*the role of coincidence versus fate or destiny
*the multiple, insistent connections and links between characters
*the rise of industrial, mechanized capitalism
*metafictional commentary (stories about stories)
*simulacra (images/copies of "the real"); increasing confusion about the real versus the fake; the original versus copies
*the multiple, insistent connections and links between characters
*the rise of industrial, mechanized capitalism
*metafictional commentary (stories about stories)
*simulacra (images/copies of "the real"); increasing confusion about the real versus the fake; the original versus copies
*and MUSIC!
What other repeated images, motifs or ideas can you locate in this text? Start tracing out how the book repeats and modifies key ideas and scenes. How do all these disparate characters become linked?
The way that Younger Brother is used to express emotion, sadness and loneliness especially has become a fascination for me. At the very beginning of the novel, he is the first character we are introduced to on an emotional level. Doctorow sets the scene of this "Stepford America," where the only semi-emotion expressed is that of patriotism. There are hordes of people, with "no entertainment that did not involve great swarms of people" (3). And then there is Younger Brother, "a lonely, withdrawn young man...thought to be having difficulty finding himself" (4). After his affair with her, he loses himself again. But this time, it is in depression. He seems, at this point, to have nothing to live for but the emotions that envelop him from morning to night. The passage that really catches my interest is that on page 143 when Younger Brother is on the train contemplating suicide. This seems to me, an introduction of one strain of music, a melody. Younger Brother, at this point, is the embodiment of "suicide rag" (144). This has me wondering if, like in ragtime, each of the characters are like keys on a piano introducing a particular sound to the text. Their stories, a particular melody that only can be accomplished by the introduction of the other keys (characters.) And all those melodies blended together to make a single piece of music.
ReplyDeleteThe length and disposition of the lines, along with the clumsy diction makes the reader take the book slowly. As you read it, you cannot help but slow down as if you were hitting speed bumps almost constantly. As you come to a, sometimes, screeching halt, you linger upon the themes which present themselves. In this modern era, sex has become a huge topic of discussion, even though it has been pushed under the table by the society in general. Even the kinkiest of sex in a German castle is discussed in the metafictional commentary. The sexual tendencies of a liberated woman, of a lower socio-economic ring than her sex-partners and thus under their physical command, hanging on their whims, are delved into in quite graphic detail, and her true motives, the ones we would never discuss (money) are unfolded. Through all of this narrative, there is a lack of quotation usage. The tale runs itself together into a smelting pot of language and consciousness.
ReplyDeleteOne image that tends to show up throughout most of the book is Harry Hudini himself. This is used for a slowing down effect for sure, but he is a very unique individual in this novel. Not unlike is true self, in the book, Hudini continuously shows up and disappears as soon as he arrives. This is a very interesting effect used by Doctarow to give a break in the pattern, much like in ragtime music. This becomes more interesting later in the book when we begin to see each of the characters personal lives and how they all fall together. Jesse
ReplyDeleteI feel that E.L. Doctorow did not write a book called Ragtime but rather a piece called Ragtime. Every word, chapter, character becomes not a part of a story but a musical work. Doctorow uses many different nuances to transform a piece of literary fiction into a melody played out for us readers.
ReplyDeleteI first noticed this through the grammatical, stylistic choice of quotations. Or should I say that lack thereof. Doctorow cuts all ties with classic literary form and leaves off quotation marks. Just as a musical piece flows, his words on the page do as well. Those marks don’t hinder or break the continuous form. Rather the words rather Doctorow’s or his characters, run together much like a melody.
The next thing that strongly reminded me of a musical piece was his short chapters and brief character appearances. Music has sections. One section is about the flutes and the oboes, the next is a strong drum line with clashing symbols. This gives a dramatic effect and a personality to the piece. Doctorow uses this same idea with his chapters. He keeps them brief, just like a section in a musical piece, and then changes the tone with the next brief section by changing characters and the story line. Also, just like a musical piece, these notes and instruments sometimes intertwine with each other, much like Doctorow’s characters interacting in certain situations.
I look forward to reading more and seeing if I can draw more musical parallels to Doctorow’s literary work.
For whatever reason, Harry Houdini seems to be my favorite character so far with his escape acts. At first I was concerned that none of the characters were going to connect, but once they started to the story made a lot more sense. Each character seems to have their own way of dealing with change and I’m interested to see how this plays out.
ReplyDeleteFantastic posts, folks--keep it up. I need to hear from more of you.
ReplyDeleteI had no idea what to expect when I initially began reading this book. I assumed it would have at least something or everything to do with Ragtime music. Seeing now that it is actually a social commentary on this time period, the book had become much more interesting to me.
ReplyDeleteMy favorite aspect of the book is how Doctorow ties in so many different social entities of the time period, which I think more richly shows the evolution of American society. Because we get the viewpoints of so many different people, e.g. Houdini, Nesbit, Peary, Ford, as well as an average family in Mother and father, you really get a sense of the changing of the times.
While reading the book I can't help but continuously be reminded of the song "The times, they are a changin" by Bob Dylan. The way Doctorow transitions between characters is particularly smooth, and I think lends to the theme of reading the "piece" too fast.
The ongoing themes of sex and violence, and how he mentions they are practically indistinguishable from one another have also stuck in my mind. In every situation Doctorow describes, it seems this theme is continuously realized.
Now that I have finished the book I am angry/sad/happy/depressed - blah. If any of you have seen the movie _Crash_ you can probably understand the 'blahness' to which I'm referring. This book reminds me of that movie in so many ways, such as the intertwining of characters, also leaving me with a roller coaster of emotions. Dr. Hinrichsen asked us to be aware of the tone changes as soon as Coalhouse Walker is placed into the text, and it is abundantly clear what she is referring to.
ReplyDeleteThe first half of the book seems to be very happy and stereotypical of a nice "feel-good" type movie or book. Soon after Coalhouse Walker is introduced and wronged by the firemen, I not only became angry at the firemen but at society in general. I'm sure Doctorow intended for us to at least be sympathetic with Walker, but as the situation snowballs out of control I find myself sympathizing with the anarchists. At any rate, now that I've placed myself in my blog, I would just like to note that the book is deceiving at first, to draw you in, and then it implies the imperfections of America.
I also enjoyed the style of his writing. The short, choppy sentences seemed to lead up to some kind of important plot change, and I found that much more enjoyable than thick, heavy text.
My favorite scene in this book is where Houdini, hanging upside-down in a straightjacket 12 stories up, remembers what the little boy had said to him at the beginning of the book. Doctorow throws a seemingly random and unexplainable line in the first chapter of the book, and does not even mention it again until the last chapter. I thought this was a very interesting technique. I also loved just how impactfull that simple and unexplainable phrase "warn the duke" was for Houdini. After a lifetime of confusing people, finally he himself is confused. Houdini is now able to feel the mystery that his audience feels when he fools them. I enjoyed how, after completing a book filled with exposed secrets and explanations of coincidences, one is presented with something impossible to explain.
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