Writing the Iceberg Analytical

8/9/2019 Writing the Iceberg Analytical

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Writing the Analytical Essay


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The run-down:1. Checking our assignment.

2. Brainstorming ideas.

3. Finding quotes.4. Creating a thesis.

5. Establishing a structure.

6. Starting with whats natural.

7. Filling in the details.

8. Compiling and Revising


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Check the Assignment:Prompt:In a 3 page essay, address the following prompt: Apply

Hemingways Iceberg theory of writing to our reading ofThe Sun

Also Rises.Quote atleast3 examples of Hemingways Iceberg

style, explainingthe effectiveness ofhis style and the hiddenmeaningunderneath the minimalist expression. In other words,

describe 3 different areas where Hemingway uses

understatement, and express an opinion on whether or not it is

effective. Exemplary papers will explore the strength of

Hemingways style,yetwilloffer a critique ofthe limits oftheminimaliststyle.


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Check the rubric:A 10 has all the qualities of a 9, but is more mature instyle, strength of argument, and has no errors.

A 9 displays a strong grasp of Papas style and offers

relevant commentary on Hemingways use of

understatement. It also explores the limits of

understatement and what potentially is lost in the

brevity of verse. It has a clear thesis and the argument

is organized, makes sense, and cites the text. It has fewto no errors in punctuation, formatting (MLA), and is (at

least) 3 pages in length.


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So what we know so far: 3 pages

At least 3 quotes

Were talking about minimalism and

understatement.

We have to critique (show something

negative) about minimalism.


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Now, we brainstorm.


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Qualities of Minimalist Style:

Short, simple, declarative sentences.

Terse dialogue.

Lack of description.

Rapid-fire dialogue.

Eliminates extraneous details.


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Positives /N

egatives Engages reader by allowing

them to interpret the text.

Allows for different

meanings, which appeals todifferent readersexperiences.

Easy to read /straightforward.

Allows for clever

understatement / pithyremarks.

Reader as participator instory.

Can lead to

confusion because

of missinginformation.

Lack of description

can become boring.

Lack of creative

language can make

prose bland.


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Next, we add in quotes (only need 3).

Positive examples:

Youre not a moron.

Youre only a caseof arresteddevelopment.(Harvey Stone, 51)

Love you? I simplyturn all to jelly whenyou touch me. (LadyBrett Ashley, 34)

Negative example:

Im not joking you. I

never joke people. Jokepeople and you make

enemies. Thats what I

always say. (Count M.,

65)


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Initial commentary: Youre not aClever, pithy statement creates engaging

dialogue. Engaging way to reveal Cohns true problem - using aminor character to articulate what the major character is always

thinking. Love you Shows, through indirect comment, Bretts truefeelings. By not overstating feelings, we are left to add in ourown experience in falling in love.

Im not joking Choppy, dry sentences. Dialogue sounds

forced, even a little clich (thats what I always say.). Also, veryambiguous what author is implying. Should we sympathize withthe Count, who we barely know, or Brett, who we know well andalready have some kind of connection with?


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Slimming down those ideas into:

Clever, pithy statements are engaging.

Allows reader to add in true emotion.

Ambiguous comments can lead to

confusion.


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Now, we write our thesis:

Hemingways use of understatement

creates pithy, clever moments that engage

the reader by allowing space forinterpretation. But, he does this at the cost

of misunderstanding and confusion, which

can lead to unintentional tension in the

text.


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Before we begin our actual writing, a

forethought from Strunk and White

Write in a way that comes

easily and naturally to you,using words and phrases that

come readily to hand.


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And Anne LamottFor me and most of the other

writers I know, writing is not

rapturous. In fact, the only way I

can get anything written at all is to

write really, really bad first drafts.

The first draft is the child's draft,

where you let it all pour out and

then let it romp all over the place,

knowing that no one is going to

see it and that you can shape it

later.


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And next, we establish a structure.I. I

ntroductionA. Broad introduction tomytopic.

B. Relating tothe prompt.

C. Big-time thesis,making bold claim.

II. BodyParagraph

A. WhatamI going toteach you today? (Purpose)

B. Heres why whatI have to say is so good. (Concrete Detail)

C. To helpyou understand. (Commentary)

D. Toremindyou ofwhatI just said. OR Totransition nicely. (Summary)

III. BodyParagraph

A. Im going to elaborate on mypoint. OR Make a newpoint. (Purpose)

B. Heres a genius insight. (Commentary)

C. Heres some insurance, toprove Imright. (Concrete Detail)

D. Heres how thatties in. (Commentary)E. Toremindyou ofwhatI just said. OR Totransition nicely. (Summary)

IV. BodyParagraph

A. Now, Im going toofferthe otherside ofthe story. (Purpose)

B. Remember, this is whatIdalready established. (Commentary)

C. But, now I wantto explore this. (More Commentary)

D. Heres an example. (Concrete Detail)E. Letme explain whatImean. (Commentary)

F. Now, doyou see how that works, too? (Commentary)

V. Conclusion

A. Although I just showed something different, I like whatIfirst said.

B. Doyou remember? Oh, Ill tell you.C. And, justtomake you feel good, Im going to end with a nice, round, fulfilling sentence.


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Then, we fill in the details with

concise, efficient language.

Vigorous writing is concise. A

sentence should contain no

unnecessary words, a paragraph

no unnecessary sentences, for

the same reason that a drawing

should have no unnecessary

lines and a machine nounnecessary parts.

QuickTime and aTI

(Uncompressed) decompressorare needed to see this picture.


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Introductory Paragraph:A. Broad introduction to my topic.

B. Relating to the prompt.

C.Thesis, making bold claim.

ErnestHemingways life mimickedthe adventures found

in his novels.He lived big although he wrote, in a sense, very

small.Henry James commentedon Hemingways life and writing

by saying, Giants ofhis sortare trulymodest;there is much

more behindHemingway's formthan people know.

Perhaps Hemingways size anddepth ofexperience gave him

the confidence to write in a sparse, understated style.

Hemingways use ofunderstatement createspithy, clevermoments that engage the readerbyallowing space for

interpretation.But, he does this atthe costofmisunderstanding

and confusion, which can leadto unintentional tension in the

text.


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Body 1:

A. What am I going to teach you today?

(Purpose)

B. Heres why what I have to say is so good.

(Concrete Detail)

C. To help you understand.

(Commentary)

D. To transition nicely.

(Summary)

Harvey, while talking/interrogating Cohn comments, Youre notamoron.

Youre onlya case ofarresteddevelopment.

(51)

Hemingways use ofthe catchy, pithy, understated comment

engages the readerin the text.His creativity is revealedthrough the brevity

ofverse, and when executedproperly, his remarks are catchyand

memorable sound-bites.

While this commentmay have been loston Cohn, the readerfully

understands Harveys biting remark. Andalthough this example is an

explicit insult, Hemingways iceberg style is revealedthrough his choice

in character.He chooses Harvey, not Jake, toarticulate an idea Jake

thinks throughoutthe novel. ForHemingway, Jake is tootimidtovoice

this opinion outright, butthrough an indirect commentfromHarvey,

Hemingwayvalidates the readers suspicion thatCohn is socially

underdeveloped.

This example ofindirect charactercommentary is alsomimicked in

Hemingways usage ofindirect comments, directlyfromthe character.


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Body 2A. Im going to elaborate on mypoint.(Purpose)

B. Heres a genius insight.

(Commentary)

C. Heres some insurance, toprove Imright.

(Concrete Detail)

D. Heres how thatties in.

(Commentary)

E. Toremindyou ofwhatI just said.

(Summary)

Instead, she brings the readerinto herfeelings, giving us a sense - afeeling - of

hertempestuous emotions.Hemingways rhetorical question, Love you?

speaks volumes more than a Yes,orOfcourse.

Hemingways iceberg is shown clearlythrough the understated,

reserved, tense conversations held between characters.

Whenpresenting Brettand Jakes relationship, Hemingwayoften skirts explicit

language, andallows the readerto grasp, through intonation, the characters true

feelings.

When Brett Ashley says, Love you?I simplyturn all to jelly when you touch me,

(34) she does not explicitlyanswerJakes straightforward question.

Ourimagination fills in the gaps and we are able toalign ourselves with Bretts

emotions by interpreting themfromourown experience. This is amasterful

example ofunderstatementspotency.Here, less is more.


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Body 3

A. Now, Im going toofferthe otherside ofthe story.(Purpose)

B. Remember, this is whatIdalready established.

(Commentary)

C. But, now I wantto explore this.

(More Commentary)D. Heres an example.

(Concrete Detail)

E. Letme explain whatImean.

(Commentary)

F. Now, doyou see how that works, too?

AlthoughH

emingways use ofunderstatement, indirect charactercommentary, and subtle commentary is mostly successful.But, there are

moments when his style is found wanting.

Hemingways scarcityofdetail can leadtodryprose andHemingways iceberg

ambiguity can leadto unintendedtension forthe reader.During Jake andBretts conversation with Count Mippopolous, the Count says,

Im not joking you.I neverjokepeople. Jokepeople andyou make enemies.

Thats whatIalways say. (65)

The clich, thats whatIalways say, ends the sentence withoutthe pompand

rigorofstrong prose. And with the Counts comment, the readerbecomes torn.Do we now side with the Count, whoobviouslypresents sage advice? Ordo we

stay loyal toBrett, a characterwe have known longerand sympathize with. This

unintentional tension creates an issue offidelityforthe reader.

While Hemingways minimalistprose often serves his purpose well, it is not without

its occasional weaknesses.


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ConclusionA. Although I just showed something different, I

like what I first said.

B. Do you remember? Oh, Ill tell you.

C. And, just to make you feel good, Im going to

end with a nice, round, fulfilling sentence.

Much like an iceberg, Hemingways infrequent surface breaches in

style are greatlyoutweighed by his frequent submerged, subtleprosaic

victories.

Perhaps Hemingways size lent him confidence, andperhaps his confidence

allowed himtotrustthe readerto graspthe underwaterpartofthe iceberg.Or,maybe Papa simply wanted us to imagine/write what he felt went better

unsaid.

Papasprose allows readers to interact with the text in an individual way, as

each readerbrings his orherown experiences, reading them intoHemingwaysliteraryframework.Papa gives us the skeleton, and we provide the blood,

muscle, andflesh tofill the gaps in his prose.


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Now, we compile.

And then, we revise.


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The summary:

1. Checking our assignment.

2. Brainstorming ideas.

3. Finding quotes.4. Creating a thesis.

5. Establishing a structure.

6. Starting with whats natural.

7. Filling in the details.

8. Compiling and Revising


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Fin.

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Writing the Iceberg Analytical