I wrote this as more of an 'I'm so upset listen to me rant' thing for my xanga, but the ideas are the type of thing I would post here, although the style is different, because it was written for a different audience. Also I haven't written a post in a long time. So:
So for some reason I am updating this blog instead of being productive. Anyway, I was thinking about a musical I saw a while back, called The Pajama Game. I do not know if any of you have seen it, but if not, I will briefly summarize.
I seem to have stopped writing posts here, because I don't have time to think very much any more. However, I may start again, since it is break and I have nothing to do except think. Unfortunately, most of this thinking does seem to get done in the middle of the night when I am slightly less than coherent, but I shall make the attempt.
If you haven't read The Scarlet Letter, you should stop reading now. Seriously. It will completely spoil everything.
I just finished The Scarlet Letter the other day. I really liked the book. I mean, quite a lot. But I felt like I didn't have the same connections with the characters as I was supposed to. I started out with Chillingworth as my favorite character. I could understand his feelings quite a bit, expecially after that first conversation with Hester. She was all right too, I guess. But Dimmesdale? He starts out with this incredibly hypocritical speech where he's trying to get her to tell the father, but not really, because that's him. So already he's a hyprocrite, and kind of a jerk for letting Hester take all of the pain for him. And throughout the book, he never has an original thought. He just gives eloquent speeches on demand, spends a lot of time being angsty because he violated a code of morality he has no cause to believe in, and says silly things like, "Hester, you're strong. You should think for me." (That was paraphased a little, but he said something very similar.)
One of the kids in my American Lit class made a really good point about this being kind of a feminist thing to do, since it contradicts the stereotype of the incredibly weak woman who lets her man do all the thinking for her, but still.
And then he dies. Now, I have this theory that all deaths should be significant. When an author kills a character, it should be for one of three reasons:
- The character's death was necessary to the development of the plot.
- The character was much hated, and his/her death was necessary to the reader's sense of fulfillment.
- The character was much-loved, and his/her death gave emotion to the book.
When someone confides in you a secret, are you morally obligated to lie to defend the secrecy of that secret? You could, of course, just sit there and refuse to answer questions without saying if you are aware of the information asked for or what that information is. But if you feel that even that will give something away, are you obligated to lie, to say you don't know, or even that you do know, but to give false information? Does the situation change if the information you are withholding is pertains directly to the person you are withholding it from? In what direction?
So Vox finally started allowing people to write in html. This makes me happy. Perhaps this is strange of me, but I find having to stop and press a bunch of buttons and go through windows and the like very frustrating when I want to link to something. I also was having a lot of trouble getting my posts to format correctly. When I want to make one word bold, or italicized, and the button misinterprets that and starts doing all sorts of wacky things, I, being a perfectionist, have to spend enormous amounts of time going through and editing, and trying to convince it that it is not doing what I want and it needs to change that. Html is so simple. If it's not doing what I want, it's because I made a mistake. If I want exactly one word to be bold, I just need to make sure that my tags enclose that one word. And now I can.
Some of you may remember a conversation I had with Benjy a while ago (well, not the conversation itself, but my description of it). The one about polygamy. Anyway, it came up again recently.
So I have a question:
If you were in a relationship with someone (assuming that they were of the opposite gender and that all parties involved were straight--I realize that for several of you this assumption is inaccurate, but I am asking you to pretend) and they wanted to add another person to the relationship of your gender (therefore they would have two sexual partners and you would only have one), and you disapproved of this person, would you be able to say no, even though you knew it would cause your partner unhappiness? And the same question, if you were worried about them leaving you?
Sorry I ask such weird things, by the way, but I am very curious.
This has been something I've been meaning to write about for a while now, but never feel I can express correctly. I don't think I can express it this time either, I just got annoyed with myself for not writing things enough. So bear with me.
Anyway, I've been thinking about time. Specifically the present. It has begun to seem to me recently that there's no reason why we should put up with it. Perhaps that's not exactly what I mean. But at any moment we seem fixed in a particular moment--there's no way to switch moments, except by waiting, and no way to go back. The particular moment we're stuck in is the only moment we can change. This makes sense, as the past is fixed and, assuming free will, the future is not relevant until the present has been lived. My problem is that the present is the only moment that feels real. There isn't any way to opt out of whatever's going on and relive the past.
And for some reason, this has begun to bug me.
Favorite Shakespearean monologues anyone? I have to prepare one for my King Lear audition Monday (it should be about one minute long, and the speaker should probably be female, although they don't have to be).
Some advice from The Elements of Style:
Gerunds usually take the possessive case.
Use the active voice.Use the word not as a means of denial or antithesis, never as a means of evasion.
Omit needless words.
Do not attempt to emphasize simple statements by using a mark of exclamation.
Rather, very, little, pretty — these are the leeches that infest the pond of prose, sucking the blood of words.
Never call a stomach a tummy without good reason.
Don't start by calling something a swordfish and end by calling it an hourglass.
You will also, in all probability, want to try writing that way, [the way of advertising,] using that language. You do so at your peril, for it is the language of mutilation.
Notes on specific words as taken from The Elements of Style:
Contact. As a transitive verb, the word is vague and self-important. Do not contact people, get in touch with them, look them up, phone them, find them, or meet them.Finalize. A pompous, ambiguous verb.Importantly. Avoid by rephrasing.
Meaningful. A bankrupt adjective. Choose another, or rephrase.
Personalize. A pretentious word, often carrying bad advice.
Prestigious. Often an adjective of last resort. It's in the dictionary, but that doesn't mean you have to use it.
If I wanted to sound pretentious, I would start going around quoting from The Elements of Style. I may do this anyway, but I think I will try not to.

Rule \infty: You can ignore all the other rules if you really know what you're doing, but chances are you... read more
on And I Present to You Advice from The Elements of Style