 “And do you write for any other magazines?” inquired the young lady.  “Oh, yes,” I assured her, “I’ve had some stories and plays in the ‘Smart Set,’ for instance—”  “The ‘Smart Set’! How can you? Why, they publish stuff about girls in blue bathtubs, and silly things like that.” Magnificent Joy Porcelain and Pink

And Pink F. Scott Fitzgerald Content of the play? The author?

 The Narrator “… but frankly it fascinates me. I could continue indefinitely, but I am distracted by one of the two objects in the room…” What person? Please note that there is a first person narrator in the STAGE directions. Who is this person? How is this technique modern? Please note that there is a first person narrator in the STAGE directions. Who is this person? How is this technique modern?

“You begin to suspect the plot?” Who is you?

“One thing more—above and to the right of the bath-tub is a window.” “…it lets in much sunshine, but effectually prevents any one who looks in from seeing the bath-tub.”

Introduced? “the startled gasp of the audience quite drowns out the first half…” Why does the audience gasp? Modernism Disillusionment of old valuesModernism

“…dressed but carrying garments and towels. LOIS is a year older than JULIE and is nearly her double in face and voice, but in her clothes and expression are the marks of the conservative.” “Yes, you’ve guessed it. Mistaken identity is the old rusty pivot upon which the plot turns.” Second person again! Did you guess it as he says or did you think it after he said it? Why is this an important distinction?

JULIELOIS  How old is she?  Where is she at?  What did she forget?  Why is this important?  How old is she?  What does she have with her?  What does she ask?  What are her plans? Whimsical, Carefree, impulsive, “Modern” Conservative, concerned, moral values, “Modern?”

“decorated with a slim mustache and sympathetic eyes. These last stare, and though they can see nothing but many fishermen with nets and much crimson ocean” “Yes, you’ve guessed it. Mistaken identity is the old rusty pivot upon which the plot turns.”

Literal? SLANG!

THE YOUNG MAN: What color are you wearing? JULIE: (After a critical survey of her shoulders) Why, I guess it’s a sort of pinkish white. THE YOUNG MAN: Is it becoming to you? JULIE: …this was a birthday present and I sort of have to wear it. THE YOUNG MAN: Pinkish-white. Well I’ll bet it’s divine. Is it in style? JULIE: Quite. It’s very simple, standard model. JULIE: Quite. It’s very simple, standard model.

And Pink F. Scott Fitzgerald Where does the title come from?

 Which character do you relate to the most?  What is one question you would ask the author?  Assume that this piece of literature reflects the author’s personality and beliefs. What conclusions do you draw about him?

 Round 1—Creating a slang dictionary  Round 2—Applying the slang language to the reading  Round 3—Analyzing the characters and elements of modernism  Round 4—Creating a dialogue

 SLANG DICTIONARY:  Using your folded paper, create a modernism dictionary of slang (1920s) that will be useful throughout our modernism unit. Each page must have 3 slang words, with part of speech, definition, and a sentence. If you draw pictures, you’ll get extra credit! First entry: Jumping Cats! Part of speech: adj./noun exclamatory Definition: An exclamation of surprise Jumping Cats! Julie exclaimed as an unknown male voice interrupted her peaceful bath.

 Re-read Porcelain and Pink and fill out the chart on page 3 of your packet CharacterPersonalityRelation- ship Important actions Important Quote Julie Lois Young Man (Mr. Calkins)

Modernism Element Seen in the play? Why/why not? Example from play if applicable Disillusionment with traditions and old values Automobiles make travel convenient Emphasis on leisure and party time Concern with making money Concern with spending money Alcohol, once prohibited, becomes a way of life The Jazz Age Prejudices Disparity in wealth Fragmentation Implied theme Emphasis on material goods

 Using your dictionary, you want to create a dialogue between YOU, the character and the author. Use what you have deduced about the author in the introduction and stage directions to make the dialogue character driven. Make sure you use 1920’s slang, your slang and interactions between yourselves and the characters. Your dialogue should be at least 1 page. Be creative, and use ACTIVE verbs, GOOD modifiers, and NON-WORDY sentences but remember to keep it school appropriate. (You should start it as a GROUP—but keep in mind that it may become HOMEWORK to finish so you ALL need to write the dialogue)