The english patient 3 the sweet hereafter
1 / 32

The English Patient (3) & The Sweet Hereafter - PowerPoint PPT Presentation

  • Uploaded on

The English Patient (3) & The Sweet Hereafter. Trauma and the Communities “ beyond ” the Boundaries. The English Patient Plot Summary and Questions EP ’ s re-interpretations nomads vs. nations ; Kip ’ s Changes ; Hana ’ s Homecoming . The Sweet Hereafter Starting Questions

I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
Download Presentation

PowerPoint Slideshow about 'The English Patient (3) & The Sweet Hereafter' - adamdaniel

An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.

- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
The english patient 3 the sweet hereafter

The English Patient (3) & The Sweet Hereafter

Trauma and the Communities “beyond” the Boundaries


The English Patient

Plot Summary and Questions

EP’s re-interpretations

nomads vs. nations;

Kip’s Changes;

Hana’s Homecoming.

The Sweet Hereafter

Starting Questions

Pied Piper

Different Parents and Difficulties in Communication

The role of the Lawyer;

Wild Nature vs. Enclosed Space

The Sweet Hereafter


Plot summary
Plot Summary

  • Chap VI: the Buried Plane -- Caravaggio’s intrusion into the EP’s storytelling--the ending of 1942 told the first time. (p. 175)

  • Chap VII: In Situ (meaning: in the natural or original position or place 1940) -- Kip’s story of being trained as a sapper; Kip vs. his brother; Erith, where Lord Suffolk die;

Plot summary1
Plot Summary

  • Chap VIII: The Holy Forest: Kip’s experience; Kip and Hana (217 - ).

  • Chap IX: The Cave of Swimmers -- EP’s story of love re-told to Caravaggio (with two endings/interpretations of the ending)

  • Chap X: August --the endings: birthday party; Hana and Kip’s communication; Kip’s experience of defusing bombs in Naples, Kip’s sudden departure, Hana’s homecoming.


  • How are the EP’s views of his love for Katherine and the latter’s death changed over time? How does he “heal” himself?

  • Besides being used by the nations, and physically and emotionally traumatized by the war, how are these “international bastards” influenced by national boundaries?

  • What do you think about Kip’s radical response to the nuclear bomb? How is Hana’s homecoming different from Kip’s?

  • Are there connections among the three remaining characters?

Ep s re interpretations of their relationships
EP’s re-interpretations of their Relationships

  • Chap IX – a lot clearer than the previous account; “Death means you are in the third person”; re-ordering events (247-48)

  • Their relationships:

    • Reasons for their mutual attraction the story of Candaules pp. 232 -

    • conflicts -- e.g. p. 238;

Ep s re interpretations of katherine s death
EP’s re-interpretations of Katherine’s death

  • 1. 1939 -- Put paints on her body 248

  • 2. Alternating between self-questioning and broader views of time, desert space and life and death.

    • Self-questioning-- curse pp. 257; demon-lover 260

    • Every person a gift in life; 257

    • “jackal” and “historian” 258-57;

    • One’s own body as a communal book 261

Nation vs international bastards
Nation vs. International Bastards

  • [Madox – died because of nations 243;

  • EP –“wrong name” 251

  • Caravaggio and EP – thief as a spy vs. intellectual turned into a vacuum. 253-55;

  • Kip: marked (199) but invisible (196);

Kip s changes
Kip’s changes

  • Before the news of the nuclear bomb:

    • agile, moves in relation to things 218-19;

    • danger and peace: always concentrated on defusing bombs and admiring the statues and paintings in churches; e.g. 273; 278-79

    • Mutual support and communication between him and Hana 270

Kip s changes1
Kip’s changes

  • After the news of the nuclear bombs in Japan:

    • 283 –refusing EP;

    • Brown races vs. Englishman 2886;

    • Traveling against the direction of invasion 290; 295

Hana s homecoming
Hana’s Homecoming

  • The letter she writes to Clara

    • her ability to connect and to face her father’s death;

    • her vision of “home” and “mother”: confirms their plainness and independence.

Connections in the endings
Connections in the Endings

  • Caravaggio – remembers Kip 208;

  • EP – imagines Kip’s presence 298;

  • Kip and Hana –lose contact after he does not respond for a year;

  • Kip – still sees and thinks of Hana 300;

  • Hana – the author still leaves space for her independence;

  • The final connection –or lack of connection?

The sweet hereafter
The Sweet Hereafter

  • By Atom Egoyan;

  • Adapted from the namesake novel by Russel Banks, who likes Egoyan’s adaptation a lot. (e.g. the addition of “The Pied Piper.”)

  • A film about the effects of deaths and losses. In the film, the children are all “dead” to their parents.

  • For some critics, it is typical of Canadian films to not see death as an ending or a heroic closure, but as a process or an absent presence in life.


  • What’s the significance of “The Pied Piper”? What do the opening and ending images and the title of the film mean?

  • How many “fathers” or parents are there in the film? How do they each relate to their children?

  • What does Stephens try to do as a lawyer for the victims’ families? Is he justified to do so?

  • Why does Nicole lie in testifying? Whose fault is the car accident?

The pied piper
The Pied Piper”

  • The adults’ betrayal;

  • Children’s being lead an adult by the piper to a beautiful land with no return;

  • One lame child stays behind.

  • Possible contemporary allusions (in Middle Ages): black death; children’s crusade

The pied piper the film s adaptation
The Pied Piper”–The film’s adaptation

not an allegory

  • The adults, not breaking promises, but mostly unhappy;

  • The pied piper in the film – not a revengeful figure, but one that (wants to) leads a group/a child.

    • Death,

    • Mr. Stephens,

    • Sam

    • Dolores? Billy, follows but not leading.

  • The powerless dolores
    The Powerless: Dolores

    • With an invalid husband;

    • A loving person, her love for the kids shown on the photos she put on her wall;

    • sees picking up the kids as picking up red berries to put in her basket.

    The powerless and troubled parents
    The Powerless and Troubled Parents

    • Billy – finding refuge in adultery, when actually he is obsessed by the past.

    • Risa and Wendell – Risa, does not know how to deal with her son; the two always fighting

    Fathers betraying or betrayed
    Fathers Betraying or Betrayed?

    • Mr. Stephens & Sam

    Stephens and zoe
    Stephens and Zoe

    • Happy family life in Zoe’s childhood: dangers lurking underneath the happy surface

    Stephens and zoe1
    Stephens and Zoe

    • distance between them, after many many disappointments which turns sadness into “steaming piss.”

    Stephens and zoe2
    Stephens and Zoe

    final communication:

    Still filled with tension

    but ending with their

    sharing of fear.

    Stephens as a lawyer
    Stephens as a lawyer

    • believes that there is a reason for everything; transfer his grief onto the victims.

    The role of snowy landscape
    The Role of Snowy Landscape

    • a contrast to the enclosed spaces of the car, the hotel room, the school bus and the airplane.

    The role of snowy landscape1
    The Role of Snowy Landscape

    • Smallness of human beings

    The sweet hereafter2
    The Sweet Hereafter

    • a space of sobriety and maturity after the experience of traumas.

    And everything is strange and new. . .