Story Power

Blogging the Lit Life

Author: Paul M.

King Lear & The Stranger Reflection: What Really Matters?

Out of all the books we read this year, the two that stood out to me the most were King Lear by Shakespeare and The Stranger by Albert Camus. Rather than offering me clarity or comfort, reading these books challenged how I think about deep meaning and emotion. These books didn’t just hand me answers; they used characters and stories to expose the fragile world we live in. Overall, the main idea that struck me was how both texts pushed me to think less about what is “supposed” to matter, and encouraged me to consider what actually does matter when everything else is stripped away.

In King Lear, the moment that affected me the most was when Lear stands up in the storm and shouts at the sky. Up until that point, Lear believed that love could be measured through words and a flattery, as shown when he demands his daughters to declare how much they love him in exchange for land. But, when Cordelia refuses to flatter Lear, he banishes her. As a result, his other daughter’s betrayal led Lear into a downward spiral, exposing how fragile a hollow understanding of love and loyalty really is. The storm scene stood out to me in particular because it’s where Lear begins to confront the reality of his own blindness and mistakes. Through the poetry and intense imagery, it made the scene memorable and really burned the theme in my head. It makes me think about how much of our identity can be tied to roles and expectations, and what’s left when those fall apart.

Similarly, in The Stranger, Meursault’s detachment from everything, such as from his mother’s death and his own trial, made me feel uncomfortable at first. I’ve never read a book before with such apathy, which was definitely surprising to read. However, the more I sat with the book and the characters, I realized that Meursault’s refusal to fake emotion forced me to examine how much of my own reactions are shaped by what’s expected, not what I really feel. His acceptance of life’s absurdity at the end of the novel, such as when he finds peace in the idea that the universe is indifferent, challenged my needs for life to always “make sense.” The book was quite abstract and unique, which stood out to me, ultimately making me remember the themes of absurdity and existentialism.

Both Lear and Meursault are completely different characters in different stories, but they are both forced to confront what remains when social structures and expectations fall away. What the characters have left at the end of each book is unclear, as Lear goes mad and Meursault remains indifferent, but their characters have helped me understand the fact that facing uncertainty is part of being human, and in the end, material possessions are worthless compared to our humanity.

Satire in “Group Chat Cold Open” from Saturday Night Live

In the skit “Group Chat Cold Open” from Saturday Night Live (March 29, 2025), the sketch satirizes a fictional scenario where high school girls’ group chat is mistakenly entered by top government officials discussing sensitive military operations. In one moment, Defense Secretary Pete Hegseth (played by an SNL actor) sends a message in the group chat reading, “FYI: Green light on Yemen raid! Tomahawks airborne 15 minutes ago… Flag emoji. Flag emoji. Flag emoji. Fire emoji. Eggplant.” This absurd interaction highlights the mishandling of classified government information, demonstrating the lack of responsibility that government officials have by using an unsafe communication platform to share information that should be kept classified.

The skit uses parody, irony, and hyperbole to underscore its critique. By placing top government officials in a trivial group chat, it parodies the real life incident where government officials accidentally added a journalist in a conversation about classified military plans on an unsecure messaging platform, leaking classified information. The officials’ exaggerated misuse of emojis and slang, such as J.D. Vance (played by an SNL actor) commentating, “Nice job with the strike, fam. Female skier emoji,” adds a layer of irony, emphasizing their lack of care and responsibility in handling serious situations with sensitive classified information. These portrayals show the absurdity of the situation, making the audience question the competence of those in power, and the security of our country’s classified information and military plans.

Beyond mocking several individual officials, the skit critiques a deeper and more serious issue: the careless handling of classified information by those in power in America. By showing top government leaders accidentally sharing military plans in a teenage group chat, the satire highlights how a lack of responsibility can lead to dangerous national security breaches. This scenario reflects real world concerns about how officials handle government information. The government officials in this situation simply weren’t responsible and chose not to use a safe, encrypted government platform to prevent information from being leaked to anyone external. Instead, their carelessness led them to using unsafe platforms resulting in classified information being shared. Beyond the situation parodied in this skit, classified documents’ safety has recently been questioned before (Trump & Mar-a-Lago documents), and this situation only furthers the concern of who handles classified government documents. The humor in this skit draws attention to the real risk of sensitive information falling into the wrong hands through incompetence of government officials. This exaggerated comedic skit urges viewers to understand that our government officials must be properly trained, responsible, and digitally literate, otherwise our national security is at great risk.

Raise the Red Lantern (1991) & Flute’s Symbolism

Director Zhang Yimou’s Raise the Red Lantern (1991) is a visually stunning film that explores themes such as power and isolation. The story follows Songlian, a 19 year old woman who becomes the fourth wife of a wealthy man in China during the early 20th century. Throughout the film, symbols play a crucial role in revealing deeper meanings about the characters and their lives. One particularly important symbol is the flute, which represents freedom and the outside world.

In the film, Songlian’s “husband” (referred to as master) is the leader of a family with extremely strict traditions and values. He lives in a wealthy complex with all his family members, workers, and wives. Under these strict traditions, there is essentially no freedom for many of the residents, particularly the wives. When Songlian arrives at the complex, she carries a suitcase with minimal belongings. One of her prized possessions that she carries is her late dad’s flute. Out of tradition, the flute is an instrument only played by men. She doesn’t know how to play it, but it’s the last artifact and memory she has of her father.

However, when the master finds out Songlian brought in a flute, he confiscated and burned it without asking her why she had it. The flute represented one of Songlian’s last connections to the outside world and her actual family. By it being burned, it symbolizes the strict control that the master has over her and the rest of the complex. Despite it belonging to her, the master decided he could do whatever he wanted with it, without asking Songlian first. This contributes to the power dynamic in the story where the master is the absolute head of the house, which also reinforces traditional gender power dynamics.

Additionally, the flute represents the outside world by only being played by men, particularly Feipu, the master’s eldest son. Men are the only people in this film that have freedom. This is reinforced by the tradition that they’re the only ones allowed to play flute. Feipu is an avid player of the flute, who would sometimes play in the complex, which could be heard by everyone. Songlian once heard him playing and decided to go up to listen closer. Just as she was about to talk to him, he had to go. Feipu was seldom around the complex, as he was still going to school, and had contact with the outside world. Although Songlian had minimal contact with him, he was one of the only people who would often leave and return to the campus. Feipu and Songlian, both young and handsome, connect immediately, but he has to go after being called by his family. He represents the outside world, something she longs for, but something she will never get.

Ultimately, the rigid isolation of the family’s complex has very few connections to the outside world. However, signs of the outside world still remain, one of them being the flute.

The Women of King Lear and Pride and Prejudice

In both King Lear by Shakespeare and Pride and Prejudice by Jane Austen, the women of the central families are shaped by the societal expectations and their own desires for independence and power. In King Lear, the aging king’s decision to divide his kingdom among his daughters– Cordelia, Goneril, and Regan– creates a tragic power struggle. Goneril and Regan, who suck up to their father, receive massive amounts of land and inheritance, while Cordelia, who tells the truth rather than lying, receives nothing and is disowned. This division of power creates immediate conflict in the family, as the older daughters quickly strip Lear of his power. Similarly, in Pride and Prejudice, the Bennet sisters face a strict system of inheritance, where their father’s estate is going to be passed down to Mr. Collins, since the family does not have any immediate sons. Unlike Lear’s daughters, the Bennet sisters have no claim to their father’s property, and their only means of securing a future is their marriages.

Despite the different situations the women are in, both stories explore how gender and social expectations shape women’s power and autonomy. In King Lear, Lear’s daughters attempt to wield their power through manipulation and force, while Cordelia remains moral and truthful. In contrast, some of the Bennet sisters, particularly Jane and Elizabeth, aim to find ways to have independence within a society that does not offer them direct wealth. Elizabeth, like Cordelia, refuses to follow expectations, such as when she rejects the pressure to act differently in front of the wealthy Bingleys and Darcy at Netherfield. These characters challenge traditional expectations, showing that women can assert their own agency even in restrictive societies.

Ultimately, both books highlight how societal norms dictate power dynamics and limit women’s choices. The Bennet sisters must marry for security, while Lear’s daughters navigate a different kind of inheritance-based struggle for control. Despite being set in different times and circumstances, both stories reveal the ongoing impact of patriarchal systems in women’s lives. These themes remain relevant today, as gender roles and societal expectations continue to be a major topic of debate, specifically in politics. I think seeing these dynamics through a historical viewpoint is important to see other perspectives of how societal expectations have shaped women’s roles, struggles for independence, and evolution of gender dynamics over time.

Poetry in “Karaoke”

Karaoke” is the opening track to artist Roy Blair’s second studio album, Chasing Moving Trains. Throughout the album, Blair jumps from past, present, to future, exploring the uncertainty of adulthood. This is quite the contrast from his previous album, which was a retrospective portrayal of his childhood, including how he had to move on from his past. Chasing Moving Trains picks up on Blair’s life, and shares the many experiences of his adult life so far.

Blair is nothing short of masterful at creating an album larger than music. Rather than something to simply enjoy listening to, his elaborate world-building creates a relatable yet new perspective for listeners. On the surface, his music is mostly grounded. However, his experiences demonstrate learning, growth, and life lessons. Blair’s ability to fuse dimensions of relatability with brand-new insights makes his music timeless. It allows listeners to develop new meanings over time, bringing his art beyond audio.

Of course, his lyrics play a large part in his craft. As the first track of the album, “Karaoke” is all about setting the scene of Chasing Moving Trains. One of his primary methods for building the set of the album is through his lyrics.

My analog telephone
System is overblown
Your lightning running all over me

In these lines, Blair uses a metaphor of a telephone and lightning to represent his obsession with someone, possibly a lover. The telephone itself represents communication. Lightning running over him is used as a metaphor for the feeling of electricity/chemistry between two people. Feeling overwhelmed, Blair says his system is overblown by the lightning, AKA his love. The combination of a telephone’s communication and lightning’s vibrant emotions show the listener that he’s feeling strong emotions about somebody. In later songs, he talks about what I assume to be the same lover, and discusses about the lessons he learns from the relationship. These lyrics serve to introduce that theme through a metaphor.

Destinations, we’d soon arrive
Miami nights, put it in drive (Oh, yeah)
Hit 85, playing Celine Dion

As mentioned in the title of the album, transportation and destination is a focal point of the album. The entire work of art is incredibly dynamic despite its variety of music styles showcased. Blended together through song-to-song transitions, the expert use of strings, sound effects, and various instruments, it’s no surprise that the lyrics reflect the flowing nature of Chasing Moving Trains. Blair introduces to this motif by mentioning his drive in Miami, which is continued throughout the album. Additionally, his mention of music creates a familiar dynamic to the reader, assuming they listen to music in the car. Essentially, the lyrics create a comfortable and familiar space for the reader to relax and enjoy the rest of the album.

Stop on the interstate
Staring out, not a soul around
Stick our hands out the window and count it down
Feel that north Miami wind on our fingertips

In these lyrics, Blair paints a picture of his drive in Miami using elaborate imagery, also reinforcing the motif of transportation. He describes Miami as warm, empty, and talks about putting his hand out the window. By setting the scene of the album in Miami, it shows warmth and welcoming, perfect for an opening track. Additionally, by choosing Miami, Blair represents that he is no longer a kid. Miami is a city where primarily adults visit, showing that he has grown into an adult since his last album. This creates a fresh perspective, and reminds the listeners that this album is a new and unique experience, creating a blank slate for listeners to enjoy. This sets the preface for the album, as it’s about the awkwardness of his early adulthood.

I believe through his intricate lyrics in “Karaoke,” it is evident that Roy Blair is definitely a poet, as his detailed writing goes deep beyond language, conveying feelings, emotions, and experiences within both readers and listeners. Even through it’s a short song with minimal lyrics, Blair completely sets the scene for what is an incredibly dynamic album, absorbing the listener into a brand new experience, mainly through the use of his poetry.

The Arrival of Beloved

In Toni Morrison’s 1987 novel, Beloved, one of the main characters, Beloved, makes her first appearance in the book by emerging mysteriously from a river. Her entrance is very unexpected, and quite random. Soaking wet and exhausted, she climbs out of the water near 124 on a summer afternoon. However, her strange arrival is far more than an introduction to a key character. Several factors of the event have profound significance and meaning within the novel, such as the river and rebirth.

First, the river symbolizes the Middle Passage, which was the forced voyage of enslaved Africans across the Atlantic Ocean to America. Beloved’s arrival, coming from the river, represents the arrival of those enslaved Africans packed onto ships. Not only does Beloved represent Sethe’s personal tragedy, but the collective tragedy of slavery as a whole. I really thought it was interesting and thoughtful how Morrison used details such as the river to enhance both the story and the broader perspective/event.

Additionally, Beloved’s rebirth represents trauma, specifically how it can linger within individuals. Beloved represents Sethe’s unsolved guilt and grief of her dead child, showing how Sethe’s trauma comes back, and greatly affects her. Despite Sethe trying to move on and bury her past, it still came back, which is shown by the unexpected arrival of Beloved, and the great burden she imposes on Sethe. I thought Beloved’s introduction was an underrated way of representing trauma in terms of a cycle, rather than something that comes and goes. Also, I liked how well it shows trauma can be dynamic.

 

 

Exit West Ending Time Jump

Exit West by Mohsin Hamid ends with Nadia and Saeed falling out of love and ultimately splitting up in San Francisco. Although their departure is bittersweet, the book’s final chapter takes up 50 years in the future, where the two once again meet in their home city.

At first when I started the last chapter, I was surprised by how big of a time jump Hamid chose. The book felt so fast in terms of meeting the characters and how their relationship progressed, and in such as turmoiled world, the future seemed so hard to imagine.  I think Hamid realized this and chose 50 years to surprise the readers, and emphasize the sense of optimism in the book. With Nadia and Saeed splitting in San Francisco, there wasn’t really a clear ending to either characters. Their relationship seemed like it was going to last, and by splitting up, it seemed like their futures were less certain. They were definitely in a better position than they were at home, but they still didn’t have any long term answers to what was going to happen to them individually. By choosing this time gap, Hamid conveyed optimism because it shows what is ultimately the two’s end, and although we were unsure of what would happen to the two, this gave us an ending telling us it will end up okay.

I thought this powerful time shift wrapped up the book pretty well, but I wonder what I would have thought if I never got this future perspective telling me what would ultimately happen to them. Additionally, we know the result after the 50 years, but we still don’t know what happened during all those years. I think there was still a lot of ambiguity with the ending, but not too much.

Dead Parents in The Stranger vs Trust

In Trust (1990) written and directed by Hal Hartley, Maria slaps her father shortly before he collapses to the ground, dying. Similarly, in The Stranger by Albert Camus, Meursault’s mother dies in the beginning of the book. Although these are two very different characters in different situations in life, they bond over having lost a parent.

Meursault’s initial reaction to his mother’s loss is less concerned with her actual situation, and more detail oriented. He is focused on things like taking time off work for her funeral and what he will wear. Generally, his actions come off as cold, as if he shrugged the entire tragedy off his shoulder.

After an argument with her father, Maria slaps him, leaving the room. In the kitchen, he falls to the ground, where his wife checks his pulse. Maria comes back into the room, and upon realizing that he no longer was breathing, Maria’s mom screams at her, kicking her out. Rather than being concerned about her father, Maria heads to school to tell her boyfriend that she is pregnant. Although her pregnancy is a valid concern of hers, I would expect her to show at least some emotion or thought towards her family. She seems to move on unfazed from his death, not really mentioning it again until she moved back in with her family.

I thought it was interesting that both stories began with incredibly unfortunate situations to characters who did not have a ton in common. In Trust, Matthew is clearly representing Meursault, but I couldn’t help but ponder about the similarities between Maria and Meursault. Them both having this trauma response to their parent’s death made me question what had happened in their past, and why they acted this way. Not much context was given in the situations since both tragedies happened at the start, and I think that may have been intentional to add depth to the characters, and to let the reader possibly infer what had happened, and how it had altered the characters and their relationships.

Longing for Feeling or Apathy?

It is no secret that Meursalt from Albert Camus’ The Stranger is a bit of an odd guy. The first chapter of the story begins with him finding out about his mother’s death. However, Meursalt remains fixated on the days he will take off of work to attend her funeral rather than her death itself. His mind always seems to be somewhere else, atypical of what most ‘normal’ people would be thinking. That being said, he appears to live a pretty normal life. He enjoys swimming, has friends at a local restaurant, and gets along well with his neighbors. Despite this, that odd feeling in his thoughts remains. It is as if something in his life is missing. Multiple times throughout the text, Meursalt claims something along the lines of, “does it really matter?”, such as when he was offered a new role in his job by his boss. It is clear Meursalt is somewhat apathetic, or as if he is missing something that leads him purpose in life. However, this changes when he picks up the gun given to him by Raymond and shoots his mistress’ brother.

Meursalt’s descriptions in the text were typically rather bleak. However, when he was on the beach by himself, this changes. He notices the mistresses’ brother, who of course he did not like because of his incident with Raymond. Armed with the gun, he finds the opportunity to shoot and kill him. Of course his death was an unexpected turning point in the story, but that was not the only thing that changed throughout this scene. Suddenly, Meursalt begins to give an incredibly detailed description of the setting. As he stands on the beach, the bright sun beats down in his eyes, weathering him. As he is about to shoot, his detailed descriptions of the gun provide a crystal clear image of the situation, something I didn’t feel at any other point in the story. He shoots, then kills the brother, finishing him off with four more shots. During this event, Meursault felt like a different character to me, raising a ton of questions in my mind. He suddenly was illuminated and began to think completely different. The complex descriptions were shocking and took me by surprise in comparison to the bleakness of before. I couldn’t help but question what came to him in that moment. Was it getting revenge on the brother for attacking his friend? The adrenaline of shooting and killing someone? His sudden feelings were a stark contradiction to his past which seemed apathetic. Although I haven’t read further in the story, I think this event will remain significant, and says a lot about Meursault’s emotions. Had the gun caused him to feel strong emotions that he had been longing for? Or perhaps it a moment of panic, where he was so overwhelmed with emotion that he didn’t know what to do, shooting and killings the brother just to alleviate his thoughts.

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