the day of Groundhog day itself is existentially interesting. we just decided that on a specific day, an animal seeing its shadow is supposed to determine the weather. kinda makes you question what other things we have just made up and accepted as fact. #laylit18
looking into McEwan’s background, he says as a teen he was shy and worried about never making rich meaningful relationships. this sounds like it could be the start of a fascination with existentialism #laylit18
Groundhog Day has a strong existentialist vibe because Phil realizes that how he looks to others (all the weird things he says and does after realizing he was reliving the same day over and over) doesn’t change anything, thus his actions literally don’t matter. #laylit18
Adam’s motivation for the kiss was driven by the realization that his religion was trapping him in a very specific set of social norms—he finally wants to break the rules #laylit18
Fiona kisses Adam because his youth makes her feel beautiful again after her messy relationship issues, and also because doing something crazy reminds her of her own younger self before she turned so orderly and rigid #laylit18
the constant questions in act 3 show that Fiona is beating herself up over her husband’s affair—she even says she feels ashamed and wants to keep it secret from her friends. this is a common reaction in women who are being cheated on. #laylit18
Fiona turning her phone off to control her compulsion is interesting—she likes to be in control of everything, but here is seen struggling to control her own actions #laylit19
Fiona’s job kind of takes on the role that a child would in her life: it requires all her time and energy and caused her to lose her own personal spunk. almost everything she does now is for or because of her job—many parents say the same except about their children #laylit18
Fiona’s reference to her “daringly unrhymed” poetry when she was younger is evidence that she has become more uptight and rigid throughout her life, probably a result of her career #laylit18
Fiona probably keeps so much structure in her life (as seen with the stockings and watered down scotch) because her job is to make decisions to put troubled and disordered families back in order—she has grown accustomed to controlling all kinds of situations #Laylit18
Fiona’s job brings her comfort because when her own home life troubles her, she remembers that she is able to settle the issues in other households. although this does nothing to fix her situation, the power negates feelings of helplessness she gets from her husband #laylit18
Meursault says he just wants the trial to end so he can go back to his cell and sleep on page 105, which shows how quickly he has adapted to and become comfortable with his new living situation #laylit18
Meursault finds it weird when the prosecutor uses the word “mistress” and says to him she is just Marie... this is because to him she doesn’t have a title or label and he’s not worried about what their relationship is or isn’t, she’s just a person in his life #laylit18
in the beginning of chapter 4 of part 2, Meursault says he finds it interesting to hear people talk about him... this is interesting because based off his character I would assume he wouldn’t care what others think because it doesn’t matter #laylit18
Camus spends a lot of time describing things that seem kinda irrelevant, and tends to skip over the things that a typical writer would dive into with great detail, perhaps to challenge our general concept of what does and does not matter #laylit18
i’m finding that Meursault’s detachment from his emotions is characterized through Camus’s writing style, especially in the beginning of chapter 4 which is basically a series of bland simple sentences #laylit18
similar to how Meursault is not in touch with his own emotions, it seems that he struggles to understand those of others, like when old Salamano loses his dog and the narrator describes that he “got mad” rather than using better emotional description #laylit18