Question 2. Andrew Burton

Foster uses King Solomon’s quote, “There is nothing new under the sun,” to describe the art of writing literature. Everything is part of one big story. This is the story of life. There is nothing new. Everything has been said or written before. However, the difference is the perspective of the author and the characters they create. There may be hundreds of books written about the Nazi invasion and the torment of the Jews during World War II. However, each book is written from the experience of a different character, that is what makes them unique. The overall theme and the "story" may be the same, but the circumstances and experiences are different. Foster states, "there is no such thing as a wholly original work of literature" (24). Foster goes on to say that, "stories grow out of other stories" (28). As a person reads more literature, they will find connections to other books and characters. Foster says that these connections will enhance the reading experience and bring "multiple lays of meaning to the text" which "enriches the reading experience" (29). I thought it was very interesting how Foster tied many literary works back to Shakespeare or the Bible. He said that many of the same themes that are described in the Bible such as betrayal or denial can be read about in literature. This is something that I had never thought of. I think that the next book I read, I will look more for those connections, or as Foster said, "connect the dots" (42). I believe that will help me to become a better reader, and hopefully a better writer too.

Question 1. Andrew Burton

Reading literature is a "highly intellectual activity." When we are young, we are taught to read words and then read for enjoyment. At this level, we read for the affect or the emotion. Books can cause us to be happy, sad, mad, etc. Reading can elicit many different emotions. As we get older, we have more experience to draw upon. We have seen more things, read more books, and had more experiences. We are able to read on a higher level. We are no longer just reading the words, but delving into the meaning behind the words. There is a reason the author chose the words that he/she wrote. I believe that this is the "grammar of literature." As the reader, we must discover the meaning behind those words. For example, Foster uses the example of communion in the book. He says that sometimes a "meal is just a meal...more often than not, though, it's not" (7). When I first hear the word "communion", I visualize an action that is taken in church when people partake of the bread and the wine. However, Foster interprets communion as "whenever people ear or drink together" (8). Communion can be seen as a shared experience and also as a time of "sharing and peace" (8). It is important to not just create a visual picture of what the author is describing, but to also look for an underlying message or meaning. The young reader may read about communion, visualize a religious act and move on. The more intellectual reader will dig a little deeper, look for symbolism and more meaning in the characters and how they are interacting during this time of communion. This type of reading is much different from purely affective reading. Most people like to read for enjoyment. They find books to be an escape from "real life" and can find relaxation in kicking back with a good book. However, this is not how to "read like a professor." To "read like a professor", one must be able to assess words, characters, circumstances and look for deeper meaning. They must also rely on their on knowledge of books, characters, and experiences in their lives to draw meaning from what they are reading. When a person can "read like a professor", they will get much more out of the book they are reading. They will be able to learn from it, grow from it, and in some way it may change the way that they look at the world and the people around them.

Anderson, T. - Prompt 2

In his book, "How to Read Literature Like a Professor", Thomas C. Foster's main idea as that it is incredibly important to have a bank of knowledge and references built up of other works of literature. He supports this in many ways: by referencing the idea that every trip is a quest, the frequent allusions to works like Shakespeare and the Bible, and the recurring themes that show up in many novels. All of these ideas, and all his others that he mentions in the book, contribute to the same point: that searching for and recognizing commonalities among literature makes a better reader and allows you to gain more from the story. The reason for this? "There's no such thing as a wholly original work of literature" (24).  By writing this, he is saying all stories build upon and are enriched by each other, which means a well-read person gains more from whatever they're reading at that moment because they have more of the story, the complete, one story. By understanding this, one's reading experience can improve greatly as they start to read deeper and search harder for the connections between texts. Admittedly, I am not an extremely well-read person, and I tend to read affectively, meaning passively and only experiencing the emotions and thoughts that are brought up by the text, without interacting too intensely with the literature I am reading. As a result, I rarely notice connections between texts without them being pointed out to me, however, I often find myself drawing connections between characters. For example, I notice a host of similarities between Katniss, the protagonist in "The Hunger Games" and Tris, the main character in "Divergent".

Callihan, R. - Prompt 4

In his book, How to Read Literature Like a Professor, Thomas Foster emphasizes the importance of an imaginative relationship between the reader and writer. On the surface, it appears the writer is in control of the reading experience, manipulating the audience’s thoughts and reactions to the plot with different character traits and thematic elements; however, in reality, the reader, and the reader’s imagination, dictate the direction of the story and the general message behind the text. The symbiotic connection between an author and the audience is one of constant, mutualistic give and take that is crucial to the development of the piece and the reader’s interpretation of the overall meaning and storyline. A writer creates a basic outline with a basic structure and basic literary elements for the reader to fill with his/her unique thoughts and ideas that are original and untainted. Therefore, a reader’s distinct imagination, that is a result of individual life experiences and encounters, is critical to the evolution and success of an author’s novel or poem or song or literary guide. Reader’s use their imagination to envision the outcome and purpose of a piece of text, then use that prototype to learn and apply to everyday situations. The writing process is a combination of readers and writers and their imaginations and personal experiences. Authors provide readers with basic symbols and patterns to guide their journey that consists of “individual history” and a “mix of previous readings” that allows the audience to “emphasize various elements [of the story] to differing degrees” to create a distinct, unrepeatable storyline unique and meaningful only to that specific reader (Foster 110). Literature is open-ended, especially when it comes to the collaboration between the two most important features of a story: the reader and writer. The process allows readers to imagine and produce a personal message behind the text and provides those individuals with an opportunity to analyze their meaning and grow.

Callihan, R. - Prompt 2

Throughout his book, How to Read Literature Like a Professor, Thomas Foster draws on King Solomon’s early idea that, “There is nothing new under the sun” to develop his central claim that, “there’s no such thing as a wholly original work of literature” (24). Foster explains how all works of literature consist of the same basic elements and explore the concept of human life. More specifically, he discusses the similarities between characters, plot lines, settings and themes that appear in many stories of different genres, cross-culturally and throughout history. Pure originality within literature is nearly impossible because “all the stories have been told” and contemporary authors can only build on previous works to create a more interwoven story (Foster 195). Modern writers may employ a unique combination of characters and setting and symbols, but every story contains some elements of historical literature within the text because all “stories grow out of other stories” to create a constantly developing narrative for readers to analyze and immerse themselves in (Foster 28). Furthermore, the familiarity of literary repetition provides readers with a sense of comfort, once similar patterns and elements are recognized, that exemplifies the overall richness of the reading experience. This concept also allows readers to better understand different aspects within literature across different genres and time periods. As a reader encounters similar elements in different texts, they’ll be able to comprehend and relate to them more easily and their appreciation for the piece will increase. Personally, as I read different stories from different genres and time periods, my appreciation and understanding of literature, as a whole, increases as I have more insightful thoughts and interactions with the text. Moreover, artists and patrons have experienced a similar trend with artwork throughout history. Many thematic and symbolic elements within art, like religious figures, appear to convey different messages, but their origin remains the same, solidifying the concept of one big story.

Question 4, Olivia Miller

As time passes, lack of imagination can be a troubling occurrence in many people. I've felt that as I've aged I have lost some of my imagination and at a loss for originality in many aspects. I've had to turn to reading because it has always sparked my imagination and creativity, especially as a child who was at the peak of their imaginative mind. I used to always see possibility and opportunity for my creativity to flow, but now I find myself spending more time on thinking of creative ideas and using my imagination during my daily life. A writer’s creative intelligence motivates me to want to create things myself and be that creative influence for another. Readers become writers and pass along their creative intelligence to benefit another person. This suggests that the entirety of the reading and writing process has so many layers to it, such as enabling someone to imagine and use their creativity to its full potential, in hopes of influencing someone along the way. In order for the writer to make a connection with the reader, the writer must grasp the reader's attention and continuously keep them engaged in their writing. “Here's the good deal for you as a writer: You don't have to use the whole story. Sure, it has X, Y, and B, but not A, C, and Z. So what? We're not trying to re-crest the fairy tale here. Rather, we’re trying to make use of details or patterns, portions of some prior story...to add depth and texture to your story, to bring out a theme, to lend runout to a statement, to play with the readers’ deeply ingrained knowledge of fairy tales” (Foster 61 and 62). Foster comments on how fairy tales do not need an entire story and only parts that will sustain a reader’s attention. With this engagement, the writer is successful in making a solid foundation for creativity to flow and pass between readers and writers.

Question 2, Olivia Miller

Although King Solomon wrote, "There is nothing new under the sun," people continue to find inspiration within their surroundings and continue to write, and possibly eventually tell, new stories. Creators evolve their work, whether it's in the form of writing or removing the magnifying glass to see art as a whole and categories that lie within that form of expression. There may never be anything new under the sun, but King Solomon's belief does not prevent future generations from creating. Foster applies King Solomon's precept by saying, "writing and telling belong to one big story," due to his belief that every segment of the writing process and what comes after develops a connection among readers and writers alike. People use writing and other forms of art as a way to express themselves, make a connection and level of understanding that might not be possible to reach any other way. This connection and being able to explore another’s thoughts, emotions, and imagination adds to the richness of the reading experience because it's seeing a person in a new light. It makes strangers not seem so distant or unknown. If a person can relate to a writing it can make them feel a little less alone and realize there's someone that possesses similarities that would otherwise be unfounded without being a reader. I know people unable to verbally express themselves in the face of another person, and I have had to reach these people through their writing. I know someone who has trouble expressing their feelings, and in order to do so they have to type or handwrite it in a story-based style. Writing is one of the few ways that person is able to fully express themselves and it adds to my experience as a reader because I am able to not only read their perspective and emotions but also their other writings. Art in general, specifically studio art, is an escape for me and I’ve known many people where theatre was an escape for them. Many people put their heart and soul into art as a whole and it adds to the viewer’s experience because it gives them an outlet to another person they might otherwise never notice. “Auden’s poem, on the other hand, is a meditation on the private nature of suffering and the way in which the larger world takes no interest in our private disasters” (Foster 68). Foster’s mention of Auden’s poem can be linked to art as a whole because writing is focusing in on a person’s mind, but looking at art in general is every category and person within it grouped together; not fixated on one person but every form of expression and how it affects the outside world, including whether or not it may care. 

Katelyn A. Question 7

Ambiguity is defined by Merriam Webster as “a word or expression that can be understood in two or more possible ways.” Thomas C. Foster explains this idea throughout the entirety of his book, as he is attempting to explain to his readers that there is more to a text than meets the eye. Reading like a Professor, as explained by Foster, meanings going deeper than the surface and making associations through different texts, evaluating characters, and seeing the bigger picture of the story and the morals behind it as in many myths (referenced in Foster’s chapter, “It’s Greek to Me”). Of course, the areas of literature in which this is most prevalent is symbolism and allusions (mainly to other texts as heavily evaluated within just the first seven chapters). Foster uses the example of an essay called “Ulysses, Order, and Myth (1923),” in which the original tale of Homer’s Odyssey is warped into modern usages which are meant to convey the same message: “Odysseus’s trip to the underworld, for instance becomes a trip to the cemetery; his encounter with Circe, an enchantress who turns men into swine, becomes a trip to the notorious brothel by the protagonists” (Foster 91). This essay is one of many which draws from literary ideas and translates them into realistic or modern situations or ideas with symbolic meaning. This symbolism is very obvious in a novel such as J.D. Salinger’s The Catcher in the Rye, in which the name and the character arch from the book derives from Robert Burn’s poem, Comin’ Thro’ the Rye. The poem itself makes multiple innuendos and tells about a supposed prostitute at the edge of authority. The protagonist, however, Holden Caulfield, misinterprets this as catching rather than “meeting” (Burns) bodies. He describes this vision of him standing at the edge of a cliff at the edge of a rye and catching all of the children who play there. For him, this is symbolic of his inherent need to help others before himself and distract himself with the emotional follies of others, as he had done with his little sister, the prostitute, and so on. Of course, this may also reflect his subconscious need for service, as he is in constant regret of his actions and response to events throughout the story. In this way, he may be attempting to find a purpose in helping others rather than satisfying his own tendencies. An older audience, however, may see this miscommunication between the original poem and Calufield’s interpretation and relate it to the theme of the book in that the protagonist is a portrayal of young innocence and a tale of finding oneself and purpose (a “coming-of-age” story). Another example might include Kurt Vonnegut’s Slaughterhouse Five, in which the protagonist switches back and forth between being in jail carts as a prisoner of war to being in a cage as a zoo animal on an alien planet. Ambiguity allows for the audience to draw their own conclusions about a work of literature or art, in that they may find a moral which may be learned from it, or they may discover something about the plot or characters. In the case of allusions, it may allow for the audience to draw from their prior knowledge of other works to develop new ideas about a plot or even predict what may happen based on what they know. In the case of symbolism, ambiguity allows for interpretation of literary elements so as not to leave the story cut and dry. It allows for each element instead to have a deeper resonance with the reader, in that they play a larger role in the purpose of the text. In a text about the perils of war, being described as a zoo animal probed by aliens rather refers to the feeling of being a prisoner of war caught between a fight of two nations and being examined and tortured for the good of the other side (Vonnegut). A short-story about a green man dressing up as Santa Clause and stealing presents may also be referring to the perils of greed and consumerism (Seuss). The audience may better appreciate the text when they are able to use their imagination in figuring out the true meaning or creating their own personal meaning for themselves, seeing ambiguity permits as many as possible, whether this has to do with someone’s literary knowledge or what they are looking for out of a particular story. In addition, many lessons are taught to children through ambiguous symbolism, such as in Seuss’s stories, because they place a learning concept into theoretical or situational terms that allow them to better understand the impact. These personal meanings and lessons allow for timelessness in any work, as audiences many adapt this flexible story according to their own cultures and beliefs.

Katelyn A. Question 2

Thomas C. Foster uses King Solomon’s quote, “There is nothing new under the sun” to accentuate his idea that all literature belongs to one continuous story. By this, he is referring to the idea that there are no original ideas and that every story belongs to one thought process of authors universally. For example, elements of one story may appear in another of a similar context. Foster elaborates on this idea in the chapter “Now, Where Have I Seen Her Before?” when he discusses Tim Obrien’s Going After Cacciato (1978). The main character, Paul Berlin, falls through a hole in the road: “Not only that, one of the characters subsequently says that the way to get out is to fall back up. When it’s stated this baldly, you automatically think of Lewis Carroll. Falling through a hole is like Alice in Wonderland (1865)” (Foster 25). He also notes that the main character’s love interest is their guide through the Vietnamese tunnels during the Vietnam War, who may also remind the audience of Sacajawea. Familiar elements in text adds to the reading experience by allowing the audience to use their prior knowledge of concepts and literary ideas to develop a picture or meaning in a story. For instance, after reading The Prince by Niccolo Machiavelli, similar elements about the abuse of power and fear can be found in works such as Shakespeare’s Julius Caesar or Macbeth. Caesar is overthrown by even the most trustworthy of his friends, Brutus, when it is believed that he is unfit to take the throne. Contrary to the advice of Machiavelli, however, Caesar overthrows the previous king and tries to seem humble to the Republic by turning down the position of Emperor and slowly gaining power through his popularity of the people. Macbeth, on the other hand, gains his power parallel to the advice of Machiavelli through fear and bloodshed. He is overwhelmed by the prophecy given to him by the Weird Sisters and will do anything to preserve his position which he mercilessly fought for. Unlike Machiavelli’s predictions, however, both men are only temporarily successful. Of course, there are many character similarities between stories, as well. Rowling’s Harry Potter has been banned in many areas of the world for having obvious similarities to the Bible. Harry, being the so-called “Chosen One” is tasked with defeating Voldemort, the Dark Lord, who seems to have fallen from magical grace in pursuing his powers for evil. Harry willingly sacrifices himself for the safety of all of those at Hogwarts and their loved ones and is relieved of his sins (the horcrux side of him) in the train station (heaven). He is then resurrected from the dead and battles Voldemort (the devil) who is once again reduced to ash, thus banishing the evil that plagued the wizards of his time and turned many over to the dark-side (Eve and the forbidden fruit and other sins). Having historical knowledge of these characters and literary works provides the reader with a deeper understanding of the nature of the characters and stories which the author is attempting to portray without them having to fully elaborate. This also enriches the reading experience by providing the audience with a bank of literary knowledge and context clues from other stories which they can use to “connect-the-dots” (Foster 23). From past stories, they may be able to decide what will happen next with these characters or what their purpose is in the story. In this case, Harry’s purpose as the Chosen One was to defeat the Dark Lord. An audience which is familiar with Bible stories may have foreseen that he would be resurrected and associated this process with the deeper meaning of the cleansing of sin of the magical world or any world for that matter. Otherwise they may have just read an original book about wizards.

Bird, J. - Question 4

When Foster reaches the conclusive statement that "a reader’s imagination is the act of one creative intelligence engaging another (the writer’s)," he first observes that his approach to any piece of literature or text is from a historical point of view based on his own education, knowledge, and experience. Therefore, the information and wisdom he obtains from the text is heavily influenced by his perception of that education, knowledge, and experience. His own imagination creates ideas about the symbolistic intentions of the author that vary from those that may be approaching the text with different cultural, educational, and life experiences. This does not make their perception and insight on the text any less valuable or true. Instead, it opens up opportunities outside of the text for readers in classes, groups, or day to day conversations to enlighten one another on their own ideas as to what the the author was saying and what the author intended for the reader to hear. Foster claims that a frequent question he has been asked in his time as a professor is "Does this mean something?". Of course, he cannot provide a definitive answer, and instead tells his students that if they think a quote, word, or plot point has a meaning, then there is no doubt that it has some sort of significance to that student, though it may not to another student reading the same book. This suggests that throughout the writing process the author has no intention to connect with every personal background and story. Instead, they write of life the way they see it and end up speaking differently to each reader. This only goes to show that readers and writers have a distant and intellectual relationship just because of their experience living life. Foster says that there are no new stories. And this is the same for stories of real people. The author's own life is not entirely new and original. They express, wether intentionally or unintentionally, aspects of that life in their reading. And because their story is not completely new, readers who share continuations, variations, and aspects of that story relate to the author's text in way that are new and imaginative with each read.

Bird, J. - Question 2

Thomas C. Foster expands on King Solomon's idea that "There is nothing new under the sun" in his book How to Read Literature Like a Professor. He first uses an analogy of stories being eels. As outlandish as this may sound, he elaborates to say that while every new piece of art --which encompasses literature, plays, poems, and paintings-- is a new eel, it joins all the other eels in the bond of their "eelness". That is to say that while every story is new it's time, they are all part of one continuous narrative on life. As life goes on people, technology, and normalities change but human life remains the same. Hearts continue to break, people continue to die, and crimes continue to be solved and so on. While this may seem to reduce literature to repetition, it actually opens the reader to a more enriching reading experience. On the surface a centuries old novel wouldn't seem to have any connection to the twenty-first century, upon analyzing the parallels of life and the patterns of literature, a reader can begin to understand and emote with the characters from their own lives the same as they would with a more modern novel. in my own life, I have found a literary relationship between plays as different as Romeo and Juliet and movies like To All The Boys I've Loved Before. Despite the gap in time, both of these pieces provide an eternally valid view on the pain and drama behind a teenage love story. Has a teenager am able to relate as easily to Lara Jean Covey as I am to Juliet. This is due to the continuous story of art and literature. I agree that nothing can be made that is entirely new, but I am grateful that I am able to connect to required literature as much as I can with modern television because of their narrative on human life as it is and always has been.

Anderson, T. - Prompt One

In his book, "How to Read Literature Like a Professor," Foster's goal is to educate his readers - mostly college and high school students - on strategies and techniques that can help them understand and appreciate literature more. According to Merriam-Webster, literature includes writings that have excellence of form or expression and that express ideas of permanent or universal interest. One can gather from that definition that the bank of existing literature is extremely cast and that there are likely some recurring themes that can be commonly recognized and identified to have similar meanings when referenced even across very different works. In order to identify those commonalities, Foster informs his readers of what he calls the"language of reading" and the "grammar of literature." He defines these as banks of knowledge that are made up of a reader's individual experiences and previous readings and he suggests referencing this information to make generalizations about the meaning of what they read. This is important for readers of literature because it not only enhances the experience of reading by making it more interesting and illuminating the depth behind the actual text, it also allows readers to understand what a text means, beyond what is written. The word affective means relating to moods, feelings, and attitudes. In the context of reading, affective reading is when a reader takes a book for how it makes them feel, without diving any deeper. The difference between affective reading and the type of reading that Foster encourages is the level of understanding of the novel and the author that the reader gains. When a reader searches for connections among other works, they are able to understand what the author was thinking and what motivated them to write what they wrote.

Svingos, D. Question 7

Where or how does ambiguity come into play in a reader's experience? How might ambiguity work within a piece of literature (or art of any kind?) How does it impact our understanding, and appreciation of a text?

These questions are covered by Foster in his first interlude “Does He Mean That?”,  which goes over the use of allusions, symbols, allegories, and other ambiguous devices that bring an extra layer of complexity to a text. When a reader has to ask themselves what something means, or if they understood the authors words properly, it means they are reading close enough to actually process the text and are actively seeking the message in the author's words. Ambiguous endings are especially interesting as they raise questions and theories about what might have happened, in contrast to a very straightforward novel which leaves every question answered and stone unturned. While there is something satisfying about a fulfilling book, the ambiguous nature of texts like The Giver by Lois Lowry and F. Scott Fitzgerald’s The Great Gatsby allows for the reader to create their own ‘moral of the story’. Ambiguity can be present in the form of an unreliable narrator, or the deliberate withholding of key details regarding characters, events, even the setting of a book, anything to make the reader more intrigued and interested in the story’s plot. It can also serve to create a grey area between the protagonist and antagonist—perhaps making the reader question if either archetypes are present in the story at all—and allows for them to fill in the gaps, supplementing the existing story with their own predictions and theories. It’s important to realize that an ambiguous plot or ending is not the same as an ending that cannot be understood. Not knowing and not understanding are two different things in the literary world, as the theme and meaning of a piece can still be greatly understood without complete knowledge of all it’s inner workings, such as a book that ends on a cliffhanger. This type of ambiguous suspense can actually add a layer of appreciation for the authors ability to create such an element of suspense. In a way, the intentional vagueness of certain books can actually lead to a deeper understanding as the gaps are filled in with details unique to the reader, allowing for a greater academic conversation to take place. 

Svingos, D. Question 6

Foster talks about the “symbolic level.”  How does this inform the kind of reading professors (and AP Lit. students) do?  How does one work to read in this manner? What does it require of us as readers?

Foster heavily covers symbolism and the role symbols play in literature in chapter 12, in which he also defines the difference between symbols and allegories. He explains that allegories are often misinterpreted as symbols, when in reality allegories reference one specific idea in contrast to the ability of a symbol to reference any number of ideas. Foster’s main point in the chapter is to encourage readers to pursue the symbols they come across in literature, to find out what the symbol means to them personally. At this “symbolic level”, there are little to no wrong answers: as long as readers can support their assertions with text-based evidence, arguments for what certain symbols reference can grow into amazing discussions and can change the reader's perspective on a text, allowing for an even deeper understanding of what the author originally put forth. Foster casually hints at this when he talks directly to the reader in chapter 12: “Seriously, what do you think it stands for, because that’s probably what it does” (Foster 104). To read in this manner, one first has to choose texts that are written in this manner, as lower-level books simply lack the complexity that more academic literature holds. Scholarly texts are less straightforward than most material, and require a finer attention to detail from the reader. This close reading allows for readers to spot these symbols and find meaning. One of the easiest ways to make connections is to simply consume more literature, as we can make connections between the themes of several texts, and use the knowledge we learned in one piece to make sense of the symbols we find in another. Creativity and open-mindedness are useful tools in reading at the “symbolic level”, as readers must reach beyond the text in front of them to apply meaning to the authors words. A good deal of confidence in one’s own abilities works wonders, especially in an academic setting when sharing personal insights on a particular symbol can give others that same revelation that struck you while reading. Foster sums it up best, advising readers to “...engage that other creative intelligence. Listen to your instincts. Pay attention to what you feel about the text. It probably means something” (Foster 114).

Question 7

Ambiguity is an important idea to understand when taking in literature. Ambiguity basically means that a text is open to more than one meaning or interpretation. Ambiguity most often comes into play through ambiguous symbols. In his book How to Read Literature Like A Professor, author Thomas C. Foster uses a variety of different stories to emphasize his point that symbols can have many different meanings. This ambiguity leads to different interpretations of a piece of literature, this is very important as each different interpretation presents a new meaning to the piece of literature. This makes for a great place for discussion about the book but it also can lead into discussions about why one person saw it one way and someone else saw it another way. Ambiguity is an important tool for authors because of how it can make the book remain fresh years after release. Ambiguous endings are one very good example of this, an ambiguous ending can create a new level of discussion that perfectly sets up the book to be talked about for years to come or as it has been commonly used in more recent times, to set up a sequel. Ambiguity is an interesting concept because it affects each reader differently. If something is given ambiguous meaning it can allow the reader to create their own meaning that is influenced by everything from past experiences to the reader's mood at the time of reading. Many different variables go into how one interprets ambiguous symbols and that interpretation can change the meaning of a text. These differing meanings give texts deeper layers to be discovered and allow good readers who can identify the different interpretations to come to a much deeper understanding of the piece than the average reader would.

Samassekou, E. Prompt 7

      The point of many pieces literature is not to simply state a fact or message or moral. It guides the reader through a journey of independent thought and imagination, allowing the audience to use the piece as they wish. This is where ambiguity comes into play. As Foster emphasizes, no one can read a book the same way. If that was so, an author could write a work and be sure of what the audience would take out of it. But, because they cannot, authors can only provide the sufficient tools and the rest is up  to the reader. I believe it is better this way, because each reader sees different lessons and themes in the same work, understanding and appreciating it in a way unique to them. While the main idea stays the same, ambiguity gives us room to make that idea our own.
      Many authors utilize ambiguity purposefully in order to emphasize an idea or create a desired effect. For example, in The Handmaid’s Tale, the author; Margaret Atwood, chooses not to confirm where the main character is taken at the end of the novel, leaving the audience wondering whether she will meet a fateful or unfortunate end. By omitting this major detail, she is allowing readers to speculate and draw on clues from the novel to make their decision. Not everyone has the same opinions on the matter. Ambiguity, as shown by this example, can serve to encourage imagination and individuality, as well as intellectual and unique thought.

Samassekou, E. Prompt 5

Through reading Thomas C. Foster’s How to Read Literature Like a Professor, I have learned many useful tips and gained interesting new points of view that will help me better understand and enjoy whatever works I may read. His structural guide to symbolism, intentionality, and messages in texts provides a great foundation for readers to begin to comprehend authors and their art on a deeper level. Of the ideas Foster presents, I believe the most significant and lingering ones are the figurative conversation between author and reader, and the ability to study works through the lens of history and/or the author’s beliefs.
Foster describes how a text is created by the writer to be understood by the audience. This is where symbolism, themes, etc. come into play, which is the focus of nearly his entire book. I think it is very interesting to focus on how literary works can mentally connect authors and readers in extraordinary ways. Ideas are written down by one person to be received and expanded on by another. Foster does a great job of explaining to his audience the importance of this connection, and how it allows us as readers to better comprehend meaning in different works of art.
One thing that I have struggled with personally in literature is understanding the time period and beliefs of the author. For example, in my history classes I am always told not to look at historical figures’ actions through a contemporary lens, but examine them as a product of their time. Sometimes I have no trouble, but other times- for example when we look at slavery, racism, and sexism- I find difficulty in understanding. Foster addresses this issue in Chapter 24: “Don’t Read With Your Eyes.” He uses the example of Ezra Pond, a famous late author whose works are quite anti-Semitic. He tells the reader that it is important to “try to find a reading perspective that allows for sympathy with the historical moment of the story,” but also insists that “[t]oo much acceptance of the author’s viewpoint can lead to difficulties” and “if [the work] must rely on hatred in order to function, it has to go” (Foster 234, 237). Foster’s advice in this chapter has helped me find a happy medium where I can both understand the author’s beliefs and historical environment and apply my own morals.
Foster’s book is philosophical in the sense that it explores innate similarities between humans and what they choose to write about. He points out consistencies between literature throughout history, and investigates the reasons behind these themes. Being literate allows us, as humans, to relate to each others’ stories- which Foster would say all borrow from one big story. Reading gives us a form of communication that surpasses the boundaries of speech, utilizing imagination and art to send a message to an audience. The themes that appear in thousands of stories are repeated because they are things, feelings, and experiences that many humans can relate to. Literacy gives humans the ability to take control of the experience of living and turn it into art.

Cassidy Woodrum -- Question 2

Another major point of emphasis for Foster throughout his guide is that “writing and telling belong to one big story” (57). In writing this, Foster is conveying the message that all stories and literary works, (all texts and pieces of art), are connected and spun from the same big story or idea一the story of human life. It includes all of the daily struggles we as a people face, to the greatest of existential questions that have long plagued our minds; it includes our emotions, our histories, our aspirations, and our fears. Foster even directly states, “It’s not about anything. It’s about everything” (194). This adds greatly to the understanding and richness of the reading experience because it gives so much more purpose and meaning to each text. It allows all readers to connect with at least some aspect of any story, and it enables them to learn more about themselves in return. Literature can give advice, comfort and console, as well as warn, all with the same basis一the story of humanity. As we evolve, and our problems and the challenges we face grow and change, so too does the story, the literature it produces, and our understanding of it. It’s very possible to read the same novel each year, and yet every time you read it, you take something new from it; this is because of not only extended learning and knowledge, but also extended life experience. I have seen this principle in my own experiences with art in general, through every text, movie, TV series, painting, etc., that I’ve come across. Every work has an underlying message or moral and captures emotion which can resonate with audiences. I, like many other readers, have been moved to tears over novels due to not only the outright plot lines, but also the hard or wonderful or terrifying truths they uncover. Another example of my experience with this principle is the abundance of religion in all art forms, which is one of the fundamental aspects of the “big story of humanity” because for us, it answers all of our boldest questions, deepest fears, and greatest hopes.

Cassidy Woodrum -- Question 4

A large point of emphasis for Foster in his witty guide to reading literature with an analytical perspective is the relationship between reader and writer, leading to the “act of one creative intelligence engaging another” (114). This occurs when the author of any work puts their dreams, fantasies, criticisms, opinions, and personal experiences onto any medium for readers to dissect. As Foster notes so extensively, authors plant symbols, allusions, underlying philosophical and political messages, and more for readers to stumble upon and begin to ponder. However, the true genius of literature is found when the reader is able to question symbolic and figurative meanings through their own points of view. Foster explains that “...we bring an individual history to our reading, a mix of previous readings…but also a history that includes...educational attainment, gender, race, class, faith, social involvement, and philosophical inclination” (110). All of these different influences on readers help shape their interpretations of every text they encounter. Any given reader interpretation of a text may be entirely different or similar to that of the author’s, but either way, what is gained by the reader from the piece is not necessarily any less simply due to different interpretations or perspectives. To me, this aspect of literature suggests that the nature and process of reading and writing isn’t based on convergent thinking and “correct answers,” but instead literature gives readers and writers alike the freedom to leave texts as open-ended and ambiguous as desired. The process of writing literature isn’t creating a path to one meaning or idea, but instead leaving breadcrumbs towards a multitude of concepts, beliefs, and ideas for readers to further diversify with their own creativity and intelligence; herein lies the beauty of literature.

Question 2

In “How To Read Literature Like A Professor,” Foster applies King Solomon’s precept, “There is nothing new under the sun,” to the world of literature. He suggests that all works of literature, while distinct in their own right, are influenced by previous writings. Foster addresses the topic of originality by stating, “there’s no such thing as a wholly original work of literature”(24). This concept can be used to explain how many stories follow a similar pattern and include similar character arcs. When Foster writes, “there’s only one story,”(27), he is proposing that all literature begins as an idea derived from or based on another piece of literature. This idea broadens the reading experience for the reason that multiple pieces of literature are able to connect to one another, allowing the reader to analyze recurring themes in the pieces. It can also provide a connection to modern day literature and literature of the past, addressing similarities and differences between time periods. This concept is present in many other art forms. For example, many different paintings share similar motifs and techniques. With each new art movement or era, certain aspects of the previous movements are incorporated in the new artworks. Another specific art form that this concept applies to is filmography. Movies have been around since the late nineteenth century and have served as a profoundly important art form that remains at the forefront of society. It can be seen that movies have recurring themes and plots, and many modern day movies take inspiration from classic films in the same way that new works of literature take inspiration from classic literature. 

Question 4

The act of reading involves the utilization of imagination on the reader’s part in order to envision the writings of the author. Some authors address it as a “gap” between readers and writers, in which the reader must imagine certain aspects of the text that the writer has not explicitly described(and even if an aspect is described verbatim, people can have a distinct interpretation of a text), therefore leaving certain facets of the text up to the interpretation of the reader. This relationship between the reader and writer occurs because people will create mental images in order to process the phrasal information that they are reading. The writer uses his/her imagination to establish the story while the reader uses his/her imagination to envision it. In his book, Foster states, “We tend to give writers all the credit, but reading is also an event of the imagination; our creativity, our inventiveness, encounters those of the writer..”(114). This suggests that the readers have the ability to analyze and interpret the literature of which they are reading. Readers can and should search for parallels, references, and patterns within the text because it can add depth to the writing. An author’s work should have depth, imagination, and insight because it makes the experience much more enjoyable for their audience. Therefore, it would be beneficial for the author to add allusions, allegories, and references in their writings. Ultimately, imagination fuels the relationship between reader and writer. It's similar to the way in which abstract art is meant to be analyzed and deciphered by a viewer. Literature is in many ways an art form that requires insight and vision on both sides.

Question #6.

Question: Foster talks about the “symbolic level.”  How does this inform the kind of reading professors (and AP Lit. students) do?  How does one work to read in this manner?  What does it require of us as readers?

Answer: As I said in my answer to question #4, the symbolic level is the main support for reading. Every author has a certain story they want to tell that has a deeper meaning underneath the surface. As Foster points out, while it is the author's job to write their story the way they think it should be told, it is also the reader's job to really dig into the piece and search for that hidden meaning which is usually through symbols. Professors and AP Lit. Students have to go above and beyond that to not only find the main meaning, but to dig into the deepest of depths to find meaning in just about any passage, word, or paragraph that they can. This enables them to connect with the author of the piece far more than anyone else can. Throughout the book Foster points out that to read in this manner one must use critical thinking. They must manipulate the words and think deeply about what it really means to not only themselves, but to the writer. Foster points out that sometimes people who do not dive deep for the meaning can mistake it for one that isn't what the author had intended it to be and that to truly have that connection they must think deeper. We have to take our past knowledge and tie up all the loose ends in our minds. We have to think abstractly at times to truly understand. Important meanings aren't always just lying there for a reader to find easily. Instead, they have to work it out for themselves. I guess you could say that it makes it a challenge and makes reading even more fun. The aha moment is so precious for students, readers, and others. Foster understood the connection that was valuable to reader and writer. That is why he wrote this book the way he did.

Christian Answers Number 3

Intertextuality is the conversation between different texts. Dialogue between new and old stories are crucial in providing depth and relevance. “This intertextual dialogue deepens and enriches the reading experience, bringing multiple layers of meaning to the text, some of which readers may not even consciously notice” (Foster, 29). This is what makes the reader strive to take notes, to highlight, and to become conscious of a texts murky depths. The dialogue between authors enriches the conversation between the reader and the author as they try to uncover a story or poems deeper meaning and relevance in the grand scheme of themes and symbols. Just as symbols and themes are intentional, so is intertextuality as it strives to improve all other texts as they all tell “one big story.” I read a lot of manga (japanese comics) and in a lot of shonen works pay tribute to classic japanese literature. For example, Son Goku from “Dragon Ball” is inspired by was inspired by the Sun Wukong, a main character in “Journey to the West”. This is a more obvious example of intertextuality, but demonstrates its effectiveness in adding to each piece, as Dragon Ball would go on to take the world by storm using the idea provided in “Journey to the West” and the classical book would gain some extra recognition for being an inspiration for one of the most popular shows in the world. Intertextuality is the spine of literature, keeping the “one big story” standing tall and proud.

Christian Morrow answers question number 4

Imagination is necessary in reading and in writing. One of the first lessons I learned in creative writing is to not underestimate the reader and add an abundance of details. Good authors leave space for the reader to fill. Good readers fill that space in order to have a conversation with the author. “So, what do you do? You can’t simply say, Well, it’s a river, so it means x, or apple picking, so it means y… Associate freely, brainstorm, take notes. Then you can organize your thoughts, grouping them together under headings, rejecting or accepting different ideas or meanings as they seem to apply. Ask questions of the text...” (Foster, 113). As Foster explains, the symbols, metaphors, and etc. make the meaning of a text ambiguous. Literature is not something that can be calculated down to T, it must be broken down utilizing past knowledge of literature and one’s own imagination. Reading and writing is not a process, it’s a conversation between two creative minds. Sometimes the conversation can garner solid conclusions, but often than not it is left up to speculation and dissection of the reader's mind to discover their own truth. Readers are warriors marching into their subconscious abyss armed with nothing but a pen and sticky notes, or if they own the book, a highlighter. These are their harmonic scalpels, utilized to dissect their own perception of the authors intentions. Without the author there would be no surgery, and without reader there would be no surgeon. As stated by Foster, “We tend to give writers all the credit, but reading is also an event of the imagination; our creativity, our inventiveness, encounters those of the writer, and in that meeting we puzzle out what she means, what we understand her to mean, what uses we can put her writing to… That is to say, we can’t simply invent meaning without the writer…” (114). A book is not complete until it is read. It isn’t a conversation if one is talking to a wall. It is not a surgery without a patient and vice versa. The act of reading is a creative one, as the blanks are filled in by the constructs of the readers mind.

Question 3

In his book How to Read Literature Like A Professor author Thomas C. Foster describes the idea of intertextuality. Intertextuality in Foster's words means that "everything's connected" (Foster 197). This means that every story ever told shares similarities with other stories and is influenced by those stories. Being able to realize textual connections is a very important step into becoming a more well rounded reader. Textual connections are important because they add another layer of depth to stories, and readers who understand and recognize textual connections are able to view and understand the story on a much deeper level than the average reader. Textual connections enhance reading experiences by drawing comparisons to other books and the tones, moods, and imagery associated with that book. By being able to realize the textual connections between books, it becomes easier to see what the author of the book is trying to convey and also can change the atmosphere of a situation. Intertextuality can be either intentional or serendipitous. Although many times an author will purposefully create similarities to other texts, sometimes the similarities happen by chance and are the product of stories the author has experienced and the way those stories impacted the author. Intertextuality relates to the idea of “one big story” which Foster frequently talks about in his book because intertextuality is part of the way works of literature can interact with each other to create a big story. If texts are connected by intertextuality than they can be considered to be a part of one story because they all draw from each other and are influenced by each other. Intertextuality also appear in the form of symbols and archetypes. In literature roses regularly are made to be symbols of love, this is common across all stories and provides another reason that all stories are connected. In the real world I have noticed intertextuality when someone says that  “they can’t wait to meet their Prince Charming” which means they can’t wait to meet the person they were meant to be with. The “mythic level” (Foster 200) is the place where the archetypes, symbols, and narratives are and is somewhere for authors to “tap into” (Foster 200) whenever needed.

Question 7, Elizabeth McGuffey

For a piece of art (whether it be literature, a painting, or even a song) to be ambiguous, it means that it doesn’t have one distinct meaning; it can have multiple meanings for multiple different people. In literature, the ambiguity can be found in certain symbols, themes, or plot points. The interpretation of these rely on the reader’s personal experiences. Two people, who come from different backgrounds, can see the same symbol and come up with completely different meanings for it. Sometimes, symbols are left ambiguous on purpose in order to get the reader to question their meaning. An example of this can be found in the chapter “Is That a Symbol?”, when Foster uses the cave from the book A Passage to India. The cave is an ambiguous symbol because it doesn’t have one true meaning; Foster gives several examples of what it could mean, such as Adela being confronted by how hypocritical her life and choices are or what Foster calls a “…breach of truth (in a more traditional philosophical tradition)” (Foster 109).  Ambiguity also helps a book remain interesting years after its publication. If a novel had only one straightforward meaning, discussion could become boring because there’s no room to find different meanings. However, if a book has details that could be interpreted in different ways, the discussion becomes more enjoyable because readers now have the ability to see how others think and feel and understand. An example that I think everyone can relate with is when we read The Handmaid’s Tale in AP Lang. The ending of the novel was left purposefully up in the air and it was extremely interesting to see how other students understood the ending while using details from the book to back up their thoughts.

Question 2 

At this point, nothing is ever new, whether it be literature, art, or even fashion styles and trends.  Throughout Foster’s work, he discusses how there is only “one big story” when it comes to literature, stating, “One story. Everywhere. Always. Wherever anyone puts pen to paper or hands to keyboard or fingers to lute string or quill to papyrus” (Foster 194). It is an interesting topic to dwell on, the fact that although there are so many different mediums and ways to express thoughts, there remains only one singular story.  Everything has already been thought of, named, explained, so writing an original work is completely impossible. Foster describes this phenomena as so, “Everywhere you look, the ground is already camped on. So you sigh and pitch your tent where you can, knowing someone else has been there before” (Foster 195). The “camper” that was there before left a cooler and a can of pepper spray, it is up to the new inhabitant to forget what those items are used for and find interesting and unusual ways to make it their own.  That is what Foster is trying to express when he mentions the “one big story” and continuing it through intertextuality, using tools that have been left by great minds of the past and creating ways to put them together to improve modern literature. This idea makes literature as a whole extremely more interesting and impressive, because of how intricate modern authors have to be when writing “new” novels. Readers just sit down and read what is presented on the page, but the authors have to spend so much time thinking of what has already been done and how they can rework different components to make something unique to him or her.  Having a singular story makes the reading of literature so incredibly important, because through it, people are able to gain knowledge from things they have never heard of or read. Literature is basically like the telephone game, a story is passed on, getting changed every time it moves to a new person with different ideas then the last, but at the end of the game, the story still has only one original start. I have experienced the phenomena of the “one big story” many times, the most popular being the Percy Jackson and the Olympians series by Rick Riordan.  Foster mentions this series in his book, but this series is one of the best ways to describe how this principle is seen in real life.  Riordan based this series on Greek mythology, a topic that has been written about many times in the past, but found his personal way to make it new and interesting for readers.  He mixed ideas of Greek mythology, adventure, and awkward teen moments into an extremely popular book series. All of those components had been used before in writing, but Riordan used them in his own exciting way, creating his own little branch of the one big story. 

Question 3

Intertextuality allows for a relationship between old and new pieces of literature, music, and visual arts alike. This “dialogue” which occurs between the two works can be present in both advanced literature as well as others geared more toward newer and intermediate readers.  It allows for all to experience works either before their time or certain novels most wouldn't tend to read for pleasure. By referring or insinuating to an earlier work, the authors give readers the chance to experience the classics, gaining culture as well as giving readers the chance to look deeper into the older work to further his or her’s understanding and interest.  Intertextuality has the ability to be either intentional or serendipitous, given Foster’s explanation of literature being all “one big story.” Authors might have a piece of literature lurking in their mind unconsciously, and while writing, happens to rework different parts of said literature into the work, making the intertextuality serendipitous. On the other hand, some authors might intentionally use older literature, either by reworking the original to fit modern day society or using it to make themselves seem more professional and intelligent. Whether older texts are included in an author’s writing intentionally or without knowledge of it beforehand, the dialogue is there nevertheless, the “one big story” is present no matter what.  The dialogue between works also helps strengthen different archetypes and symbols, as Foster states, “they take on power with repetition, finding strength in numbers” (Foster 199). As time goes on, certain symbols and archetypes would be lost if not for intertextuality, which shows how important this dialogue is to culture as a whole, not just to those who choose to read and write literature. The “mythic level” is where these long lived literary tools, including symbols and archetypes, are stored, given it is impossible to pinpoint the exact moment in history, the exact author, and the exact piece of literature where one of them was birthed. 

Question 3

Everything that has a plot (including movies, books, poems, plays, essays, etc.) is connected, creating “intertextuality” (Foster 197). Stories are derived from one another in order to make connections, to create a deeper reading experience. Each time someone reads a new story, they gain more knowledge, and this knowledge can then help them understand the next plot they see. When one reads the traditional Romeo and Juliet they understand the concept of forbidden love, fighting against expectations, and tragic conclusions, so when they see these ideas in other tales the reader is able to extract a more definitive meaning about how the two works are similar and what this means for the different stories, hence why intertextuality is an important process while reading. Then, when one grasps the notion that the two texts are related, it engraves the idea that maybe more works can be connected, as Foster puts it, part of “one big story” (28). Sometimes this mengling of texts can be purposeful, because the author wants the reader to draw conclusions about the similarities between the works, so they will have a better understanding of the character, plot, or whatever is being compared. Other times, the association is by chance; every time someone reads something new they gain knowledge, and authors then apply this knowledge in their own work, even if they are unaware of their actions. As for symbols and archetypes, these can also act as a way for texts to mingle; there are some symbols and archetypes that can be understood everywhere (i.e. the heart always represents love), making them able to transcend texts. As for intertextuality in the “real” world, an example could be when one refers to their friend as having Goldilocks hair, giving the impression that it is blonde. Another example could be when someone says they want a Cinderella wedding, associating the idea of a spectacular wedding like the fairytale. All of these references that occur, going from one book to another, including symbols and archetypes, can be put on the “mythic level” (Foster 200), a place that stores classic ideas for readers and writers to pull from (in order to further creative thinking), where their beginnings are unknown.

Question 4

The act of reading cannot be done without a writer and a reader; both roles play a necessary part in creating and understanding literature, especially when concerning the creativity surrounding the topic as a whole. As Foster states, “reading is an event of the imagination… a reader’s imagination is the act of one creative intelligence engaging another [the writer’s]” (114). How this works is that a writer lays the basis for imaginative thought with a book (or article, novel, essay, etc.), one that has enough detail for a complete plot to be played out but still leaves enough room for some reader interpretation. Then, a reader will take this foundation and add in their own ideas to fill any gaps that the writer left, thus causing an interaction between the two. For example, if a writer were to state the placement of green apples in a room, the reader may infer about the significance of such a detail and how this adds to the text. Looking at both the writer’s and the reader’s role in how they can affect literature, one can come to the conclusion that both parts are fluid. This means that no matter how descriptive an author makes their work, each reader will interpret the information differently, and therefore draw different conclusions. The same ideology applies to the author, because they will also have their own interpretation of the text that may be varying from their audience. Following the example from before, one reader may infer that the apples are symboling a surge of life (like how plants come back to life in the spring) while another reader believes that it shows an atmosphere of jealousy. No book is meant to have one sole purpose, readers are supposed to draw their own conclusions from the writer’s foundation, which is why this fluidity between the writer’s and reader’s thoughts is critical.