Cornell was obsessed with making light of things – he was obsessed with figuring out why things are as they are, how something is defined in relation to something else. It was about the quest for self-identity, to try and figure out his childhood, to capture this childhood and the nostalgia that goes along with it. Cornell was also concerned with the source of inspiration. He worked hard to make “light” of where inspiration comes from. This lead him to try multiple different methods when it came to organizing his boxes. He was always experimenting. However, part of the process of creating the dossiers, was to allow Cornell a chance to make “light” of his own thoughts. His working method included classifying ideas. Here he was with all these different thoughts, and he had the burden of peeling away some of the weight that accompanied them. Creating a box, in many ways, is about the quest for lightness or understanding. It is about having an idea, some idea, and trying to capture it in a way that portrays it to the best of its ability.
I tried to do just that when it came to creating my blox for lightness. However, it was very hard for me to make “light” of my thoughts, to sort them out according. It was hard to visually embody the simultaneous lightness and heaviness I experienced with this text, because my own thoughts weren’t even entirely clear. In many ways, going through the process of finding images, taking notes, creating my own dossier of sorts, allowed me to understand my own thoughts, to break them down into smaller and more manageable chunks.
While I was trying to map out my own thoughts, I was struck by this sudden idea, that lightness is, in many ways, about mapping out the world around you. It is about making “light” of yourself, the people and events around you. I knew that I wanted the image of a map, or the world, to be a central part of my blox. Not only is it about creating a space for understanding, but the obvious saying “carrying the weight of the world on your shoulders,” implies that you have not yet come to a state of lightness or freedom from burden.
Therefore, the central image, when looking at my blox, is one of a globe. Within this globe are the two opposing ideas of lightness and darkness. This geographically makes sense, because when part of the world is in darkness, the other half of the world is witnessing the sun and daylight. Metaphorically, though, this illustrates that within every body, we hold both the lightness and darkness. They coexist in the same world.
On the top half of the globe, there is the night. There is the world guilt, epitomizing the weight of actions, namely the guilt Anna experiences after starting the trial. Every action has a consequence. The burden of consequence is a heavy one. There is also the clock housed in this portion of the globe. Here is the reminder of time, of the fact that time is limited. The ultimate threat of time is death. In this novel, death is a highly relevant topic. It is what causes much of the heaviness or weight throughout the text. Up on this part of the sphere is also a locket. Anna sacrifices her locket to be able to afford the cost of a lawyer. Sacrifice is a burden, but it can also result in lightness, if the sacrifice ends up being worth it.
The bottom half of the globe illustrates more of the lightness. There is sunlight shining and a kid running around free flying a kite that is light enough to defy the burden of gravity. There is someone smiling. A sunflower is planted in this part of the globe. A little girl is swinging off the bottom of the globe. There is a freedom and lightness felt in this sphere. It is the light at the end of the tunnel.
In the middle of the globe, kind of bridging the two spheres is an actual image of the light at the end of the tunnel. There is the shadow of a figure walking towards the light, embodying the hope that lightness, or the quest for lightness, can bring.
On the bottom of the blox, is a scale with books on either side of it. Here is a literal depiction of the weight of words. In this novel, much of the heaviness comes from things that are spoken aloud. Anna opening her mouth about how she feels is the impetus for much of the heaviness and drama throughout the text. I put images of people holding the weight of the world in their hands on top of each of these books. To the right is a child holding up this weight, a weight that a child shouldn’t have to hold. This is symbolic of the children in this book losing their innocence too fast and dealing with weights they shouldn’t have to. On the left is the image of someone holding the world in his or her hands. These images of weight ground the image.
The scale is in balance, though, because it is not just holding up darkness, but also lightness. There is both in this blox, because there is both in the novel. The dichotomy of the two characteristics is what keeps the image balanced. Both aspects are needed for survival.
And, finally, at the top of the image is a starry night. In the novel Anna is named after a star. Her father is obsessed with stars and there are many stories about stars throughout the text. The interesting thing about a star is that it is light despite the darkness around it. It can shine, despite the constricting heaviness around it. The fact that Anna is named after a star, provides hope that she will recover her lightness once more – it is who she is, in essence. The starry night also serves to further illustrate the simultaneous coexistence of light and dark.
Okay, now to talk about how to make the visible MORE visible. But, also, how to translate the verbal elements, since this is a book, into s0mething completely visual. Here is where I turned back to the theme of this novel. Seger writes about how there is a certain amount of description needed to get images across in a book. These are chosen carefully to construct an overall image, or theme. This is often done by repeating the same image or idea, by adding details to the original image, or also by using contrasting images. I tried to implement these techniques when it came to my adaptation. I focused on the ideas of silence versus noise – of the implications of both, and how it can affect the overall image of a household. Seger talks about how movement is fluid in a novel. The narrator moves through the book in a way that helps readers understand the connection between details, ideas, and information that may appear again in different chapters. The author connects the past, present, and future. An interesting aspect of My Sister’s Keeper, is that the novel jumps around in time. The mother is often reflecting on the past, and many times whole chapters are flashbacks. This helps connect the imagery and themes of the novel, though. It illustrates how the past inevitably affects the present, which will also impact the future. These images are closely intertwined.
When considering my adaptation, I tried to fixate on repeated words, and the resultant images they formed. It was also interesting to note that sometimes the same words prompted totally different results, or images. Because of the ways in which the characters changed, the words took on new meanings, and formed completely different images. This contributed to the confusing mood of the novel and the inability of characters and readers to get a firm grasp on what is right and wrong. The words create images, however, which help form a general mood and theme for the book.
What I really wanted to capture in my visual adaptation, was the interconnectedness between verbal word and the formation of images. Whether these images are created by the character or the reader, they are a reaction to something said or not said. Image and word are tied together. And even though the relationship bonds in this novel are tested and torn and pulled to a stretching point, the bond between written word and visual image, remains constant. The words might change, the images might change, but the coexistence of the two, does not.