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Judah is the guy with the answers. More than Helen, he knows the reason why they are all gathered there. He’s also an unbelievable, decadent partier. He and Helen sometimes sleep together. (perhaps that’s revealed in the first episode.)
What is Judah's agenda? He longs to be free of his curse, but also is afraid of the light. Afraid of being happy.
What is Judah's agenda? He longs to be free of his curse, but also is afraid of the light. Afraid of being happy.
Also need a hot girl with wicked332/off-beat sense of humor. Kind of Galen-esque, more hot than beautiful, though. Kind of a slut, too. She might not appear immediately—maybe she’s a friend of Jake’s who visits during fall quarter, then transfers? What’s her name? Miranda? Hannah? 
Jake is seemingly a ladies man, but deep down needs to be more in a relationship.
Tim is very concerned with morality, but also afraid of commitment. He doesn’t really want to be in a relationship, just sexual experience.
The deadhead stoner character is also one of the smartest and hardest studying. (Name? Davey? Pete?)
Lana is a deadhead girl, but with an odd twist (which is what? She’s a neat freak? compulsive?) Maybe Lana is Asian? Asian neat-freak deadhead chick.
Sophie is the other deadhead girl, whose parents are fabulously wealthy, but she never reveals it. Also a member of minor European royalty.
Helen: beautiful but strangely genuine. Millenia of loss have made her compassionate but also wary. She is careful of getting too close to anyone, and will only sleep with those she knows will not fall in love with her.
Jessica is a "good Jewish girl" but also a stoner and partier, with a somewhat anarchic sense of humor.
Tim is very concerned with morality, but also afraid of commitment. He doesn’t really want to be in a relationship, just sexual experience.
The deadhead stoner character is also one of the smartest and hardest studying. (Name? Davey? Pete?)
Lana is a deadhead girl, but with an odd twist (which is what? She’s a neat freak? compulsive?) Maybe Lana is Asian? Asian neat-freak deadhead chick.
Sophie is the other deadhead girl, whose parents are fabulously wealthy, but she never reveals it. Also a member of minor European royalty.
Helen: beautiful but strangely genuine. Millenia of loss have made her compassionate but also wary. She is careful of getting too close to anyone, and will only sleep with those she knows will not fall in love with her.
Jessica is a "good Jewish girl" but also a stoner and partier, with a somewhat anarchic sense of humor.
The first night after everyone moves into the dorms, and wild partying erupts. A rivalry develops over the most beautiful girl on the floor, Helen, but just when things seem most tense, Tim steps in and brings peace, and everyone becomes friends.
Aron and Sam’s father married Mathilda (Aron’s mother) but she left the father when Aron was quite young to return to Louisiana. Afte that the father married Sam’s mother, whom Aron hated. When Sam was just two, her mother drowned in the river under mysterious circumstances. After Sam’s mother died, her father “went strange” and became morose, bitter and tight-fisted. 
what does it symbolize to Samantha?
In Ulysses the tower symbolizes, among other things, consciousness, the ego.
It is, of course, a phallic symbol.
In Ulysses the tower symbolizes, among other things, consciousness, the ego.
It is, of course, a phallic symbol.
Flashbacks only work if all the characters have them. Including Michael? He doesn’t really have a previous life of interest, though. The Helen flashbacks are interesting since we see her perspective on stuff we’ve only seen from Tim’s POV.
It’s a structural problem that the scenes work well in Helen of Santa Zita, but not so well in NFFN. So maybe they should be cut out? Or only included in the Helen-only path through the novel? One thing that’s interesting about the original version of NFFN was its immediacy—lack of back-story, flashbacks or context. You were just plunged into the characters’ live as they unfolded.
It’s a structural problem that the scenes work well in Helen of Santa Zita, but not so well in NFFN. So maybe they should be cut out? Or only included in the Helen-only path through the novel? One thing that’s interesting about the original version of NFFN was its immediacy—lack of back-story, flashbacks or context. You were just plunged into the characters’ live as they unfolded.
In a sense, COTH, 1989 and tdp are like a trilogy about Tim’s life (with HSZ and DSW being companion volumes). They don’t overlap in time or plot. In that sense then, 1989 is like Empire Strikes Back or Two Towers. A middle volume, with all that that entails. The plot of 1989 should deepen and complicate the plot of the overall trilogy. Also add some disillusionment and darkness, like in Empire. Tim loses something vital, that he can’t get back. Maybe learns something about his past/father that disturbs him, forces him to look at himself and think about who he really is.
The continuous narrative arc in the trilogy is Tim and Helen. In 1989 Tim becomes disillusioned with Helen, and it leads him to stop hanging out with her by the end, until she helps him in his hour of need and they rediscover the connection that binds them.
CotH is about the head, 1989 about the gut and Volume III is about the heart. To put it another way, CotH is about ideas and the intellect, 1989 is about desire and lust and Volume III is about love, courage and will.
In a sense, one challenge of 1989 is not much changes absolutely for Tim by the end. He starts friends with Helen and Jessica, ends with him friends with her. He is changed internally, made less innocent, made into an artist (perhaps). However it is the middle volume of a trilogy. Tim discovers within him both a capacity for good and for evil that terrifies him.
But where on earth can this go in Volume III?
The continuous narrative arc in the trilogy is Tim and Helen. In 1989 Tim becomes disillusioned with Helen, and it leads him to stop hanging out with her by the end, until she helps him in his hour of need and they rediscover the connection that binds them.
CotH is about the head, 1989 about the gut and Volume III is about the heart. To put it another way, CotH is about ideas and the intellect, 1989 is about desire and lust and Volume III is about love, courage and will.
In a sense, one challenge of 1989 is not much changes absolutely for Tim by the end. He starts friends with Helen and Jessica, ends with him friends with her. He is changed internally, made less innocent, made into an artist (perhaps). However it is the middle volume of a trilogy. Tim discovers within him both a capacity for good and for evil that terrifies him.
But where on earth can this go in Volume III?
Not the message, since that's cheezy. But the meaning--created by the act of reading. The reader has been seduced by Santa Zita in Vol. I (City On the Hill) and betrayed in Vol. II (1989.) If CotH is Star Wars, and 1989 is the Empire Strikes Back, does that mean Vol. III is Return of the Jedi, with all that that entails (Ewoks, Darth Vader suddenly turning good, etc.)? If CotH is thesis, and 1989 antithesis, then Vol. III must be synthesis and integration. Both for the characters, but also for the reader's relationship with the writer, and the work.
Jessica not a POV character in Vol. III? Should she be? Not sure, though it would be interesting. Helen and Jessica no longer live together (do they?) but they are starting to grown apart. Jessica is interested in her social work, and helping children. She has a definite career in mind.
