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2018 Midterm2
(assignment) |
LITR 4340
 American Immigrant Literature Model Assignments |
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Gregory Bellomy
Gumbo Buffet
When I think about why the experience of literary criticism has value, it
is not so much from being correct, or even having an original opinion about a
work. Instead, the bulk of the value found in the literary critical experience
exists in reading the reflections of others. This is a perfectly sensible
conclusion, since the one of the primary functions of literature is to allow the
reader to experience reality in something beyond the first-person experience. In
keeping with this truth of what makes literature good, it must be acknowledged
that the works of students who went before me have both informed and challenged
my views upon beginning this assignment.
Austin Green’s “New World Culture Clash” serves as a primary example of
both informing and challenging my beliefs about American Immigrant Literature.
Upon rereading my first midterm submission, I found that building on that
structure to be an impossible feat, mostly because my previous organizational
attempt made little room for the narratives that we would have to assimilate
into the whole of immigrant experiences. Reading Green’s submission for 2016
made me feel less alone in my reorganization process; he also had to reorganize
his essay to provide coherence to his arguments. While we both zeroed in on
Junot Diaz’s “How to Date a Browngirl,” we had different interpretations as to
how the narrator balances his race and ethnicity against the assumptions of
native culture. In observing the development of his essays, I have to admit that
I was impressed that he left the stages of assimilation in his previous draft,
focusing instead on how to unify the course narratives into a coherent whole.
Zach Thomas also challenged some of my previously held beliefs in
“Un-American Americans.” Unlike myself, Zach trusted his experience of Latino
culture and its significance in our society enough to make it the centerpiece of
his paper. As a Houstonian for over a decade and a lifelong Texan, I also feel
that Hispanic identity constitutes some part of what it means to be from Texas.
At the same time, I also know that I must recognize the privilege intrinsic to
my personal experience and how that prevents my authentic claim to this
heritage. As such, I am still impressed at the way in which he seized upon the
Mexican immigrant experience and how this reflects upon us, the members of the
dominant society.
In
continued reading of students who studied before us, I was again bedazzled by
Katie Morin’s voice and reason. In reading her midterm assignments, I found
myself agreeing with most of the points that she made, while at the same time
being jealous about her ability to connect thoughts through likeness, contrast,
and relevant transitions. My personal cynicism and parallel enrollment in the
course studying American Modernism have emphasized my skeptical persona as a
reader; yet, I found myself applauding Katie for acknowledging the blurry line
that exists somewhere between immigrant and minority narratives. From my
perspective, the recognition of that which is unknown or unknowable is the mark
of a truly honest intellect. In addition to her admissions of the unknown, I
also admire Katie’s insight to how the smaller distance of travel might affect
the attitudes of New World immigrants.
As we
are taught to practice it, the academic experience of literary criticism is
surely something that we ought to attempt to bring to future generations. For
me, the practice of reviewing what students ahead of us wrote provides both
reinforcement and humility for the effort. Again, I find myself awed at the
thoughts and compositions of those who have read the same texts in different
ways. This reflection upon the works of students of days past brings variety as
well as ensuring a sense of humility when progressing their studies. Beyond
challenging our assumptions and ideas, it also encourages prospective writers to
update their styles in favor of being more truthful and succinct.
