Great minds and ice cream essay

I Left Social Media for a Week.

Great minds and ice cream essay

Franz has a nervous breakdown. Reinhold, Konrad, the Reaper Death. Whore of Babylon; the Reaper Death; Ecclesiastes.

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Mitten unter den Leuten. In ihm schrie es entsetzt: Achtung, Achtung, es geht los. Er stieg unbeachtet wieder aus dem Wagen, war unter Menschen.

Wie sich das bewegte. Was war das alles. Man mischt sich unter die andern, da vergeht alles, dann merkst du nichts, Kerl.

Es — lebte — nicht! So stand das da wie die Laternen — und — wurde immer starrer. He shook himself and gulped. He stepped on his own foot. Then, with a run, took a seat on the car. He turned his head back towards the red wall, but the car raced on with him along the tracks, and only his head was left in the direction of the prison The car took a bend; trees and houses intervened.

Busy streets emerged, Seestrasse, people got on and off. Something inside him screamed in terror: The tip of his nose turned to ice; something was whirring over his cheek. He got off the car, without being noticed, and was back among people again. Crowds, what a swarm of people!

How they hustle and bustle! What was all this? Shoe stores, hat stores, incandescent lamps, saloons. The pavement on Rosenthaler Platz was being torn up; he walked on the wooden planks along with the others.

Wax figures stood in the show-windows, in suits, overcoats, with skirts, with shoes and stockings. Outside everything was moving, but — back of it — there was nothing! It — did not — live!

I Left Social Media for a Week. This is What Happened. - Wit & Delight

It had happy faces, it laughed, waited in twos and threes on the newspapers. Thus it stood there like the street-lamps — and — became more and more rigid. They belonged with the houses, everything white, everything wooden. Even in the brief representative example above, note how the driving pace of the prose plays off of the static, yet terrifying, world that Franz perceives.

The language is certainly shaped by such things — mostly the noises of the big city, the specific rhythms, the constant madness of an unceasing back-and-forth. Although the narrative settles down, at least relatively, for dramatic scenes, it constantly returns to its vertiginous depiction of "the Alex" as a place where life is frantic, transitory, and not infrequently sinister.

Alexanderplatz, like Franz entering his new life, is very much a work in progress.

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Unknown at the time, this would soon come crashing to a halt, with the imminent Great Depression and rise of Hitler.

The style, as much as the action, is a critique of the hair-raising pace and impersonality and fragmented nature of modern life.

The novel is both a depiction, a celebration, and a warning about too much too fast. But the technique reveals deeper insights than some merely flash literary reproduction of daily life.

In that regard, the novel embodies the overwhelming collective forces of a modern technological society. It came from over x miles away, it shot past the star y, the sun has been shining for millions of years, since long before Nebuchadnezzar, before Adam and Eve, before the icthyosaurus, and now it shines into the little beer-shop through the window-pane, divided into two masses by a tin sign: It spreads over them, and they know it.

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Great minds and ice cream essay

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