We complete our discussion of the Prelude by looking at the Snowdon scene in Book XIII, with a lot of comparison to the unfortunate and enfeebling revisions Wordsworth made in Book XIV of the 1850 version.  One student reads Oppen's "The Forms of Love" as a kind of pendant to the Snowdon scene.  I notice a bunch of things that I don't think I ever did before a connection to King Lear for example, and something about Wordsworth's prosody in the 1805 version.  

A little about Hurston's "Gilded Six Bits," and a lot about management of desire.  Newcomb's proposed as something to think about at the end.

The structure of The Prelude.  The amazing way, in Wordsworth, that we get to now in the absence of some connection to then.  The way then is always retrospective.  The spots of time.

Relationship between loss aversion, preference, and anxiety. The two envelope game. Is happiness a preference, or is it another name for the existence of preferences? A Serious Man and Suspicion.

A kind of culmination of the material on maguffins, loss aversion, and the management of longing.  The sunk costs of antes.  The symbolic value of the last cigarette before you quit.  That last cigarette being a kind of maguffin which allows for making it satisfy both the desire to smoke and the desire to quit.

A lot of stuff on rhyming, on emic and etic understanding, on phonemes, before we finally get back to Wordsworth, in particular Simplon Pass and what follows: the strange melancholy mansion they stay in; then the Winander Boy: all about estrangement from nature, and being at home in that estrangement, at home in homelessness.

Narrating gambling.  Getting the benefits of the breaks.  Kinds of gambling narratives: present tense as you're playing and presenting yourself to the other agonists, and past tense: stories of loss.

Powerful anticlimaxes.  How being estranged from childhood, and then recognizing that childhood is already the beginning of estrangement, is to achieve the destiny of being at home in homelessness.  [Wild turkey flies into a window across the quad and freaks us all out, one way or another.]  Mention of Frankenstein.  Some of Book VI of The Prelude.

A class -- since no one is keeping up with the reading, to put it mildly -- on the effect that endings have on our desires for narrative.  The way endings turn all preferences into short term ones, whereas with the whole novel, movie, epic, series to go, long term preferences will tend to clash more with short term ones.  This is (though I don't mention him in the class) one of the ways that convergence works, e.g. in Dan Decker's Anatomy of the Screenplay.

Money offer on the table when we came in!  Loss aversion -- it depends how you present things, as Thaler et al show.  Medical versions.  A brief introduction to Bayesianism and why MD's need to learn some Bayesean analysis.  Brandeis's plan to sell its art collection and the "endowment effect."  Wins above replacement.