Friday, 14 July 2017

Generation X


Aphorism and its relation to the marginalised people in Generation X
 “USE JETS WHILE YOU STILL CAN”.
This is the graffiti-style aphorism located on page 4, of the novel Generation X by Douglas Coupland. This aphorism is an ironic slogan and also alarms that the western cultures appear to be under the threat of ending because of the clause “while you still can” implies that accessibility of jet is ephemeral. The basic implication of a ‘jet’ is the rapid stream and speed which makes this aphorism to associate directly with the subtitle of the book “Tales for an Accelerated Culture” and through that to the overall theme of the novel. The very first sentence of the book in which this aphorism is also located discloses various details in relation to the narrator particularly his desire to use the jet plane “I spent every penny I then had in the bank to fly across the continent in a 747 jet”[1]. Therefore, this aphorism is connected to the novel from its very outset. The sentence also reveals that the narrator is not a rich person and belongs to the “middle class” as he only affords the flight ticket by all his money. The author coined the neologism of “poverty jet set”[2] to reflect upon other distinctiveness of three characters Andy, Dag and Claire, and correspondingly establishes a relation between the group of people who accomplish cheap travel around the world and the mentioned aphorism. However, this graffiti-style aphorism is located at the lower margin of the page, its highlighted, bold, and capitalised fonts make it highly visible and eye-catching. This vivid contrast together with the sarcastic tone of the slogan turn this aphorism as an attractive blurb of the whole chapter. Although this aphorism along with other marginalia such as images and definitions throughout the whole book may not replace the main text, one can easily acquire the main ideas of the novel by skimming them.
This aphorism also relates to the whole book in the way, it indicates the innovative and contemporary approach to writing the novel. This innovative approach implies that the conventional style of writing novel does not locate marginalised generation into their rightful position or may not have sufficient potential anymore to do so. The novel suggests that the generation who purposefully resists against the harsh realities of the accelerated age of time deserves their specific position in the novel. The author of Generation X places the aphorism at the margin of the book to innovate a new style in writing the novel, as well as to imply the situation of those marginalised in the society. Nevertheless, this innovation has also caused some critical objections to the novel, particularly in relation to its tendency towards ‘Pop Art’[3]. Mentioning the format of the first print of Generation X, Tate criticises that it “resembles a catalogue for a Pop Art retrospective rather than a work of literary fiction”[4]. However, this aphorism and other marginalia sharpen ideas of the novel, make it more innovative, and cause the novel overwhelmingly well received by the readers. Therefore, this aphorism with its quality of alarming irony relates to the novel.

Bibliography
Coupland, Douglas. Generation X: Tales for an Accelerated Culture. London: Abacus, 1996.
Tate, Andrew. Douglas Coupland. Manchester: Manchester University Press, 2007. Accessed May 25, 2017. ProQuest Ebook Central.


[1] Coupland, Generation X, 3.
[2] Ibid, 5.
[3] Tate, Douglas Coupland. Manchester, 11.
[4] Ibid, 11.

Tuesday, 11 July 2017

Gender as a key theme in Orlando

Gender is one of the most important themes in the novel Orlando which is developed through various aspects of the novel particularly under the effects of societal changes and also through the voices of the narrative.  Throughout the long period of time, Orlando lives in many different societies. In one instance during the mission as ambassador in Constantinople, and following the rise against the Sultan of Turkey, Orlando’s circumstance changes rapidly from the prestigious position of ambassador to the inevitability of living in the primitive community of gipsies. Subsequently, she is exposed to experience a completely different life among gipsies. In the gipsy camp gender does not play any role at all. Orlando “milked the goats; […]; she herded cattle; she stripped vines; she trod the grape;”[1] there is nothing distinctive about her gender in all these activities. On the contrary, right after Orlando leaves the gipsies, on the English ship “she felt the coil of skirts about her legs”[2] she suddenly begins to feel the difference with regards to her gender. Therefore, Orlando signifies that gender relates to society. Orlando suggests that various societies consider gender differently, and there is a direct relationship between the level of civilisation and gender in a society. In this respect, the novel develops gender by examining Orlando’s life among gipsies and then in the English merchant ship as a rather civilised setting. The fact that gender is intrinsically a social construction implies that the more civilised a society becomes, the more gender-based values are invented and applied. Thus, the novel enacts different living conditions for Orlando under fundamental changes at the society level to make gender central and represent its developments in this way.
Gender is also developed through the voice in this novel. Orlando applies an approach of parodying the biographer in which the male-dominated genre of biography is criticised. The inherently ironic voice of the narrator provides with the possibility to reflect upon femininity and masculinity “[d]ifferent though the sexes are”[3]. Orlando develops gender through the sarcastic comments on distinctive desires of both man and woman: “the gentlemen took the very words out of our mouths”[4]. Although Krouse mentions “[t]he sarcasm in the narrative voice”[5] to contextualise it in relation with love, we can also consider that this sarcastic voice of Orlando signifies the differences of attitude and ideas which ultimately develops gender. The narrator frequently ridicules the biographer and emphasises the conventional rigid dichotomy between the spirit of the age and the chronology. Similarly, gender is reflected in Orlando’s artistic desire, particularly in her lifetime attempt of writing ‘The Oak Tree’. As a result of literary progress over the course of four centuries, The Oak Tree’ seems important. Ironically, it is subject to verification by the male authority, and that leads Orlando to come along with Nick Green whose “article had plunged her [Orlando] in the depths of despair”[6]. Although Orlando occupies ambiguous genders, a contrast of different desires in relation to literature has provided the novel with the voice in which gender is central. Orlando establishes opposing attitudes in regards to representing different desires and consequently emphasises gender’s pivotal role in the novel.


Bibliography
Krouse, Tonya. “Orlando and the Discourse of Love.” In The Opposite of Desire: Sex and Pleasure in the Modernist Novel 101-16. Lanham: Lexington, 2009.

Woolf, Virginia. Orlando: A Biography. Vintage Classics. 2004.



[1] Woolf, Orlando: A Biography, 89.
[2] Ibid, 97.
[3] Ibid, 120.
[4] Ibid, 114.
[5] Krouse, Orlando and the Discourse of Love, 101.
[6] Woolf, Orlando: A Biography, 188.