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I’m Legit :)

20 Dec

The anticipated Manic-Pixie Dream Girl article is up 🙂 Enjoy!


God Help The Girl!: A Soundtrack For Your Inner Manic-Pixie Dream Girl

18 Dec

So I have an upcoming article soon to hit Love Twenty web magazine about the “Manic-Pixie Dream Girl”. The term “Manic-Pixie Dream Girl” was created by critic Nathan Rabin after seeing Kristin Dunst’s character in the film Elizabethtown.  Rabin describes this archetype as a “bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (Rabin).  In my article I criticize how harmful this modern Lolita characterization really is.  Who knew our favorite, quirky female protagonists were actually hindering female agency?  When that post becomes available on the site all of you should go read it 🙂 ! The topic is really interesting.  In the meantime, I thought it would be fun to create my personal soundtrack that embodies the Manic-Pixie Dream girl image; these quirky sirens who put viewers’ “tender hearts in a blender and watch it spin around into a beautiful oblivion”(Eve 6 Inside Out).  Hahaha being witty through obscure 90’s rock lyrics makes me smile.  Well on to the soundtrack:

1. Dirty Projectors- Two Doves

2. Regina Spektor- Hero and Us

3. Best Coast- Our Deal

4. Priscilla Ahn- Wallflower and I Don’t Have Time To Be In Love 

5.  God Help The Girl- God Help The Girl

6. Mumm-Ra- She’s Got You High

7. The Smiths- Please, please, please, let me get what I want

8. The Moldy Peaches- Anyone Else But You

9. Sixpence None The Richer- There She Goes

10. Oasis- Wonderwall

11. 311- Amber

12. Meiko- How Lucky We Are

13. Panic! At The Disco- Nine In The Afternoon

14. Ingrid Michaelson- You and I

15.  2AM Club- Mary

Works Cited

Rabin, Nathan. “My Year of Flops, Case File 1: Elizabethtown: The Bataan Death March of Whimsy”. A.V Club . The Onion,    25 January 2007. Web. 18 December 2012.

Is It Possible to Be an English Nerd and Love Taylor Swift?

6 Dec

So this semester I was forced by my university to take a literary criticism course.  All English majors must take this course to graduate which is why I was mandated to sit through this nightmare for 15 weeks. I passed with a good grade, but my experience in the classroom was so boring.  I’m not a “theoretical” person so spending large amounts of my life on “would of” “could of”  theories was not pleasant for me.  However, my professor really did try hard to make the coursework relevant to students which leads me to today’s post:

I thought it would be funny to share with you guys my professor’s literary analysis of Taylor Swift’s song “Love Story” through the critical lens of gender studies, deconstruction, Marxism, reader response, and psychoanalysis. Enjoy 🙂

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Taylor Swift, “Love Story”: A Critical Casebook


Taylor Swift

Love Story

We were both young, when I first saw you.

I close my eyes and the flashback starts-

I’m standing there, on a balcony in summer air.

I see the lights; see the party, the ball gowns.

I see you make your way through the crowd-

You say hello, little did I know…

That you were Romeo, you were throwing pebbles-

And my daddy said “stay away from Juliet”-

And I was crying on the staircase- begging you, “Please don’t go…”

And I said…

Romeo take me somewhere, we can be alone.

I’ll be waiting; all there’s left to do is run.

You’ll be the prince and I’ll be the princess,

It’s a love story, baby, just say yes.

So I sneak out to the garden to see you.

We keep quiet, because we’re dead if they knew-

So close your eyes… escape this town for a little while.

Oh, Oh.

Cause you were Romeo – I was a scarlet letter,

And my daddy said “stay away from Juliet”-

but you were everything to me-

I was begging you, “Please don’t go”

And I said…

Romeo take me somewhere, we can be alone.

I’ll be waiting; all there’s left to do is run.

You’ll be the prince and I’ll be the princess,

It’s a love story, baby, just say yes.

Romeo save me, they’re trying to tell me how to feel.

This love is difficult, but it’s real.

Don’t be afraid, we’ll make it out of this mess.

It’s a love story, baby, just say yes.

Oh, Oh.

I got tired of waiting.

Wondering if you were ever coming around.

My faith in you was fading-

When I met you on the outskirts of town.

And I said…

Romeo save me, I’ve been feeling so alone.

I keep waiting, for you but you never come.

Is this in my head, I don’t know what to think-

He knelt to the ground and pulled out a ring and said…

Marry me Juliet, you’ll never have to be alone.

I love you, and that’s all I really know.

I talked to your dad — go pick out a white dress

It’s a love story, baby just say… yes.

Oh, Oh, Oh, Oh, Oh.

’cause we were both young when I first saw you

From Lyrics Mania

Critical Responses:

Gender Studies:

The speaker of “Love Story” imagines herself as an independent young woman.  She chooses the love interest she desires, although her father (the explicit patriarch of the song) demands that the two young lovers “stay away” from each other.  She sees her love as transgressive, not simply of her father’s desires, but of the norms and values of “this town.”  Violating conventional gender types, she is the primary active agent through most of the song, and the boyfriend seems rather passive (she is the pursuer (“just say yes,” he the pursued).  However, the speaker determines her identity entirely in terms of her relation to male figures; a boyfriend is the only means of rebellion against her father, and he is, tellingly, “everything” to her.    The putative happy ending of the song reveals the song’s patriarchal gender dynamics.  The final stanza depicts the father and the lover as actually acting in concert with each other, exposing that the “choice” between lover and father on which the plot of the song was based is an illusion.  In the final stanza, the speaker becomes passive and the boyfriend becomes active (now she is the pursued, he the pursuer).  This return to passivity eliminates the tensions around which the song has been based; it is what makes song’s ending “happy.”  “The speaker’s identity always has and always will be determined by patriarchy; men are truly “everything” to her.


On the surface, the song “Love Story” tells a stereotypical tale of idyllic young lovers who triumph over the opposition of their families and their town.  Their love is so compelling, in fact, that it ultimately converts everyone who opposes it.  The father who has functioned as an oppositional figure throughout the song gives his consent by the end, and the lovers who fantasize about “escape” from the area need go no farther than “the outskirts of town” before returning.  However, the song casts itself as a classic “love story” by means of a series of references to classic works of literature that center around a love plot.  These allusions retain traces of their original context that the song cannot wholly suppress; these textual traces serve to unravel the optimistic narrative they were used to construct.  The boy in the song is both explicitly Romeo and implicitly Arthur Dimmesdale (as the speaker is his “scarlet letter”).  In Romeo and Juliet, there is ultimately only one way to “escape from this town for a little while”: suicide.  In The Scarlet Letter, the attempt to rebel against social norms produces for Arthur Dimmesdale only masochistic self-destruction.  By casting the boyfriend as Arthur Dimmesdale, the song suggests the psychic damage that comes with attempting to rebel against social constraints and against one’s socially constructed identity.  The characters in this song do not exist as individuals; they are the products of social forces from which the only real means of escape is death, and in their attempted rebellion they will simply unmake themselves.  The song unconsciously reveals the impotence of the idealized love it purports to celebrate.


The song “Love Story” purports to be anybody’s story, a celebration of individual love with which any teenager could identify.  However, the characters’ individuality is an illusion; they are products of their bourgeois class status.  Their romantic union simply consolidates the class structure to which they belong.  The speaker assumes a world where all women can afford to wear “ball gowns” to fancy parties at reception halls where elaborate “balcon[ies]” are a standard architectural feature.  Moreover, her upper middle class home contains such ostentatious class markers as an external staircase and a carefully landscape garden area.  Each of these traits is emphasized in the song in an almost fetishistic manner.  In a sense in which the song probably does not intend, the speaker really is a “princess” who could make a romantic union only with a “prince.”  The song perhaps unconsciously also reveals the difficulty of escaping interpolation.  In attempting to resist the determination of her identity and emotions by the family I.S.A.—those who are “trying to tell [her] how to feel”—the speaker simply runs into the arms of a man of whom her bourgeois father ultimately (or perhaps secretly) approves.  The song reveals that it is actually impossible to “make it out” of the “mess” that is capitalist society; there is no “escape” from interpolation.  The happy ending of the song occurs when the speaker abandons even her largely imaginary resistance to social norms and simply accepts her interpolated identity.

Reader Response:

Marxist critics, feminists, and deconstructionists predictably conclude that “Love Story” reflects and is shaped by class and gender hierarchies and the indeterminate nature of language.  However, each of the schools of thought omits the actual experience of reading the text in favor of mining it for data that supports its predetermined conclusions.  The reader of “Love Story” encounters and shapes a text that is fundamentally a blank or absence.  The couple in the story are devoid of names (other than the literary references that they have ascribed to themselves) and they come from nowhere (no detail betrays the size or location of “this town”).  They possess no physical traits or interests and experience only prototypical setting from teenage life, like prom. What little we know about them comes from references to texts any teenager would encounter in a standard high school reading list: Romeo and Juliet and The Scarlet Letter.  And whatever little we feel that we do know about the characters comes undone as the narrative unfolds.  She is a “scarlet letter” of which he is not ashamed (he “love[s her] and that’s all [he] really know[s]”) and she is a Juliet who marries Romeo. To hear the song is to find what little we know about the characters taken away from us.  They are two star-crossed lovers—except that everyone approves.  Their love is an escape from the town—except that they stay.  But perhaps this process of negation actually accounts for the popularity of the song with its teenage listeners.  In the end, we are left with a title (“Love Story”) that designates a textual blank onto which readers can project themselves without interpretive obstacles.  The song transcends the laws of logical noncontradiction, as it allows teenagers to identify with its narrative whether their own “love stories” are approved of or disapproved of, rebellious or conventional, or involve leaving home or staying.  The song’s absence of content is actually a narrative triumph.


The speaker of “Love Story” exists in a liminal space, in a border area, uncertain how to reconcile the competing demands of loyalty to her father and sexual attraction to her boyfriend.  This tension is minimized in the song’s conclusion but projected strongly in the song’s relatively few concrete images.  Freud reminds us that both houses and gardens are symbols of women, female spaces.  The speaker is suspended on a metaphorical external staircase between the demands of her father (the house of her parents, the familial structures, the superego) and her boyfriend’s summons from the ground (sexual attraction, the id, the desire to go off her pedestal).  She and her boyfriend meet in “the garden,” both a feminine space and a symbol of fertility and sexual desire.  In the next line, the speaker says they must be quiet and they are “dead” if anyone finds out, reflecting a classical Freudian association of sex and death.  The song also implicitly equates sexual desire with the death drive—the only true “escape [from] this town.”  The ending of the song is a fantasy where the demands of the ego, superego, and id are reconciled as the father consents to pass the speaker on to the boyfriend.  However, whether the fantasy can fully resolve the psychic tension depicted in the song remains unseen.  The speaker’s ego never successfully balances the demands of the superego and the id, which must be magically resolved, as via wish fulfillment, by the intervention of external forces.  Underneath a conventional story of young love and marriage, the song depicts the psychic angst of the contemporary teenage girl.

*If you want to use any of the content in this post I beg you to please email me for permission first.  This is not my work, it is my professor’s, and therefore needs to be credited to him.  I did not list his name in the post because I do not wish to give up my location or his.  Please be respectful and follow my request.


We’re Broken Up and I Was Left With a Frying Pan and Yoga Pants…

6 Dec

Hi readers 🙂 ! Sorry I’ve been MIA for so long.   It’s my senior year at college and the workload this semester was crazy @.@ Now that finals are over I can get back to writing for this blog and sorting through my life.  Thanks for continuing to read and I will be updating soon.  The story below is a diary entry I wrote during this semester about some life changes that have occurred in my life.  It is really short, sweet, and simple, but this is just something for y’all to chew on while I work on  more content for this blog.  Please feel free to comment  🙂


I bought a frying pan, yoga pants, and broke up with my best friend  all in one week.  Why is my life like a bad spin-off?  I try to avoid this type of drama, but it seems to follow me everywhere I go.  I can’t create this kind of chaos in my life even if I tried.  Basically this is what happened:

  1. On Friday my friend revealed the ugliness within herself to me and our friendship ended.  (This occurred the weekend of Halloween.  I don’t know if that is what influenced her to turn all Freddy vs. Jason on me)
  2. Cried about it for literally 15 minutes then went to my local bar.
  3. Saturday I bought a frying pan.  Not sure if I subconsciously purchased this item to drown out my sorrow about my broken friendship with fried calories, but now I can cook at home which is something  I always wanted to do.
  4. Along with the frying pan I bought yoga pants in case my “junk food therapy” came back to bite me lol.

This is a summary of my current life.  I’m sad to admit I’ve been lonely at times since the break up, but I would rather be happy and alone then crowded around false friends and depressed.  The relationship was mentally draining because I always felt like I had to keep up with her, had to be good enough for her to make our friendship last.  I think she recognized my insecurity and took advantage of it.   I had to change the way I was being treated, even if that means from now on lonely lunch dates and Friday nights. Oh well. Fried twinkie anyone?

The Facebook Sonnet

14 Oct


Enough said 🙂

The Reality of Persuasion

14 Oct

So pretty much the only thing I’ve gotten out of my English 400 (writing for citizen leaders. ?) class so far:

“Dorothy returned to full-time work a year and a half ago, after I quit my job.  The deal was that I would take over the cooking, but she loves to see her husband as the inspired author and herself as the able enabler.  My wife is a babe, and many babes go for inspired authors.  Of course, she might be persuading me: by acting as the kind of babe who goes for inspired authors, she turns me on.  Seduction underlies the most insidious, and enjoyable, forms of argument”.

Thank You For Arguing Jay Heinrichs

Where The Sidewalk Ends

14 Oct

Hi guys 🙂 Sorry I’ve been MIA for so long.  So much has happened this summer, but now fall is arriving and cooling everything down including my life.  I want some hot chocolate and cookies now that I’m writing about the crisp season approaching my small, country college town.  I’m in a new apartment with new roommates (thank goodness).  All in all they are okay roommates.  The only negative thing that has happened so far at this house is that one evening I came home to a passed out roomie locked inside the bathroom, (we had to take a butter knife to pry the door knob off), and a shower full of vomit I later had the pleasure of cleaning up. Yeah, gross.  Don’t worry :/ .  We are still on good terms.  She apologized to me and told me it would never happen again.  Let’s hope not.

My classes this semester are the hardest I’ve ever taken .  I’m taking a lot of 400-level writing intensive courses (the highest level of classes my college offers for undergrads) this time around,so the workload has doubled.  On top of my daily mountain of school work I’m back to working at the writing center; I’m working more hours at the center this semester.  All this work is making my head spin and causing me to crash on the weekends; I do absolutely nothing but sleep and party. Partying?  Yes; I believe partying is in inevitable in a lifeless college town like mine.  Now I’m not “animal house”  partying.  At the types of parties I get invited to we talk about things like literature and religion over peppermint patty shots.  Not as exciting and stereotypical as most college parties, but they are still fun.

This post is a really lazy one because nothing is really going on in my life at the moment.  I’ve been writing poetry a lot lately; I’m starting to take my creative writing seriously.  I’m not sure where I want to go with this writing, but right now it’s really relaxing and therapeutic.  Other than that there is nothing else.  I’ll get back to you when there is.  In the meanwhile, lets all live life drunk and full: