Showing posts with label " a lesson before dying. Show all posts
Showing posts with label " a lesson before dying. Show all posts

Thursday, March 19, 2015

New Items in the Collection and Marginalia

On Tuesday, I wrote about Sister Mary Ellen Doyle's involvement in the Selma to Montgomery marches in 1965 and how they impacted her life and career. Recently, the center received items from Sister Doyle to add to the Ernest J. Gaines collection here at UL Lafayette. Today, I would like to take a moment to highlight some of the items and to discuss their importance to the collection. sister Doyle sent newspaper articles, scholarly journal articles, and reviews about Gaines and his work. Along with these items, she also donated correspondence between Gaines and herself, her collection of Gaines novels, and lectures that she delivered on Gaines at various occasions.

We just received the items a couple of days ago, so I have not had the chance to scour through in full yet. However, I did notice a couple of things that I would like to share with you today. For one, all of Sister Doyle's books contain detailed marginalia. What do I mean by this? On the first couple of pages, she briefly summarizes each chapter in the novel and then summarizes key points. Throughout the chapters, she makes notes and underlines important texts. Why she would care about her marginalia? I recall visiting an exhibition of books from Thomas Jefferson's library once. There, in each of the books that were on display, I could see his marginalia notes. He wrote in his books. He conversed with the books. We have to remember that books, even though they are inanimate objects and we read them, typically, in solitude, are not solitary experiences. When we read, we interact with the author. Marginalia allows for a conversation to occur, and it also provides a space for notes and ideas to be remembered. Perusing Jefferson's marginalia provides us with insight into Jefferson's mind and also into how he interacted with the text he was reading at the time. Jefferson's marginalia even allowed scholars to denote books that were sitting in a special collection in Washington University for 131 years as books that once belonged to Thomas Jefferson. For another article on why marginalia is important, see "Book Lovers Fear Dim Future for Notes in the Margin"; it discusses marginalia by Mark Twain in a book about how to turn a profit in publishing books.


Back to Sister Doyle's marginalia for a moment. One of the first things I did when I received the books was flip through the to see her copious notes. While doing this, I lighted upon a couple of pages and topics that I have written about in the blog. Low and behold, on the pages were Sister Doyle's notes. Sometimes they agreed with what I though, sometimes not. However, they always provided me with more insight not only to Gaines's writing but also to Sister Doyle as a scholar and writer herself. The images provide two examples of Sister Doyle's marginalia. The first is from Of Love and Dust. Here, she speaks about the symbolism of the dust in the novel, something I posted on recently. In the margin, Sister Doyle writes, "Dust like white lyncher, symbol of white power Marcus can't fight, also of lifeless, dry existence he must endure at Hebert's." Sister Doyle's notes here summarize, succinctly, the symbol of dust within the novel, and they also make me think about the line that she has underlined in the final paragraph: "That dust was white as snow, hot as fire." The comparison of the dust to "white" snow is unmistakable, and I think that Sister Doyle's insight here helps to make that abundantly clear.

I also opened A Lesson before Dying and looked at the very last page, curious to see what Sister Doyle would write on the final lines of the book. Here, Grant has just heard about Jefferson's execution, and Paul gives him Jefferson's diary. The novel ends with three simple words, "I was crying." Again, I have written about this before, so I was curious to see what her thoughts were on the final line. Specifically, her initial thoughts before she transferred them into a longer piece. In regards to the last line of the novel, she writes, "He [Grant] finally has his break-through. In beginning, he only made the children cry." Her notes here make me reexamine what I initially thought about Grant crying at the end of the novel. I do see it as a "break-through," but I did not necessarily relate his crying here to his actions earlier where he made the children in the school cry. The other note is about style and form as well as themes. She writes, "Poignancy of ending from its beauty and understatement. But clear implication that he will be a different sort of teacher now, with hope for his students." This simple note provides us with insight into Grant's transformation, but it also causes us to look at Gaines's style and form in the novel, and specifically how he uses it at the end.

With this post, I wanted to highlight the importance of writing in books. I write in books to remember thoughts and to converse with the author. I always tell my students to write in the margins, but most of them still don't. We view books as something sacred that should not be tampered with. That's not the case. What do you think about marginalia? Is it something that is important? Or, is it something we shouldn't care about at all?

Tuesday, January 6, 2015

Second Annual Ernest J. Gaines Summer Teaching Institute


Last June, the Ernest J. Gaines Center hosted the First Annual Ernest J. Gaines Summer Teaching Institute. Over the course of a week, teachers from around the area gathered to read and discuss Gaines' works. We also took the time to talk about how they could teach those works, and others, in their own classrooms. The center provided them with access to archival materials and articles that would help in this endeavor.

This summer, the center, in conjunction with the Louisiana Endowment for the Humanities (LEH), will host the Second Annual Ernest J. Gaines Summer Teaching Institute. The institute will be held June 8-June 12, 2015 from 8:00-12:00 each day. The main goal of the institute is to provide area educators with the opportunity to explore, research, and discuss works by Ernest J. Gaines while focusing on how to bring the information garnered from the institute back to their own classrooms. To accomplish this, the institute will involve lectures from Dr. Marcia Gaudet and Dr. Darrell Bourque. Dr. Gaudet served as the founding director of the Ernest J. Gaines Center from 2008-2012, and she has authored, co-authored, and edited numerous books and articles on the work and life of Ernest J. Gaines. Some of her works include "This Louisiana Thing that Drives Me":The Legacy of Ernest J. Gaines (2009). Mozart and Leadbelly: Stories and Essays (2006), and Porch Talk with Ernest Gaines: Conversations on the Writer's Craft (1990). Dr. Bourque serves on the Ernest J. Gaines Center's Board of Directors, was the Louisiana Poet Laureate, and received the 2014 Louisiana Writer Award. He has written and presented on Gaines's work as well, including presentations on A Lesson before Dying and Catherine Carmier. Along with these, he has also written about Gaines and Modest Mussorgsky and on heroes in Gaines' fiction.  During the institute, Dr. Matthew Teutsch (Interim Director of the Ernest J. Gaines Center) and Jennifer Morrison (Graduate Assistant in the Ernest J. Gaines Center) will also provide insight and information about Gaines' work and the materials housed within the center.

The institute will involve numerous activities including lectures, discussions, use of archival materials, and most importantly the construction of materials for use in the classroom and in professional activities. The materials constructed by participants will also be available to other educators through the LEH. In conjunction with these items, participants will have the opportunity to visit New Roads, LA one afternoon. The trip will provide participants with the chance to see and to walk the landscape and the area that Gaines writes about in his fiction. These places include the cemetery and the church that play such a prominent role in Gaines' writing. Participants will examine four of Gaines' works: Bloodline, The Autobiography of Miss Jane Pittman, A Gathering of Old Men, and A Lesson before Dying.

The deadline to apply for the Second Annual Ernest J. Gaines Summer Teaching Institute is March 18, 2015. The institute will be limited to 10 participants, and each participant will receive a $200 stipend and a certificate showing their participation for professional development purposes. To apply, go the the Ernest J. Gaines Center's website and complete the application form. Participants will be notified by April 15, 2015 on the status of their status. Applicants must provide the following information:

  • name
  • school affiliation
  • phone number
  • email
  • a one page letter stating why you would like to participate in the institute, how you plan to incorporate the information learned into your classroom, and your previous experience (if any) with Gaines' work

For more information, contact Dr. Matthew Teutsch at (337)-482-1848 or at gainescenter@louisiana.edu


Tuesday, December 2, 2014

The Mask and Procter Lewis

Earlier, I wrote about the role that Grant Wiggins plays in relation to the whites that he interacts with. Grant consciously decides whether or not he will conform to the role of the subservient African American that whites such as Henri Pichot and Sheriff Guidry expect him to be. Today, I want to explore this same interaction; however, this time I want to look at how Procter in "Three Men" decides to put on the mask in order to possibly get a more lenient sentence or perhaps bonded out of jail for killing Bayou during a fight over a woman named Clara. Like A Lesson before Dying, "Three Men" deploys the first person point of view, in this case, Procter's.

At the beginning of the story, Procter enters the jail to turn himself in. Upon entering, Procter sees two policemen sitting at a desk and talking. Initially, the officers look at Procter, "but," he says, "when they saw I was just a nigger they went back to talking like I wasn't even there" (121). Just as Henri Pichot makes Grant wait to see him, the two men, even though they notice Procter, make him stand there waiting before they even acknowledge him in any way. Trudier Harris points out that Procter's initial referencing of himself as a "nigger" is important. Essentially, through this reference, Procter "labels himself through the eyes of the whites," letting  them determine his identity (43). While Grant has a more fleshed out identity, he acts the same way as Procter does in order to gain a chance to see Jefferson.

Like Grant, Procter knows when to add words like "sir" and "mister" to his speech. However, just as Grant thinks about whether or not he will add these formalities, Procter toys with the notion as well, explicitly leaving "sir" off of statements.  When asked about whether or not Paul, the other officer, had ever brought Procter into jail, he simply responds with, "Yes sir, once I think" (123). Here, Procter uses "sir" as a sign of "respect," but behind his outward comment on going to jail once, he thinks to himself, "I had been there two or three times, but I wasn't go'n say it if he didn't. I had been in a couple of other jails two or three times, too, but I wasn't go'n say anything about them either" (123).

Immediately following this thought, Paul asks Procter if he is good with his fist. Procter replies, "I protect myself" (123). This response causes T.J. to perk up, prodding Procter with, "You protect yourself, what?" (123). This causes Procter to repeat the statement, adding "sir" to the end. After another question, Procter does the same thing by leaving off "sir," and T.J. prods him again. Harris notes that this exchange shows Procter as trickster because "[h]e is mask and wearer, the Uncle Tom and the self-aware trickster, for the trickster registers his true responses to the situation as well as his resistance to the very role he has elected to play out with the white men" (44). Procter maintains his mask, making sure the two officers see him as subservient and falling in line. However, as his previous thoughts show, Procter "registers his true responses." At one point, when T.J. tells Procter that the he would "run every damned one of you off in that river out there," Procter just stands there quietly and thinks to himself, "I was quiet, looking at him. But i made sure I didn't show in my face what I was thinking. I could've been killed for what I was thinking then" (125). We don't know what Procter was thinking, but we do know, through his comments, that it was a thought of resistance. Even with this thought, Procter's face remains the same, showing no evidence of the thoughts that lurk behind his expression.

Procter, like Grant and Booker Wright who I wrote about before, wears the mask. He knows how to respond, and how to resist, albeit in minor ways. What are some other examples, either in Gaines' works, where these interactions appear? Place them in the comments below so we can discuss them.

Gaines, Ernest J. "Three Men." Bloodline. New York: W.W. and Norton, 1976. 121-155. Print.
Harris, Trudier. The Scary Mason-Dixon Line: African American Writers and the South. Baton Rouge: LSU Press, 2009. Print.