literature literary? Timeless parallels a life lesson – educative function; needs to age, letting it stand the test of time passion/truth/meaning insight into “the human condition” transcends its immediate context posing the question of literature means to pose the questions of “literary standards” delayed release alternative viewpoint antagonism between a work of art and its context (a desire for transformation) splits its audience in 2 (a provocation) no singular moral (goal), reminds us of otherness it can disorient us can change interpretation with every reader trains us in empathy want to identify with the logic of the text itself, why the author makes the character do what it does it can’t always give us the full picture because it is limited to the words and perspectives of the speaker no such thing as a truly objective story Wrote comprehensive synopsis: summary of details, about what characters feel about what happened, what is unsaid, the tone and attitude towards characters and events Additional Notes for Cathedral by Raymond Carver BINARY MOTIF between sight and touch Robert allows the narrator to see through touching him Robert sees things through touch narrator can literally see, but not make a connection with anyone because he refuses intimacy (touch) INTIMACY the closer someone is to you in an intimate embrace, the lesser they are a visible object for you; you have to be kinda far away in able to be seen To what extent are the senses used to connect and communicate? love, religion, blindness: all make you see something that is not there Cathedral is a literal synthesis of sight and touch the act of drawing is what brings together sight and touch at once sight (observation), touch (communication) task is to communicate to us what is unseen in the scene text needs to be read actively 3/2: Understanding the Text, p. 8592 1. PLOT theme: one common message action: the events recounted in a fictional work, the “what”, raw data, will never be accessed by the reader, the action will always be plotted plot: the way the author sequences and paces the events so as to shape our response and interpretation; gives significance to the action; the how, forcing us to ask why; conflict drives the plot, must be some destabilization of a situation sequencing: the precise order in which events are related in media res: “in the middle of things”; to start a work in the middle of the story; things have happened before the first scene and will happen after it flashbacks episode flashforward “a story might jump forward in time to recount a later episode or event in a flash forward” foreshadowing: when an author merely gives subtle hints about what will happen later in the story subplot: a plot that receives significantly less time and attention than another 2. PACE pacing: the duration of particular episodes (events) discriminated occasion: when an author slows down the pace and homes in on a particular moment and scene, ex: “Late that evening” or “The day before…” paragraphs devoted to minutes 3. CONFLINCT conflict: struggle external: arise between characters and something or someone outside of them internal: when a character struggles to reconcile 2 competing desires, needs, or duties; or 2 parts or aspects of himself, ex. head vs. heart The Shroud by Jacob and Wilhelm Grimm lovable seven year old died and taken from mother son came back as ghost ad cried when mom cried in previous play sites son can’t pass to heaven unless mother stops grieving child passed and mother silently grieves instead of crying 5 Parts of Plot 1. Exposition: introduces character, their situations a setting (time and place) all basic information usually revels some source of potential conflict in the initial situation; characters may be unaware 2. Rising Action: begins with an inciting incident (a destabilizing event) or some action that destabilizes the initial situation and incites open conflict complication: an event that introduces a new conflict or intensifies an existing one 3. Climax/Turning Point: the moment when the outcome of the plot and the fate of the characters is decided epiphany: a sudden revelation of truth inspired by a seemingly trivial event crisis: precedes and precipitates the climax, the confrontation of the climax 4. Falling Action: brings a release of emotional tension and moves us toward the resolution of the conflict(s) deus ex machina: “god out of a machine” from ancient theatrical practice of using a machine to lower onto the stage a god who solves the problems of the human characters 5. Conclusion: presents us with a new and at least somewhat stable situation, gives a sense of closure, conflicts have been resolved many plots end with a situation that is similar to one it began with why and how are things different? epilogue: ties up loose ends, updates on what happened to the characters after conflicts are resolved, provides commentary on story’s larger significance denouement: can be a synonym for falling action, conclusion, or resolution, or epilogue (not used much in the textbook) plot summary/synopsis: recount of plot briefly; define terms action and plot “guests… are a convention of chivalric romance and epic”… heroes are of high rank, sent by someone of higher power tragedy: trace a downward movement centering on the character’s fall from fortune into misfortune and isolation; end unhappily (death) comedy: end happily in marriage or celebration Sonny’s Blues by James Baldwin (a punishing story) Narrator learns of brother’s arrest and rehab for heroine druggy friend waits for narrator in schoolyard to tell about Sonny’s incident narrator writes to brother in rehab after daughter Gracie passes away flashback to memory of last time with mother who expresses concern for Sonny gives light to a dead uncle who narrator didn’t know about, he died by being run over drunk by whites, destroyed narrator’s father STOPPED NOTETAKING AFTER P. 105 Background Context: post war middle of 20 century precivil rights Harlem (ghetto) rising of Jazz and musical expression WW2 for equal rights of others even though America itself was struggling for equality Harlem not approached by whites, always a segregated circle rebuilding/coping all residents of Harlem are African American must think of political context in order to realize the anchor of the story zero opportunities for advancement in Harlem Harlem is a world that offers its citizens no hope narrator’s coping strategies: teaches in Harlem, embedded himself in education, obeys the rules to keep from drowning fear characterizes the narrator, fear of life, gives himself a safe life Sonny can’t hide from life so he has the 2 outlets drugs and music Reread last page and listen to Blues for Alice by Charlie Parker Where Are You Going, Where Have You Been? by Joyce Carol Oates (1938) Background: Arnold Friend character written in thought of “The Pied Piper of Tucson” who raped and killed teen aged girls kids knew but kept his secret crazy because girls always gave in “the fateful attractions of death (or the devil)” Setting: written in the 60’s, white middle class suburban, generic ambiguity of the setting maybe shows how the story can occur anywhere mother/daughter relationship is not universal but archetypal; a very immediate legibility to how Connie feels about her mom and how her mom thinks Connie feels about her Connie’s fantasies referred to as “trashy daydream” Connie’s duality or reality vs. fantasy Arnold Friend coming to her home clashes the separation between her 2 worlds fantasy almost overwhelms her reality Connie wants to be special, to be looked at, to be wanted/desirable, reach sexual maturity (romanticized LOVE), to be possessed, to find her value in/through others, to be an OBJECT not a SUBJECT, an OBJECT OF DESIRE Connie gets her fantasies from MUSIC desire is based off of distance; we want the things that we don’t really want Narration and Point of View p. 174178 narrator: someone that mediates and tells us the events in fiction voice: the verbal quality of the narration focus: the visual angle, chooses direction of our gaze and the framework of which we see things style, tone, irony everything above ^ makes up the point of view Types of Narration 1. 3 person: narrator tells an unidentified listener or reader what happened, referring to all characters using pronouns he, she, or they always external, narrator isn’t a character omniscient/unlimited: has access to the thoughts, perceptions, and experiences of more than one character limited: tells story from a distinct point of view, usually that of a single character revealing that character’s thoughts and perspectives, also known as the central consciousness objective: does not explicitly report thoughts and perspectives but hints at them through the character’s speech and actions; consists mostly of dialogue 2. 1 person: pronoun I, can be major/minor character of story, making he/she an internal character, either tells a story about someone else or one from personal experience can address an auditor: a listener in fiction whose possible reaction is part of the story unreliable narrator: ironic, unintentionally reveal flaws when trying to impress, may make false claims first person plural: pronoun we, shared perspective of a community nd 3. 2 person: consistently speak to “you”, turns the reader into a character of the story, instructional manuals or “howto” books past and present tense used to be conversational implied author: thoughts and perspectives of both the narrator and the author the narrator is neither the real or implied author 4/11: Added notes to Narration and Point of View from last week (I copied and pasted what I had written from last week and then just added new bullet points) Types of Narration rd 1. 3 person: narrator tells an unidentified listener or reader what happened, referring to all characters using pronouns he, she, or they always external, narrator isn’t a character omniscient/unlimited: has access to the thoughts, perceptions, and experiences of more than one character limited: tells story from a distinct point of view, usually that of a single character revealing that character’s thoughts and perspectives, also known as the central consciousness objective: does not explicitly report thoughts and perspectives but hints at them through the character’s speech and actions; consists mostly of dialogue can an omniscient narrator be a real person? supernaturally?; no, it is a pure function of the text people cannot fly around and be anywhere in a second, nor can they access someone’s thoughts and ideas that the character isn’t even aware of 2. 1 person: pronoun I, can be major/minor character of story, making he/she an internal character, either tells a story about someone else or one from personal experience can address an auditor: a listener in fiction whose possible reaction is part of the story unreliable narrator: ironic, unintentionally reveal flaws when trying to impress, may make false claims first person plural: pronoun we, shared perspective of a community internal, immanent to the story narrating subject is equal to or part of the object narrated 3. 2 person: consistently speak to “you”, turns the reader into a character of the story, instructional manuals or “howto” books holds the reader accountable can be addressing a character but to show the reader the meaning and ideas, forcing the reader to be the addressed character past and present tense used to be conversational implied author: thoughts and perspectives of both the narrator and the author the narrator is neither the real or implied author shapes what we can know can show the bias (subjective) towards characters extremely recent variety of subject positions of why can tell stores (blacks, gays, women, etc.) demographics: who is speaking? gender? race? sexual orientation? Girl by Jamaica Kincaid Background: moved to the U.S. at 16 and immediately began making a living, much like her novels’ protagonists “Girl” published in New Yorker in 1978 Notes: mother talking to daughter about how to become a woman assumes she is “bent on becoming a slut” shows her how to create medicine that leads to abortion “this is how to love a man, and if this doesn’t work there are other ways”, don’t be a slut unless you have too? “you mean to say after all you are really going to be the kind of woman who the baker won’t let near the bread? –last line, either allowed near the bread due to sluttiness or perfectness why does the daughter only speak twice? what would happen if she was to refute her mother? written all in one sentence, grammatically correct, unending amount of demands, with the placement of the italicized response shows after what it’s responded to shows how the responder is behind, nature of the commands are fast and rapid never says girl, only refers to slut and woman, is this who you are going to become? girl is only mentioned in the title passage of time, young to mature girl, basic chores, taking care of a man, becoming tired as aging maybe doesn’t disclose a single scene maybe doesn’t reach full womanhood by end of the work maybe instead of mother talking to daughter, could just be the daughter recounting past dialogue what does being a girl mean? girls told what they can and can’t do, they can’t be what they want things that boys can do and things that girls can do, but girls cannot do the things that boys can do slut: the girl who disobeys social/cultural shaming, if not following rules, then you are a slut girl resisting regime of rules in order to appear a legitimate girl a woman who wants to seek some form of selfpossession has the culture earned the right to call the girl a slut? Puppy by George Sanders Background: Saunders didn’t want to be an author at first, he majored in engineering and tried out many different careers before become a writer Notes: autumn sun reminds Marie of a haunted house kids: Abbie, Josh, Goochie (dog), Robert (husband) Marie’s mom a horrible mother left in blizzard, yelled at drunk, locked in a closet could this mother/daughter relationship be why Marie spoils her kids? spends a great deal of money on pets and games for the kids, drives a Lexus Callie, big backyard for Bo to play in Bo: mental retardation? darts across streets, needs medication, side effects: grinding teeth and pounding fist Jimmy: husband, pinches her arm when angry Jess and Mollie, kids Jimmy’s laugh/snort moment symbolizes trust Marie’s family is buying a puppy from Callie’s family Marie judges Callie’s house Bo chained to a tree in backyard, running and then being jerk back by the chain, Marie sees this Marie doesn’t buy puppy from Callie because of judgement of treatment of Bo Callie kills/leaves the puppy out in the corn field so Jimmy doesn’t have to do it himself like he had to with the kitten Callie replaces horrible/sad things by telling herself that she is making things better Free indirect discourse: synthesis of first and third person narrative (grammatically), third person narrative is infected by the first person we don’t know how to feel about any of these characters parallel of financial status between Callie and Marie’s past life Marie impacted by her past life in coming to conclusion of Bo Callie’s past memory of intimacy with Jimmy 2 narratives, no 3 party to synthesize and give an objective truth, 2 perspectives are irreconcilable (no omniscient) Marie knows the reader is there and is trying to convince us that her family is happy Story’s Suggestions: inappropriate judgement radical difficulty of communicating with someone other than you take our materialistic/tangible things, allows us to see the basic fundamental similarities Marie sees Callie similar to her mother how easy it is to get everything about a situation wrong Character p. 218225 character: any personage in a literary work who acts, appears, or is referred to as playing a part human or supernatural or nonhuman must have some human qualities (think, pain, love) Evidence to Consider in Analyzing a Character name physical appearance objects and places actions narrator’s comments thoughts and speech (content, timing and phrasing) other characters’ thoughts about the character others’ comments important traits, motivations and values how the text shapes the perspective (how we feel) about the character function in narrativw symbolism hero (protagonist): common lead male role, good guy larger than life stronger than humans godlike admirable villain (antagonist): bad guy heroine: leading female character characterization: the art and technique of representing fictional personages indirect (showing) direct (telling) character is just as structured as the plot Good People by David Foster Wallace Lane A Dean Jr, and girlfriend, blue jeans and button ups met in JC campus ministries, 19 years old, accounting and business girl, good people, smells good, checkered cotton short with pearl colored snaps, corn blond hair, 20 years old, nursing maor other guy, grey suit and grey hat Lane A. Dean Jr: desperate to be as good as Sheri is doesn’t know if Sheri really wants an abortion or not he wants an abortion feels sinful can’t say he loves her, only said it once doesn’t believe in Hell scared that Sheri doesn’t want an abortion and wants nothing from him but good wishes and respect of her decision, knows he does not love her Sheri Fisher: cousin died at 13, 14, only talked about it once good smell downy arms bright laughter faithful, religious doodles on her tennis shoes Did free write on character analysis Analyzed Lane and turned in group work
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