For Wednesday: Bradbury, The Martian Chronicles (see readings below)

Read the next 5 Chapters: “And the Moon Be Still as Bright,” “The Settlers,” “The Green Morning,” “The Locusts,” and “Night Meeting”

GROUP B/F should answer TWO of the following:

Q1: What does Spender mean when, in the story, “And the Moon…” he claims, “I believe in the things that were done, and there are evidences of many things done on Mars…Everywhere I look I see things that were used. They were touched and handled for centuries.” Also, why does this prompt him to kill his companions? What don’t they see about the landscape that he does?

Q2: In a passage (in the same story), Spender seems to critique his own society back home by stating, “[Art] is always a thing apart for Americans. Art was something you kept in the crazy son’s room upstairs. Art was something you took in Sunday doses, mixed with religion, perhaps. Well, these Martians have art and religion and everything.” How is he criticizing America’s relationship with art? What are they doing “wrong” in his view? Do we have the same problem today, do you think?

Q3: In the story “Night Meeting,” an old man tells the main character, Thomas, that “We’ve got to forget Earth and how things were. We’ve got to look at what we’ve in here, and how different it is.” Why might it be potentially dangerous to import Earth and its customs to Mars? What could this prevent us from seeing or doing?

Q4: According to the story “The Green Morning,” why are trees a fundamental part of our experience of Earth? Why couldn’t we exist without trees on another planet? What have trees provided for us besides oxygen throughout our history on this planet?

Short Paper #2: The Trappings of Earth

“I think I’d rearrange the civilization on Mars so it resembled Earth more and more each day. If there was any way of reproducing every plant, every road, and every lake, and even an ocean, I’d do so. Then by some vast crowd hypnosis I’d convince everyone in a town this size that this really was Earth, not Mars at all” (“The Third Expedition”).

For your second short paper, I want you to imagine that you’re in charge of establishing an Earth-2 on another planet. While you don’t have to worry about the realities of living there (the scientists took care of that), you have to figure out how to convince people that this is their new home which can look and feel almost like Earth. Ideally, within a few years, they will think that this is Earth, or at least an acceptable substitute for it.  

Based on some of the ideas from The Martian Chronicles, discuss one aspect of culture you would immediately re-establish on the new planet. For example, you might want to immediately create schools on the new planet, so everyone could still attain the same level of education; or you might build fast food restaurants, so that everyone could remember what it’s like to eat hamburgers and milkshakes while their kids play on the slide. Think about your own life and consider the one thing you did growing up that is most essential to your experience on Earth, and explain why this would be essential on the new planet as well.

SHOW us why it was so important to you, and why it might help preserve a sense of sanity and normalcy among pioneers of a new planet. ALSO, explain how you might preserve or modify some specific aspect of it—for example, maybe you want fast food places to occasionally mess up your order, since that was an important part of the experience? Or schools that still have mean principals to give the students something to bond over?

Be sure to QUOTE from the book for support; show that you’re both having a conversation about culture that uses science fiction as a framework (and don’t use the quote I included at the top of this assignment!).

REQUIREMENTS

• 2-3 pages, double spaced
• At least one quote from the book, enough to show you responding to some idea in the book (not a random quote, but one you engage with)
• Due Friday, March 29^th in class [note: we do have class that day—bring your paper with you]

For Friday: Bradbury, The Martian Chronicles, “The Taxpayer” and “The Third Expedition”

Group “SF/A” should answer TWO of the following:

Q1: According to “The Taxpayer,” what’s wrong with Earth? Why does he want to flee to Mars so badly? Does this explain why there have been so many expeditions to Mars in such a short period of time (1999-2000)?

Q2: When the Third Expedition discovers the Earth-like city on Mars, one exclaims, “we’re looking upon a phenomenon that, for the first time, would absolutely prove the existence of God, sir.” What does he mean by this? Why would an Earth-like civilization prove that God exists (and do you agree)?

Q3: The Expedition offers a number of theories for the existence of an early-1900s town in the middle of Mars: why do all of them insist that the inhabitants must be insane or hallucinating? What does this remind us of in the previous chapters?

Q4: When Hinkston asks Lustig’s grandmother if this is heaven, she responds “Nonsense, no. It’s a world and we get a second chance. Nobody told us why. But then nobody told us why we were on Earth, either.” Even though this seems to be a set-up, what might the grandmother’s words suggest about our own life on Earth? Why might this lie (if you believe it’s a lie) contain a bit of truth?

For Wednesday: Bradbury, The Martian Chronicles, pp.1-39

Read the following chapters for class:

• Rocket Summer
• Ylla
• The Summer Night
• The Earth Men

Group “B” or “F” should answer TWO of the following:

Q1: Why is Mr. K so antagonistic about his wife’s dreams about strange men from the “third planet”? What does he think these dreams mean? Or, why is she so excited about the prospect that these dreams are real?

Q2: As we discussed in class, The Martian Chronicles was written in the late 40’s and published in 1950. Like many science fiction writers, Bradbury liked to use metaphors of the future, aliens, space travel, etc. to examine his own culture. Where do you see him doing this? Discuss a short passage where he seems to be talking more about 1950’s earth than the culture of another planet.

Q3: What is strange about how the Martians react to “The Earth Men” in Chapter Four? Why aren’t they excited to see them and learn about a foreign culture? Also, why do all of them wear masks, which they change depending on their mood or surroundings (like the little girl who puts on an “expressionless mask” when interrogated by the astronaut)?

Q4: When the Earth Men try to convince the psychologist, Mr.Xxx that the spaceship is real, he responds, “May I congratulate you? You are a psychotic genius!...Your insanity is beautifully complete!” Why can’t he believe that the ship, and the astronauts, are actually real? Does he ever waver in this belief (and if so, why)?

Conference Schedule for March 4-8

The conference times we signed up for in class are below. If you didn't sign up for a time, feel free to come in any of the blank times (or e-mail me for a time). If you miss your conference, it's equivalent to skipping three classes, which will put you over (or dangerously close to) the maximum number of absences without penalty. So please come! 

We're meeting in my office, HM 348. The meetings shouldn't take very long, but I want at least ten minutes just in case. E-mail me with any questions or if you need to reschedule. 

MONDAY
11: Daniel
11:10 Kentaaj
11:20 Mandi
11:30 Hannah
11:40 Isabel
11:50 Timothy

1:00 Nichole
1:10 Rven
1:20 Lydia
1:30 JJ
1:40 Rylee
1:50 Tinia 

WEDNESDAY
11:00 Benjamin
11:10 Cody
11:20 Emily
11:30 Arren
11:40 Wyatt
11:50 George

1:00 Sebastian
1:10 Angela
1:20 Jamie
1:30 Michael
1:40 Austin
1:50 Zachery

2:00 Jaren
2:10 Brook
2:20 Danielle
2:30 OPEN 

THURSDAY
10 to 10:30 OPEN
10:40 Faith

11:00 to 11:50 OPEN

1:00 Lily 
1:10 to 1:50 OPEN

FRIDAY
11:00 Tarah
11:10 John
11:20 Destin
11:30 McKenzie
11:40 Shelby
11:50 Kaylee

1:00 Kealan
1:10 Dalton
1:20 Sandro
1:30 Klayten
1:40 Nathan
1:50 Wyatt

For Friday: Buckell, “Zen and the Art of Starship Maintenance”

Group “A/SF” should answer two of the following:

Q1: When Armand, the CEO, first calls the narrator “robot,” it replies, “Robot. That was a Formist word. I never liked it” (326). Why does it take “robot” as an insult, and what does it mean by “Formist”? Why does the CEO look down on someone like the narrator?

Q2: When they arrive at the narrator’s cubby, the CEO is amazed that he collects things, saying “You collect nonessential mass?” (328). Why is he surprised that the narrator collects “mementos” of his travels? Isn’t this a normal thing for most travelers/tourists to do? What makes it so strange in the future?

Q3: When the narrator goes to the temple, the Holy of Holies tells it to “engage in passive resistance…You will be like a genie, granting Armand’s wishes” (336). What do you think passive resistance means, and why can’t the narrator actively resist Armand? Why is an indirect route essential—and perhaps, more effective?

Q4: In the end, the narrator gives up its entire identity to help the CEO: “Everything I had ever worked for disappeared in a wet, slimy gulp. My reason. My purpose” (337). Why would it abandon its identity simply to follow orders? What does it gain in return? Simply a sense of being a ‘good’ robot? Or something else?

For Monday: Rustad, “Brightened Star, Ascending Dawn” (pp.100-113)

Group B/F should answer TWO of the following:

Q1: Pronouns are interesting in this story: the ship refers to itself as “she,” the android on board is always “zir,” and the stowaway, Li Sin, is “they.” Why does only the ship get a specific gender, while the other two are either indeterminate or something alien? What might this say about how the ship views other beings in relation to itself?

Q2: At one point, the narrator reflects that “The ship is perfect obedience and nothing more” (106). What does the ship understand about its identity and how is this identity questioned in the story? Where is the first time the ship questions what it’s been told to think about itself?

Q3: Why does the ship agree to take the “ghost” (Li Sin) under her protection, but allows the refugees from Aes August to be destroyed? Technically, protocol should have her deny sanctuary to anyone not decreed by the Sun Lords. What makes Li Sun worth defying its programming?

Q4: In this story, the ship and the android quickly begin showing signs of humanity, though neither one is technically human. Though some might deny that a robot could even be human, according to this story, what makes something ‘human’? What trait or clue does each one exhibit to show that they’re more than circuits and protocols?

Conversation Paper #1: Masks of Identity

STORIES: Ms. Marvel, “Destroy the City With Me Tonight,” “Brightened Star, Ascending Dawn,” “The Zen of Starship Maintenance,” “Carnival Nine,” “Rivers Run Free,” “The Last Cheng Beng Gift”

INTRO: Each of these stories shares a variety of conversations about the role of identity—rivers and robots becoming human, ‘normal’ people becoming superhuman, and people facing their final identity (death). All these stories are ultimately about us, and how we change, adapt, and learnt to be “seen” for who we truly are, rather than forgotten for the wrong reasons. The metaphors of heroes, robots, and ghosts help us consider who we are at different stages of our lives, and who we might become. The less it looks like us, the easier it is to see ourselves in the metaphor (which is why sci-fi and fantasy comes in handy).

ASSIGNMENT: I want you to write a paper to someone much younger than you—perhaps a younger brother or sister, or even your younger self—who is just beginning to struggle with the concept of identity. Obviously they can’t understand this process or really articulate who they are or what they want to be. So in this paper, I want you to give them advice about how to find themselves, what to avoid, and what it means to be truly ‘human.’ To do this, I want you to use at least THREE of the stories in class to show them that this is a universal conversation—one that everyone struggles with, that we don’t need to experience alone. Use the ideas, characters, and situations in the stories to help them see their own journey and struggle, as well as what you’ve learned from your own experience. Be SPECIFIC and don’t be afraid to be personal; show that the stories aren’t just stories—they actually relate to real life.

QUOTING STORIES/WORKS CITED:

In Marshall’s story, “Destroy the City With Me Tonight,” she writes that “She’s always wondered why you’d bother with a mask; now she gets it. It’s not to be concealed, it’s to be seen, to be remembered” (14). This is important because…

Marshall, Kate Alice. “Destroy the City With Me Tonight.” Best American Science

            Fiction and Fantasy 2018. ed. Jemisin. Boston: Houghton Mifflin, 2018.

REQUIREMENTS:

• At least 4 pages double spaced
• Must use at least 3 stories from class, though you can use one more than the others
• Quote from the stories in your paper and cite following MLA guidelines; include a Works Cited page at the end with each source listed
• Due in TWO WEEKS: Friday, March 1^st by 5pm

For Friday: Marshall, “Destroy the City With Me Tonight” (pp.13-21)

Group “A” / “SF” should answer TWO of the following:

Q1: In her reflections on the story, Kate Marshall writes that “it is a story about grappling with identities into which it is too easy to vanish—losing who we are in what we are” (350). According to this story, why might being a superhero (or anyone with a secret calling) gradually overtake you and make your real life vanish?

Q2: The story has a strange metaphor at its center: that every person with Caspar-Williams Syndrome has a literal city written on their body, and to ease their suffering, they have to find that city and defend it. While this kind of makes sense for a superhero (since each one has their own city—Gotham, Metropolis, etc.), how might the metaphor translate for normal people?

Q3: In the beginning of the story, Cass chooses a superhero identity, Seraph, and decides on a mask to wear. As she reflects, “She’s always wondered why you’d bother with a mask; now she gets it. It’s not to be concealed, it’s to be seen, to be remembered” (14). How might this relate to the comment in Ms. Marvel about her becoming an “urban legend”?

Q4: Before she kills him, the villain named Nightblade asks her to “Destroy the city with me…Destroy the city and we’ll be free” (19). Why would destroying the city make her free and allow her to leave? In real-world terms, what might he be asking her to do? Why doesn’t she agree?

For Monday: Wilson. Ms. Marvel, Issue #5 & Epilogue

Group "B" / "F" should answer TWO of the following:

Q1: At the Epilogue that follows issue #5, she narrates, "when we bury the things we don't want to face, monsters grow." Why might this statement explain the appeal for superhero stories? Though about masked heroes and villains, why are all of these stories essentially about "unmasking" society?

Q2: Though Ms. Marvel has incredible (and seemingly unlimited) powers, why does she fail in her first two missions? What doesn't she understand about the job and responsibilities of a superhero? How does she set about learning it?

Q3: At the end of the issue, Mr. Edison (the strange bird-man) claims that Ms. Marvel isn't just a costumed girl but an "urban legend." What does he mean by this? And why does every superhero, to be effective, have to become an urban legend first?

Q4: In an article about G. Willow Wilson (the author) in The New Yorker, she writes that there is a “neat ideological overlap between superhero comics and religion, in a positive sense. Both things are about voluntarily holding yourself to a superhuman ideal, doing good even when it’s not required of you.” Why might this be important for reading (and understanding) the importance of superheroes in our culture--as well as in this comic? 

For Friday: Wilson, Ms. Marvel, Issues #3 and 4

The "A" or "SF" group should answer TWO of the following:

Q1: How does the comic explore the experience of women in Islamic society? What challenges does Kamala face as an American teenager in a society that largely sees itself as a different culture? On the same hand, how does it challenge many of our stereotypes about Islamic-American society?

Q2: In our last class, I suggested that becoming a superhero is also a metaphor for the transition between childhood to adulthood. How might many of her 'changes' be symbolic of accepting a new life and identity? Discuss a passage that seems to illustrate this metaphor.

Q3: Remember that a comic isn't just about the story--it's about how the story is told/drawn. Discuss a single frame that you feel really helps tell the story in a way you wouldn't get from the words alone. What does the style or the fine details help you understand about the characters or the themes of the story?

Q4: Why does Kamala decide to abandon the Ms. Marvel identity and make her own--complete with her own, homemade, costume? What specifically made her stop hiding behind the 'mask' of a superhero? (don't just say--she wanted to be herself; what MADE her want to be herself?)

Important LINK (see below)

Two things:

1. I had to cancel class on Monday due to sickness. But we'll be back on Wednesday with Ms. Marvel--see reading and questions below.

2. ALSO, the ECU Library wants all Comp 2 students to take the following survey on your research habits. If possible, could you click through the survey? It only  takes a few minutes: http://ecok.libsurveys.com/english-languages-post-test  

Thanks and see you tomorrow! 

For Wednesday: Wilson, Ms. Marvel (Issues 1 & 2)

NOTE: This graphic novel is a collection of Ms. Marvel Issues 1-5 collected into one collection. For next class, read the first two issues: you can tell when an issue begins because they have a full page image with a number at the bottom. Otherwise, there are no page numbers at all, which gets a little confusing. 

Group "B" (or "F") should answer TWO of the following:

Q1: Comics have always played with the idea of a teenager with all their associated problems trying to be a superhero (esp. Spiderman). What new complications does a Muslim teenager bring to the table? Why would it be even more difficult for Kamala to maintain her secret identity as Ms. Marvel? 

Q2: Why does Kamala emerge from her shell as a blonde Ms. Marvel? Since her dream was always to become a superhero, what might she have assumed about the reality about becoming one?

Q3: How can you describe the drawing style of this comic? How does it make you read/respond to the story? Why do you think Adrian Alphona drew it this way? Do you think the story goes well with the style, or did it frustrate or confuse you?

Q4: Typically, superheroes get a dramatic origin story to highlight their new identity. Why do you think Ms. Marvel's is so abrupt? What might this say about the comic's take on what makes superheroes and identities in the first place?