#ashleypitt

[ashleypitt]

CNF: Week #7 ||| Critical Journal Entry

[360 words]

Of the two essays we read this Tuesday, I decided to do my critical response on Liz Clift’s “The Breaking-Up Game.” For my response, I decided to explain what I believe was Clift’s purpose of writing this essay.  

In this essay, Clift explains the chronology of a typical breakup. This essay in its simplest form is a guide; however, she takes this touchy/controversial subject of heartbreak and cheating and turns it into humor and mostly noting to the essay’s title, a game.

As a purpose of humor, Clift under-exaggerates the effects of a breakup on the primary player, the significant other, and the potential suitor. She does not talk about the psychology of breakup or anything realistically researched. Instead, she just says what do during, before, or after a breakup. She gives acts and expression the primary player, or you the reader, should do. For instance, an example would be “2.) Spend a rainy Saturday emotionally cheating on your SO with Potential Suitor (PS) at a coffee shop, and later at a local park while walking your dog (walk yourselves if you do not have a dog). Tell PS things you’ve never trusted yourself to tell anyone” (Clift). I think in some ways, Clift is showing the perspectives of breakups and how to some breaking up and cheat really is just a game. There is no emotional value or psychological effect of the breakup.

The purpose of this essay as a game is to show the variety and broadness of creative nonfiction as a whole. By formatting this essay as a “game” she like many essayists we have read before are going against the stereotypical five paragraph essay form. Clift is exemplifying that a story does not necessarily need to describe in-depth personal details, but instead, distance that relies on a clear plot, resolution, climax, and other parts of a story. A “game” can be a story. 

In conclusion, Clift’s essay “The Breaking-Up Game” had a purpose of humor of a touchy issue as well showing broadness and variety of creative nonfiction through a gaming format. By doing both, Clift creates a nontraditional essay in terms of format and function. 

Clift, L. (2013, February 15). The Breaking-Up Game. Retrieved from Digital Commons.

[ashleypitt]

CNF: Week #6 ||| Critical Journal Entry

[342 Words] In Dinty Moore’s “Son Of Mr. Green Jeans,” he writes about fatherhood.I have chosen to do this piece for my weekly critical writing journal entry because I was truly intrigued by the angle Moore took within his essay. Not only was it fragmented with no clear beginning or end, but also in general, how he wrote about fatherhood.

Within his essay, Dinty Moore barely mentions his own experiences as a father. He only mentions that he was at first apprehensive about being a father, ended up having one child, and eventually got a vasectomy. Though he barely covers his own personal experiences, he mentions fatherhood from the perspective of the child and parent pulling for other humans and animals. He also writes about both fatherhood at its best and worst. 

Though some of these experiences seem loosely connected to fatherhood such as Lauren Chaplin who played the daughter on Father Knows Best, they all tie in together. Laura Chaplin, for instance, struggled with her experiences with fatherhood.Her biological father molested her and her TV dad attempted suicide (Moore, 390 and 392). She never really had a positive experience with fathers. 

Another example of this strange tie was Hugh Beaumont who played the father on Leave it To Beaver. He ties within the fatherhood in two ways. In one matter, he played the ideal father of the 1950s making him a positive father figure for those watched the show; however, on the other hand, he also was coined as someone who hated kids(Moore, 391). 

Both of these experiences were about fatherhood and likestated above, it was a strange angle for Dinty Moore to take. Unlike the conventional creative nonfiction essays we have read, he was different. He did not write about himself or use the typical essay format; then again, that is thrown out these days apparently. Moore did not want sympathy for his own experiences with fatherhood, but empathy for those who did or did not have the best experience with fatherhood as or dad or having one. Work Cited Moore, Dinty. Son Of Mr. Green Jeans. In Touchstone  Anthology of Contemporary Creative Nonfiction. Simon & Schuster.   

[ashleypitt]

CNF: Week #6 ||| Creative Journal Entry

[346 words]

Family-Oriented

I asked what you were doing Christmas day and Iexpected something about boozing in honor of Christ’s day, but you were not drinking. You were at your parent’s house teaching your dad how to use an IPad. You think it is cute that I want to be a hockey mom and a homemaker. That is cute.

Intelligent

As I sipped my coffee at Starbucks, we talked about Sigmund Freud and clean slates. It was our first date and you were already throwing out biological terms that I would and could never understand. I said I knew about protons and electrons. You told me that was chemistry. I joked they were the same to me. I should have known you would be this way having a perfect on your SATS, 2400.

Passionate

You have found a love for refereeing and even though it drives you far away from me a lot it is okay. You are doing what you love and I could not find that more attractive, somebody with a passion that takes them across the country. Somebody who does not just exist, but lives.

Curious

As we were looking at the tombs of the unknown, I pointed to the big building down the street and told you it was my elementary school. You could have changed the subject, but you did not. You asked about my childhood as if it was a lecture and you would be examined on it. You wanted to know about me. You needed to know about me.

Friendly

Your handshake meeting my father, leaving my parents a thank you for the soup, the little things that add up in my heart.

Loyal

I believe this is so. You have not done me wrong yet. I appreciate it. You do not understand what I have been through, not trying to sound cliché because we all go through things, but thank you anyways. I will return the favor all day, every day. I promise.

I do not ask much for a man, but what I do ask, you fulfill the requirements.

[ashleypitt]

CNF: Week #5 ||| Critical Journal Entry

[305 words]

The essay I chose to use for my critical essay prompt of the week was “Living Like Weasels” by Annie Dillard. In “Living Like Weasels” the larger ideas or human experiences Annie Dillard explores is the concept of overthinking. This idea comes to exploration due to Annie Dillard’s run-in with a weasel the prior week. Within this essay, Annie Dillard explains her encounter with the weasel and how it leads her to a deep intrigue and research about the weasel and surprisingly, herself.

She begins studying and reminiscing about the encounter with the weasel itself. By doing so, she transcends into actually overthinking the whole situation and how the weasel responded to its encounter with her. She wants to know, “What goes on in [the weasel’s] brain the rest of the time? What does a weasel think about” ( Dillard,150). Unlike the weasel, or from what Annie Dillard knows, the weasel does not or did not think about her after the encounter. The weasel went by natural instinct and runs away. This natural instinct is something Annie Dillard wants to have like the Weasel. She wants to remove her urge to over think and instead she “would like to learn, or remember, how to live” (Dillard, 150).

Simple as it is, the plot of the story is Annie Dillard overthinking. She does not do any large movement in this essay; however, this little encounter with the weasel caused her to have this exploration and revelation. Like a “weasel [who] doesn’t “attack” anything; [who] lives as he’s meant to, yielding at every moment to the perfect freedom of single necessity, she wants to learn and learns from the weasel [Dillard,151]. She in some essence wants to live more by intuition than by thinking and then acting or “attacking” in correlation to something the weasel does not do.

Dillard, A. (n.d.). Living Like Weasels . In Touchstone Anthology of Contemporary Nonfiction (pp. 148-151). Simon & Schuster.

[ashleypitt]

CNF: Week #4 ||| Critical Journal Entry

[300 words]The critical prompt I will be responding to is,” What role does setting play in this essay?” The essay I chose to analyze is Ryan Van Meter’s “If You Knew What I Know Now.”

The setting of this personal essay deviates mainly between two scenes/settings: Van Meter’s classmate Mark’s house in sixth grade and Van Meter’s ten-year class reunion. Within these two scenes/settings, Van Meter reflects on the scene at Mark’s house where he catches Mark and another classmate, Jared, pretend kissing. This setting and scene sets the reason why Van Meter writes this essay in particular, a painful moment in childhood and how he was not the only one with pain from this day though he did not realize at the time.

This shared pain is seen at the end of the essay at the class reunion setting. At the reunion, Jared admits “[he was] sorry” and that “we were just asshole kids” (Meter). By apologizing, Jared shows that though he does not relate to the pain Van Meter feels for being sexually mocked and embarrassed, he does empathize and feels the pain of guilt for making fun of Van Meter and mocking him by pretending to kiss Mark. Showing empathy is one of the key pieces to creative nonfiction.

Without the second setting, the essay would not have closer. Not every story needs to have closure; however, it can sometimes make a story seem more believable according to Van Meter (Meter,). Without Jared apologizing, the setting and scene would seem empty and meaningless other than Van Meter maturing and proudly showing of his boyfriend in front of his former classmates. The role of these setting are simple, to show time (sixth grade to a ten-year graduation) does not forget pain of the past that be embarrassment or guilt.

Meter, R. V. (n.d.). If You Knew What I Know Now. In Touchstone Anthology of Contemporary Creative Nonfiction. Simon & Schuster.

[ashleypitt]

CNF: Week #4 ||| Creative Journal Entry

[590 words]

You flirt with the guy with the half-naked girl on his phone. You have already met the second guy with the bird’s beak nose. He is cute. They are both cute. You should not talk to them, actually you should. I mean, you’re just making friendly conversation to kill time; it means nothing. It is just a few seconds of your life.

You go home. You take off that uniform that you sometimes hate. You cannot wait to go home most nights. Nobody could blame you; you are not paid. You check Facebook as you put on your pajamas. It is a ritual these days. Creeping on the exes, liking some selfies, and reading the advertisements that takeover your news feed. You have a message.

“Hi. Hi. It was great meeting you.”

“Hi. You are the short guy kid right?

“I’m not short. I’m 5 “10.””

“More like 5”6.”

“I’m not that short.”

“You’re like sixteen right?”

“I’m twenty-three.”

“I thought you were sixteen.”

“I’m twenty-three. I also am in college. I am a senior at …. studying both ….”

You give him your number. What could happen? He seems genuine. He is somewhat cute, you guess. Days pass, you talk. You talk some more. You talk a lot. You talk every day. You talk unless one of you super nerds are writing papers, practicing speeches, or reading. He wants to “take you out.” You say “sure.”

Last minute, you almost cancel. You drive around the local shopping section and find yourself eager to see if he really came. It was more than just honesty, but distance; he is from one-hundred miles away in your favorite city. The distance never seemed far to you, but it will seem far from now on.

You arrive at Starbucks five minutes late. You dress your best to “attract” an older guy just in case he does show up. You cannot see inside the faded windows, but you open the glass door and he is sitting there.

“Hi.” “Hi.”

As you talk in person, you start to remember that night a little clearer. He was with half-naked and bird’s beak; he is actually their friend. He sat the furthest from you and you overlooked him. You focused too much on his friends. He likes your genetically perfect smile, but his smile is not bad either. It is not perfect at all, but it is cute, it makes him look sixteen like you thought he was.

It was not “whatever” at first sight from your point of view, but it was something. You did not notice him because you were too busy with his friends, but even then, he noticed you. He loves your personality. You feel stupid. You did not see it then, but you do now. Those few seconds of your life changed your life in some way. Maybe not automatic but when it did, it did.

At Starbucks, you discuss Freud. You tell two truths and a lie. Unarguably he pays for the food you barely touched because you were too busy talking with him. You held back that first kiss even though you wanted to kiss him as soon as you walked into Starbucks. You listened about twenty-three years of his life; you realized he was not that short. He might actually be 5”10.”  

He drives away in that mustang and you know. You will see him again. You will never overlook him again. He is better than half-naked and bird’s beak. 

[ashleypitt]

CNF: Week 3 ||| Critical Journal Entry

[346 words] 

      I decided to do my critical essay this week on Tim Bascom's "Picturing the Personal Essay: A Visual Guide." After reading his article, I will be discussing why I personally feel he wrote it and what a reader should take from it.      As a student for numerous years, teachers have jammed into my mind basic formats on how to do anything. The format could be how to solve the trigonometric slope, analyze a poem, or memorize the periodic table. As I passed grades, the formats always seemed to change in the subject as the type of math, science, or even english and got harder; however, one format stayed the same in english classes: follow the prompt and write a five-paragraph essay. Prompts usually gave me somewhere to start, but personal essays do not really have prompts or key terms that need to be mentioned in the essay. There really is not a format or as Bascom says," The remarkable thing about personal essays, which openly mimic this exploratory process, is that they can be so quirky in their “shape.” No diagram matches the exact form that evolves" (Bascom).       I think this is why Bascom wrote his article, not necessarily to consider there is some shape to a personal essay with complete open ended circles and "plateauless" scenes, but to suggest the same thing the article title initiates toward, there is a guide (Bascom). He didn't say this guide was the only way to write a personal essay, or how to write a successful one, but something to look as help. As a reader, I took, and we should always possibly take, that with a personal essay and creative nonfiction in general, we have the right to express ourselves because the story is our very own story; however, we should still follow some basic format and pieces of stories and essays, introducing, climaxing, and concluding. Without these pieces, the piece is somewhat incoherent, incomplete, and possibly boring.

Work Cited Bascom, Tim. "Picturing the Personal Essay: A Visual Guide." Creative Nonfiction. Creative Nonfiction, 2013. Web. 17 Jan. 2015.

[ashleypitt]

CNF: Week #2 ||| Critical Journal Entry

[364 words] 

     After reading “I’m jumping off the bridge” by Kevin Sampsell I have decided to journal about how he changed over the course of the essay. I think in life, we have all experienced one of those moments, that has changed us in some form or another. This can be positive, negative, or even neutral for that matter, but in Sampsell’s creative nonfiction essay it is a transition from negative to positive. Though many people may find from saving someone’s life a positive thing, or in Sampsell’s case Chris’ life, in doing so, Chris ended up unleashing the dark aspects of his own life in the beginning of the essay. He states that, “my own life was spinning out of control” (Sampsell). He begins to question about his own potential suicide, what he would do if he were at the bridge, to jump, fall, or live.      The negativity continues for days to follow inside and outside of work. He grieves with an old friend, remembers moments where he broke down with girlfriend for no apparent reason, and also, gets asked if he is okay at work. Sampsell is at a low point, despite knowing people do care about him.      Somewhere between breaking up with his long term girlfriend, Sampsell empathizes with Chris who also had a child in which he cares very much; this is the positive transition in which Chris changes by the end of the essay. Sampsell’s son, is the key factor to why he changes. He realizes he was to make his son proud, "I wanted to do more with him. I wanted to teach him how to drive. I wanted to give him money for a date. I wanted to go to his graduations. I wanted to give him advice on something"(Sampsell).      Within his nonfiction, Sampsell learns that even with the negative dark moments of his life, he will choose to live because of his son. As a reader, Sampsell's teaches us, or at least me that sometimes helping another can in effect, hurt us, and then help us. I definitely will consider this more often when I am helping somewhere or someone is confiding in me during something difficult.

Work Cited Sampsell, Kevin. "“I’m Jumping off the Bridge”." SALON. 2015 The             Associated Press. All, 2012. Web. 13 Jan. 2015.