Alejandro Herrera
SF Literature
December 5, 2008
Hollow City & Tripmaster Monkey
Both authors offer accounts of displacement in order to give a new perception on a city which is generally known as a safe haven for many, including immigrants, artists and those looking for opportunity.
Tripmaster Monkey’s Whittman is a ghost in his home city. As an educated Chinese-American hippie, Whittman is constantly struggling in finding his own space in a vast city which, though it contains each fragment of his identity (hippie, American, Chinese, college graduate), has no place for his entire person. Amongst his peers, Whittman is expected to either fulfill the role of a successful college graduate or part of the loyal fraternity of Chinese-American youth in his community. While Whittman pursues social engagements, he is always faces the rejection of his complex identity which causes him to further isolate himself from others. Whittman is a character neither completely apart nor connected from his city and those around him. He becomes Ferlinghetti’s Dog character who is left alone to observe and label things without directly coming into contact with his surroundings.
In Hollow City, an image of San Francisco without artistic and cultural embrace is given. A city that has traditionally been a space for artists and the poor has turned into another part of the Silicon Valley. That artistic and beat culture is also a ghost in its own home. Traces of it can be found in upscale bars such as the Fly, which attract the bohemian bourgeois with the very culture and people it does not allow in its establishment.
San Francisco has become a symbol of refuge for immigrants, tolerance, and culture. However, in Tripmaster Monkey and Hollow City we see a place where a rich culture and peoples are now struggling to keep a space for themselves. Wittman is both an outcast to his fellow students and his people in Chinatown. Hollow City depicts residents losing their homes to gentrification and a bulldozer capitalist economy. Both authors depict a city which only has faint traces of what it once stood for.
Friday, December 5, 2008
Tuesday, November 11, 2008
Cultures and Contados
Alejandro Herrera
Friday 3:30
S/F Literature
November 11, 2008
Pre-America Cultures Existing in the San Francisco Contado
Living within the San Francisco contado are various cultures and peoples which have existed long before San Francisco has become a modern western city. Examples of this are the cultures and religions of Asia as well as the people and cultures of the Native Americans. Located in the city of San Francisco is Gold Mountain Sagely Monastery which was founded by Hsuan Hua, a monk who started the Dharma Realm Buddhist Association in 1962. Master Hsuan Hua did not seek profit or fame, but rather sought to humble himself and act as stepping stone to assist those who wanted transcendence.
The Zen teachings of Hsuan Hua were at odds with the industrial capital his monastery resided in, however. San Francisco’s industrial state has been realized by feeding off of the resources of other biological and industrial spheres, ever increasing the impact it has on surrounding and global regions. In fact, the city has done this by doing harm and invading the space of others.
Physically, the monastery is located right next to a Bank of America, a symbol of capitalism and prosperity. The monastery is placed in a city where both prosperity and poverty thrive. The monastery and the movement associated with it, bringing Dharma to the West, must struggle with offering followers simplicity in an industrial powerhouse.
Another group of people struggling for existence in the San Francisco contado are the Native Americans, who have inhabited the land long before it has been deemed inhabitable by the land’s newcomers. Before America was America, it was Turtle Island, and a return to that land is being urged for by several minority groups. This goal is not the goal the city has, which wants “empire to expand westward,” consuming all in its path in order to manifest modernity.
There is also the issue of displacement and silencing. Those who have previously lived in harmony with the land have been displaced to reservations or forced out of culture. Alcatraz and the documentary “Alcatraz is not an Island” can be used as an example. Alcatraz started out being Native American land, being used as a place of isolation for individuals. Later in history, it was acquired by America, used for military purposes, used as a prison and then labeled supplementary government land.
The temporary occupation followed by a failure in reclaiming the land Native American territory is simply a sad and violent history repeating itself. Though a brief moment of vocalization increased the country’s awareness of a forgotten and ignored people helped their cause, the momentum died.
Sources:
The following sites provide background information on Hsuan Hua and his Monastery.
http://www.virtourist.com/america/san-francisco/41.htm
http://en.wikipedia.org/wiki/Hsuan_Hua#Bringing_the_Dharma_to_the_West
http://drbachinese.org/branch/GMM/
The following websites document the history of Alcatraz as a government property and the several occupation attempts by the Native American Activists as well as Native American history.
http://www.pbs.org/itvs/alcatrazisnotanisland/nativeland.html
http://www.pbs.org/itvs/alcatrazisnotanisland/background.html
“Alcatraz is Not An Island” PBS documentary
http://en.wikipedia.org/wiki/Alcatraz
Friday 3:30
S/F Literature
November 11, 2008
Pre-America Cultures Existing in the San Francisco Contado
Living within the San Francisco contado are various cultures and peoples which have existed long before San Francisco has become a modern western city. Examples of this are the cultures and religions of Asia as well as the people and cultures of the Native Americans. Located in the city of San Francisco is Gold Mountain Sagely Monastery which was founded by Hsuan Hua, a monk who started the Dharma Realm Buddhist Association in 1962. Master Hsuan Hua did not seek profit or fame, but rather sought to humble himself and act as stepping stone to assist those who wanted transcendence.
The Zen teachings of Hsuan Hua were at odds with the industrial capital his monastery resided in, however. San Francisco’s industrial state has been realized by feeding off of the resources of other biological and industrial spheres, ever increasing the impact it has on surrounding and global regions. In fact, the city has done this by doing harm and invading the space of others.
Physically, the monastery is located right next to a Bank of America, a symbol of capitalism and prosperity. The monastery is placed in a city where both prosperity and poverty thrive. The monastery and the movement associated with it, bringing Dharma to the West, must struggle with offering followers simplicity in an industrial powerhouse.
Another group of people struggling for existence in the San Francisco contado are the Native Americans, who have inhabited the land long before it has been deemed inhabitable by the land’s newcomers. Before America was America, it was Turtle Island, and a return to that land is being urged for by several minority groups. This goal is not the goal the city has, which wants “empire to expand westward,” consuming all in its path in order to manifest modernity.
There is also the issue of displacement and silencing. Those who have previously lived in harmony with the land have been displaced to reservations or forced out of culture. Alcatraz and the documentary “Alcatraz is not an Island” can be used as an example. Alcatraz started out being Native American land, being used as a place of isolation for individuals. Later in history, it was acquired by America, used for military purposes, used as a prison and then labeled supplementary government land.
The temporary occupation followed by a failure in reclaiming the land Native American territory is simply a sad and violent history repeating itself. Though a brief moment of vocalization increased the country’s awareness of a forgotten and ignored people helped their cause, the momentum died.
Sources:
The following sites provide background information on Hsuan Hua and his Monastery.
http://www.virtourist.com/america/san-francisco/41.htm
http://en.wikipedia.org/wiki/Hsuan_Hua#Bringing_the_Dharma_to_the_West
http://drbachinese.org/branch/GMM/
The following websites document the history of Alcatraz as a government property and the several occupation attempts by the Native American Activists as well as Native American history.
http://www.pbs.org/itvs/alcatrazisnotanisland/nativeland.html
http://www.pbs.org/itvs/alcatrazisnotanisland/background.html
“Alcatraz is Not An Island” PBS documentary
http://en.wikipedia.org/wiki/Alcatraz
Monday, October 20, 2008
Alejandro Herrera - Kool-Aid
Alejandro Herrera
S/F Lit Fri 3:30
October 20, 2008
Fulfillment in Kool-Aid
Brautigan uses the character of the Kool-Aid wino as a glimpse into the life of those who have been pushed out of the world, left to idle or act as they please. The Kool-Aid wino is given a double identity which are formed by products of capitalism and the joys which can be obtained outside of it. The Kool-Aid wino is the forgotten finding happiness through methods alternative to working long hours in an undesired job. He is what anyone can choose to be, if they allow themselves to see life as he does. The Kool-Aid wino is both beat down and pursuing beatitude.
At first glance, the wino embodies all the characteristics of the downtrodden. He is a non-American member of the lower class who is unable to work for money due to his handicap. Unseen by the workforce and ignored by his parents, the young Kool-Aid wino is free to do as he pleases. Consistent with a prevalent theme in the novel, the boy is able to wander and pursue his own happiness. He does not have to obey the authority of “4/17 of a haiku” (6) because the authority does not acknowledge him. His mother does not enforce his household chores. The pheasants in the field don’t even give him any notice when he walks in their field. The Kool-Aid wino relies on the charity of others and his unique, romantic philosophy to seek out his joys.
After the initial look at the poverty in the boy’s life, Brautigan exposes the pleasure one can explore outside of the capitalist world. The boy lives a simple lifestyle which derives its pleasures from simple things such as Kool-Aid. He does not need to work like the rest of his family, and he does not need to worry about materials as his friend does. The Kool-Aid wino only concentrates on being perfect at what he enjoys; the boy becomes the master of his trout stream. In this way, the boy is beautiful, and he completes the remaining 13 syllables of his haiku. Dirty dishes and the instructions on the back of the Kool-Aid packet can not ruin his Kool-Aid ceremony.
Brautigan sets the Kool-Aid wino apart from the other working class people in his novel. The Kool-Aid wino was forced out of mainstream life, but he chose to create his own “Kool-Aid reality” (10). The boy will never be limited to titles such as “Devoted Slob Father of” or “Beloved Worked-to-Death Mother of” (20) because he ignores behavioral laws and rejects regulated tasks. Brautigan’s Kool-Aid wino is a plea to the rest of the world to recognize the absurdity in many of the things that create and regulate daily routine in order to experience true happiness. Brautigan asks whether one wants to be remembered as for their unhappiness or their ability to “illuminate” (11) life.
S/F Lit Fri 3:30
October 20, 2008
Fulfillment in Kool-Aid
Brautigan uses the character of the Kool-Aid wino as a glimpse into the life of those who have been pushed out of the world, left to idle or act as they please. The Kool-Aid wino is given a double identity which are formed by products of capitalism and the joys which can be obtained outside of it. The Kool-Aid wino is the forgotten finding happiness through methods alternative to working long hours in an undesired job. He is what anyone can choose to be, if they allow themselves to see life as he does. The Kool-Aid wino is both beat down and pursuing beatitude.
At first glance, the wino embodies all the characteristics of the downtrodden. He is a non-American member of the lower class who is unable to work for money due to his handicap. Unseen by the workforce and ignored by his parents, the young Kool-Aid wino is free to do as he pleases. Consistent with a prevalent theme in the novel, the boy is able to wander and pursue his own happiness. He does not have to obey the authority of “4/17 of a haiku” (6) because the authority does not acknowledge him. His mother does not enforce his household chores. The pheasants in the field don’t even give him any notice when he walks in their field. The Kool-Aid wino relies on the charity of others and his unique, romantic philosophy to seek out his joys.
After the initial look at the poverty in the boy’s life, Brautigan exposes the pleasure one can explore outside of the capitalist world. The boy lives a simple lifestyle which derives its pleasures from simple things such as Kool-Aid. He does not need to work like the rest of his family, and he does not need to worry about materials as his friend does. The Kool-Aid wino only concentrates on being perfect at what he enjoys; the boy becomes the master of his trout stream. In this way, the boy is beautiful, and he completes the remaining 13 syllables of his haiku. Dirty dishes and the instructions on the back of the Kool-Aid packet can not ruin his Kool-Aid ceremony.
Brautigan sets the Kool-Aid wino apart from the other working class people in his novel. The Kool-Aid wino was forced out of mainstream life, but he chose to create his own “Kool-Aid reality” (10). The boy will never be limited to titles such as “Devoted Slob Father of” or “Beloved Worked-to-Death Mother of” (20) because he ignores behavioral laws and rejects regulated tasks. Brautigan’s Kool-Aid wino is a plea to the rest of the world to recognize the absurdity in many of the things that create and regulate daily routine in order to experience true happiness. Brautigan asks whether one wants to be remembered as for their unhappiness or their ability to “illuminate” (11) life.
Friday, October 10, 2008
Lawrence Ferlinghetti - San Francisco Poems
Ferlinghetti addresses issues of race emerging in the public’s eye, using the smaller cantado of San Francisco to speak on global issues. In “Baseball Canto,” an American tradition is disrupted by “barbarian invaders” (Ferlinghetti 41) who change how the game is watched, played and celebrated. While the images of presented of the minorities are aggressive, they are in no way negative or feared by Ferlinghetti. Ferlinghetti are both violent and beautiful, establishing the “revolution” (43) and “Territorio Libre” (43) as something inevitable and necessary.
In this poem, the introduction of Blacks and Latinos to baseball is met with unease and an attempt to stamp it out with “the backstage panic button” (43). However, their entrance can not be stopped, and their presence makes the San Francisco Giants great. These changes can be extended to the entire San Francisco canto, being the receptor of many people and cultures. Just as the roars from the cheering crowd could not be drowned out by the national anthem, the presence of different people in the nation can not be stamped out by white America. Whether in a sport, a city or larger community, Ferlinghetti makes it clear that the boisterous and energetic arrival of different peoples has too much momentum to be stopped.
In this poem, the introduction of Blacks and Latinos to baseball is met with unease and an attempt to stamp it out with “the backstage panic button” (43). However, their entrance can not be stopped, and their presence makes the San Francisco Giants great. These changes can be extended to the entire San Francisco canto, being the receptor of many people and cultures. Just as the roars from the cheering crowd could not be drowned out by the national anthem, the presence of different people in the nation can not be stamped out by white America. Whether in a sport, a city or larger community, Ferlinghetti makes it clear that the boisterous and energetic arrival of different peoples has too much momentum to be stopped.
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