The English Patient The Sweet Hereafter by alicejenny


									The English Patient (3) &
  The Sweet Hereafter
 Trauma and the Communities
   “beyond” the Boundaries
The English Patient      The Sweet Hereafter
   Plot Summary and         Starting Questions
  Questions                Pied Piper
                           Different Parents and
   EP’s re-                Difficulties in
  interpretations          Communication
   nomads vs. nations;     The role of the Lawyer;
   Kip’s Changes;          Wild Nature vs. Enclosed
   Hana’s Homecoming.      The Sweet Hereafter
           Plot Summary
Chap VI: the Buried Plane -- Caravaggio’s
intrusion into the EP’s storytelling--the ending
of 1942 told the first time. (p. 175)
Chap VII: In Situ (meaning: in the natural or
original position or place 1940) -- Kip’s story
of being trained as a sapper; Kip vs. his
brother; Erith, where Lord Suffolk die;
          Plot Summary
Chap VIII: The Holy Forest: Kip’s experience;
Kip and Hana (217 - ).
Chap IX: The Cave of Swimmers -- EP’s story
of love re-told to Caravaggio (with two
endings/interpretations of the ending)
Chap X: August --the endings: birthday party;
Hana and Kip’s communication; Kip’s
experience of defusing bombs in Naples, Kip’s
sudden departure, Hana’s homecoming.
How are the EP’s views of his love for Katherine
and the latter’s death changed over time? How
does he “heal” himself?
Besides being used by the nations, and
physically and emotionally traumatized by the
war, how are these “international bastards”
influenced by national boundaries?
What do you think about Kip’s radical response
to the nuclear bomb? How is Hana’s
homecoming different from Kip’s?
Are there connections among the three
remaining characters?
EP’s re-interpretations of their
 Chap IX – a lot clearer than the
 previous account; “Death means you
 are in the third person”; re-ordering
 events (247-48)
 Their relationships:
   Reasons for their mutual attraction the
   story of Candaules pp. 232 -
   conflicts -- e.g. p. 238;
  EP’s re-interpretations of
     Katherine’s death
1. 1939 -- Put paints on her body 248
2. Alternating between self-questioning and
broader views of time, desert space and life
and death.
  Self-questioning-- curse pp. 257; demon-lover 260
  Every person a gift in life; 257
  “jackal” and “historian” 258-57;
  One’s own body as a communal book 261
          Nation vs.
    International Bastards
[Madox – died because of nations 243;
EP – “wrong name” 251
Caravaggio and EP – thief as a spy vs.
intellectual turned into a vacuum. 253-
Kip: marked (199) but invisible (196);
          Kip’s changes
Before the news of the nuclear bomb:
   agile, moves in relation to things 218-19;
   danger and peace: always concentrated
  on defusing bombs and admiring the
  statues and paintings in churches; e.g. 273;
  Mutual support and communication
  between him and Hana 270
          Kip’s changes
After the news of the nuclear bombs in
   283 –refusing EP;
  Brown races vs. Englishman 2886;
  Traveling against the direction of invasion
  290; 295
     Hana’s Homecoming
The letter she writes to Clara
   her ability to connect and to face her
  father’s death;
   her vision of “home” and “mother”:
  confirms their plainness and independence.
Connections in the Endings
Caravaggio – remembers Kip 208;
EP – imagines Kip’s presence 298;
Kip and Hana –lose contact after he does not
respond for a year;
Kip – still sees and thinks of Hana 300;
Hana – the author still leaves space for her
The final connection –or lack of connection?
      The Sweet Hereafter
By Atom Egoyan;
Adapted from the namesake novel by Russel
Banks, who likes Egoyan’s adaptation a lot.
(e.g. the addition of “The Pied Piper.”)
A film about the effects of deaths and losses.
In the film, the children are all “dead” to their
For some critics, it is typical of Canadian films
to not see death as an ending or a heroic
closure, but as a process or an absent
presence in life.
What’s the significance of “The Pied Piper”?
What do the opening and ending images and
the title of the film mean?
How many “fathers” or parents are there in the
film? How do they each relate to their children?
What does Stephens try to do as a lawyer for
the victims’ families? Is he justified to do so?
Why does Nicole lie in testifying? Whose fault is
the car accident?
       “The Pied Piper”
The adults’ betrayal;
Children’s being lead an adult by the
piper to a beautiful land with no return;
One lame child stays behind.
Possible contemporary allusions (in Middle
Ages): black death; children’s crusade
       “The Pied Piper” –
      The film’s adaptation
not an allegory
    The adults, not breaking promises, but
    mostly unhappy;
 The pied piper in the film – not a
 revengeful figure, but one that (wants to)
 leads a group/a child.
    Mr. Stephens,
    Dolores? Billy, follows but not leading.
   The Powerless: Dolores
With an invalid husband;
A loving person, her love for the kids
shown on the photos she put on her
sees picking up the kids as picking up
red berries to put in her basket.
The Powerless (2): The Ottos
 The Powerless and Troubled
Billy – finding refuge in adultery, when
actually he is obsessed by the past.
Risa and Wendell – Risa, does not know how
to deal with her son; the two always fighting
Fathers Betraying or Betrayed?
 Mr. Stephens & Sam
      Stephens and Zoe
 Happy family life in Zoe’s childhood:
dangers lurking underneath the happy
      Stephens and Zoe
 distance between them, after many
many disappointments which turns
sadness into “steaming piss.”
             Stephens and Zoe
 final communication:
Still filled with tension
but ending with their
sharing of fear.
Sam and Nicole
Sam and Nicole
    Stephens as a lawyer
 believes that there is a reason for
everything; transfer his grief onto the
The Role of Snowy Landscape
  a contrast to the enclosed spaces of
the car, the hotel room, the school bus
and the airplane.
The Role of Snowy Landscape
Smallness of human beings
The Sweet Hereafter
        The Sweet Hereafter
  a space of sobriety and maturity after
 the experience of traumas.

And everything is strange and new. . .

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