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Sally Potter

Sally Potter's THE ROADS NOT TAKEN follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning) as she grapples with the challenges of her father's chaotic mind. As they weave their way through New York City, Leo's journey takes on a hallucinatory quality as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future


director=Sally Potter


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R | 1h 25min | Drama | 13 March 2020 (USA) WATCH HERE ▶️▶️   DOWNLOAD HERE ▶️▶️ Sally Potter's film follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning), as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future. Director: Sally PotterWriter: Sally Potter Status: Completed | See complete list of in-production titles »Updated: 7 February 2019 Storyline Sally Potter's THE ROADS NOT TAKEN follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning) as she grapples with the challenges of her father's chaotic mind. As they weave their way through New York City, Leo's journey takes on a hallucinatory quality as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future. 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The roads not taken sally potter

The Roads Not taken 3. We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our services. To learn more or modify/prevent the use of cookies, see our Cookie Policy and Privacy Policy. As a method of textual analysis, deconstruction involves close reading of works of different types to reveal incompatibilities between the explicit and implicit planes of discourse and limitless interpretation of meaning in a text. Because of the hierarchy that Frost sets up, The Road Not Taken is an ideal piece for deconstructive analysis. This paper is an analysis and a breaking down of this poem into its various elements and a close examination of those elements, especially the elements that most need examination because of the difficulties, ambiguities, or problems that they pose. It is revealed through this analysis how the poem can be approached from a deconstructive point of view that requires moving beyond individual phrases. The poem’s overt ideological project rests on some binary oppositions that can be deconstructed by contradictory textual evidence, that conflict with or undermine these hierarchies. It is hoped that the results of the current analysis may offer some fresh insight into the poem and shed some light on the appreciation of it from a different perspective, which is based on deconstructing the poem. The Road Not T aken under Deconstructive V iew Sara Setayesh PhD Student, Shiraz University, International Division, 4NCIH2017, 8 June 2017 Abstract As a method of textual analysis, deconstruction involves close reading of works of different types to reveal incompatibilities between the explicit and implicit planes of discourse and limitless interpretation of meaning in a text. Because of the hierarchy that Frost sets up, The Road Not T aken is an ideal piece for deconstructive analysis. It is hoped that the results of the current analysis may offer some fresh insight into the poem and shed some light on the appreciation of it from a different perspective, which is based on deconstructing the poem. Keywords: Deconstr uction, Robert Frost, The Road Not T aken Introduction Deconstruction as a critical outlook concerned with the relationship between text and meaning was inaugurated by Jacque Derrida’s 1967 work Of Grammatology. It is being put to use in humanities and social sciences such as literary criticism. Deconstruction generally tries to demonstrate contradictions and oppositions and to show that any text contains severe contradictory meanings and therefore has more than one interpretation. Deconstructive readers look at the ways a text says something different from what it intends to mean or the ways texts don’t always mean what they say. In fact, deconstructive r eaders like to read against the grain. One way to achieve this aim is to discover conventions and prejudices prescribing meaning to words. After recognizing existence of binary oppositions that restrict meaning, assuming a fixed interpretation, one can explore the text outside assumptions. In a binary opposi tion one element is superior and privileged while another element is inferior or unprivileged and their effects govern interpretation of a text. By reversing the hierarchy and creating new binary inversions we can analyze various levels of meaning t hat evolve when binaries are reversed. This paper is an analysis and a breaking down of this poem into its var ious elements and a close examination of those elements, especially the eleme nts that most need examination because of the difficulties, ambiguities, or problems that they pose because t his poem may be as the critic Frank Lentricchia put it, “the best example in all of American poetry of a wolf i n sheep’s clothing. ”[1] and deconstruction may be a way to unravel this clothing. In light of the fact that there have been considerable analyses of this poem yet little attention to a deconstructive criticism of it, the importance o f further research is evident. This paper proceeds to examine how deconstruction can illuminate the above-mentioned poem. This deconstructive reading of the text will allow the reader to gain a better understanding of the poem. Discussion Robert Frost’s The Road Not T aken “has become an American icon of the value of nonconformity” [2]. The aim of this paper is to show how the poem forwards its theme of rebellion against conformity which seems to be the poem’s overt ideological project and then to deconstruct this assumed ideological project by find ing all the evidence in the poem that seems to undermine the value of nonconformity since there is not as much support in the poem as one expects for the ideology of nonconformity. So t he text deconstructs its own project by inadvertently reasserting some of the same stereotypes it has worked to undermine. One source refers to “the efforts of ordinary men to develop individual identities in a hostile world” as one of Frost’ s most persistent themes [3] a theme developed in The Road Not T aken, published in 1916 as the f irst poem in the collection Mountain Interval. Although among the best known poems, The Road Not T aken is one of the most misunderstood; perhaps by reason of Frost’s “aiming at unforeseen, paradoxical and uncanny aspects of life” by “finding those elements in very simple and ordinary aspects of life” [4]. According to Frost’s biographer Lawrence Thompson Frost would say that the speaker of the poem was based on his friend Edward Thomas 4NCIH2017, 8 June 2017 who in Frost’s words was “a person who, whichever road he went, would be so rry he didn’t go the other [5]. The speaker must choose between two diverging paths heading in different directions in the woods i. e. different directions in life. He has difficulty making a choice so he pauses to consider his choice since he cannot follow both roads. He chooses a path but he decides he will return someday and walk the other road. But he realizes that it is unlikely to come back because his choice will lead to other forks in the road (and other dec isions). He regrets because he probably will never return to walk the alternate path. He sighs taking the “less traveled” road that has made “all the difference” in his life. Although the title of the poem seems to place emphasis on the road not take n by others, i. the less travelled one, one source states it may show the speaker’s regret about choosing the less travelled road and his sigh supports it [6]. eNotes online critical guide also considers “the road not taken” by most other people as a celebration of nonconformity but since the speaker sees little difference between the paths and tells his story in the future with a “sigh, ” it cannot be a claim in support of nonconformity. The title may refer to the better-traveled road i. the more common one. It focuses on l ost opportunities and the speaker’s tendency towards the road not taken and his regret for not taking it. So from the very beginning of the poem i t seems that the idea of conformity is at the forefront of our attention. Another interpretation of the poem is that Robert Frost had not taken any of the stat ed roads. Rather, he selects the middle path or does not choose any road as the t itle of the poem suggests [7]. Moreover, the speaker’s “sigh” and the poem being entitled “The Road Not T aken”-implying that he will never stop thinking about the other path he might have followed- both show his deep regret for not following the other path (eNotes Online Critical Guide). So “The poem is a gentle parody of the kind of person”, writes Elaine Barry, “whose life in the present is distorted by nostalgic regrets for the possibilities of the past, who is less concerned for the road taken than for the ‘road not taken’” [8]. In the first stanza the poet’ s use of the well-known metaphor of a “road” being compared with life represents a choice [9]. In fact, one can interpret the choice of roads symbolically i. the speaker’s choice as a symbol for any choice in life that are equally attractive but with different results. Although he searches for a logical reason to decide on choosing a path [10], a New York Times Sunday book review by Jonathan Miles on Brian Hall’s Fall of Frost states: “Whichever way they go, they’re sure to miss something good on the other path” so the speaker’s course of life is determined by forces beyond his range of vision and control [11]. Although Edi Pramono asserts that “life is a choice, and determining what to choose shows self- reliance, the dignity of the doer as well as the essence of human ri ght in running life” [12], identical forks symbolize “the nexus of free will and fate and the fact that our route is “determined by an accretion of choice and chance, and it is impossible to separate the two” [13] words wood and yellow connote maze and difficulty and autumn and old age respectively. Autumn is fall of a man’s life so the speaker is growing old that is not a time of nonconformity. According to Batool et al. the image of woods signifies the speaker ’s ‘indecision’ who is lost searching for ans wer and the yellow color of the woods points to autumn a symbol of incipient decay and stagnation; a sense the speaker e xperiences as he cannot progress forward to make a decision [ 14]. It also represents a time of change. The word “yellow” also connotes cowardice, as the speaker procrastinates over his de cision [15]. Decay, stagnation and cowardice all stand in contrast to nonconformity. From the v ery beginning the speaker is “sorry” he can’t travel both paths. His hesitation is apparent since he stood “long” and looked “as far as” he could. Like a traditional conformist he has the forethought to see both paths carefully and doesn’t decide in a hurry and immediately but he continues doubting, trying to make a decision about which road to choose. In the first three lines of stanza one, ‘and’ is repeated at the beginning of each line and this repetition further highlights the idea that the poet’s mind is occupied by thoughts of sel ection of a road [16]. The road disappearing in the undergrowth represents unclear future and the undergrowth m ay represent muddling with obstacles; Maheswari considers dark woods as a symbol of “knowledge unknown and untouched by humans” so “man with the mortal fear fails in his attempts to unravel the mystery behind the dark woods” [17]. Moreover, the same author believes in frost’s poetry existence of darkness highlights the importance of light [18]. If one considers darkness as nonconformity and light as tradition and conformity the above- mentioned fact becomes more obvious. As mentioned earlier, in the hierarchies informing a text one term is privileged at the expense of the other. By decentring binary operations we’ll enj oy multiple meanings of the poem. In the overall structure of the poem two concepts of conformity and nonconformity are the deciding factors. It would appear upon first inspection of the poem that Frost has hierarchized the idea of nonconformity but a close reading of the poem reveals that conformity is actually much more present than nonconformity while the latter always exists in some form. A binary opposition, apart from conformity/nonconfor mity, affecting our interpretation is that of meditation ve rsus spontaneity in the first stanza. Edi Pramono refers to the consonant sequence sounds /ds/ in roads and woods supported by similar 4NCIH2017, 8 June 2017 sound /d/ in could and stood creating an atmosphere of thinking [19]. Another hierarchy set up in the first stanza is comfort/discomfort: the only difference between the two roads is that one is grassy; implying comfort and ease, and the other contains undergrowth, connotative of roughness and discomfort [20]. In the beginning one road seems preferable because t he more difficult road, that of the conformist “bent in the undergrowth” while the more pleasant one, of the nonconformist, “was grassy and wanted wear” and seems to be less walked on. But in the second stanza though one path seems less worn i. a less commonly made decision, on closer inspection both seem equivalent and identical s howing the difficulty of saying which choice i s better. The speaker admits three times that the roads are t he same and indistinguishable. Rather than fairer, one is “just as fair” as t he other, they are “worn really about the same, ” and each “equally lay. ” One source refers to this contradiction in the second stanza about the road less traveled. First it is described as “grassy and wanted wear”, after which he says the roads are actually worn “about the same” [21]. Since the speaker sees both roads as interesting and equal, his choice may be a sudden decision, not a perfect example of nonconformity. Moreover, the word perhaps shows that the speaker has no determination and refers to his probable regret in the future. As mentioned earlier, the main theme or the poem’s overt ideological project is that nonconformity is the better choice and the road not well- trodden is a metaphor for nonconformity. Moreover, we value the first set of oppositions as opposed to the second ones. Privileging the first binaries we assume that the poem celebrates nonconformity. The binary opposition, less/more, is apparent in the second stanza. The speaker would have liked to explore both roads and feels that he made the wrong choice in taking the road “less travelled by”. As an individualist, someone not inclined to follow the crowd, he chooses the road that was “less traveled by” demonstrating his courage instead of the safe and the more well- traveled path. The time frame shows that the speaker doesn’ t know how his choice will affect his future; he has to live it and w ill be reporting the consequences of what the path will bring, in the future. David Orr says that although the poem seems to be “a paean to triumphant self-assertion” [22] because of taking the less travelled road but in fact the road he will later call less traveled is actually the road equally traveled. The two roads are interchangeable. Sometimes meter is used for dramatic effect and in this poem “the s pondee on TWO ROADS reinforces the equal value of each road” [23]. In the third stanza the roads are also similar in that no one has wal ked on the fresh fallen l eaves maybe suggesting that one can follow new and fresh ideas while generally following t he mainstream ones. H is impulsive decision to choose a path and to keep “the first for another day! ” and to face possible challenges instead of running back shows his courage but it also depicts that the traveler does not completely forget about the first road; he is preoccupied with it. He is confused; hence his thinking and contemplating deeply before decision because his future is determined by a doubtful decision “knowing how way leads on to way”. He regrets about past possibilities in the end; when the speaker “doubted if I should ever come back” this is his “common sense (my emphasis) speaking and acknowledging that what he chooses now will affect every other choice he makes afterward” [24]. According to Edi Pramono the use of heavy voiced s ounds and repeated consonant sounds create an atmosphere of confusion and sighs [25]. The “sigh”, in t he last stanza, may im ply relief and t he “difference” made by choosing the less travelled road maybe positive and a sign of rationalizing implying individual freedom and independence. The “sigh” can also show regret and the “difference” maybe negative and ironic. In this case, according to Súarez and Andrade the speaker does not celebrate individualism, but accepts it [26]. Although the last line may show the traveler’s being proud of his decision, Frost’s biographer Lawrance Thompson is cited as saying that the poem’s narrator is “one who habitually wastes energy in regretting any choice made: belatedly but wistfully he sighs over the attractive alternative rejected” [27]. That is why in the last paragraph one can see the narrator’s sudden nostalgia for the past wondering how different things would have been had he chosen the other pa th. He won’t forget about the two equally leafy roads since he will sigh while t alking about the roads in the future and anticipates his remorse. Moreover, the choice may have “made little or no difference at all” [28]. The binary opposition that thematically structures the poem can also be expressed as contentment/regret, free/limited, free will/determinism and decision/indecision. “Frost’s primary concern is with t he inner strength and worth of the individual” [29]. Moreover, Francis points out that “man’s plight and what he does about it is of major im portance to Frost” [30]. Furthermore, “Frost seems of t he opinion that an individual who makes use of his intellect and does not allow himself to be overcome by fear can find beauty, contentment, and pleasure in his surroundings” [31]. The general meaning of the poem is an expression of regret because of limited possibilities of life experience. So contentment/regret opposition can be reversed. Free/limited binary is also of great 4NCIH2017, 8 June 2017 importance in the interpretation of the poem. Stanlis believes there is a perpetual conflict between claims of society upon individual and demands of individual to be free and independent [32]. The same source refers to “the simultaneous separateness and unity of each individual in society” as a central theme in frost’s poems [33]. He also refers to a common problem of all men as “how to reconcile their privacy and integrity as individuals wit h the public demands made upon them by other men, and by their memberships in social institutions” [34]. Stanlis adds that Fr ost called himself “a ragged individualist” and insisted on the value of personal freedom and living “life assertively, with courage” [35]. He also talks about frost’s insistence on “the free choice of each individual to be independent from the collective commune” [36]. Although we make our lives freely it is also determined by past choices because each choice limits range of fut ure choices so the binary freedom/limitation is reversed. The speaker’s vision is limited because the path bends and is covered over [37]. free will/determinism is another binary structuring the poem. One source talks about the hapless position of man in the everlasting world and his being alone with his fate and the fact that “man i f isolated can’t be achiever” [38] fact Frost “is widening, sharpening and broadening our perspectives of life by giving rise to those predictable aspects of life which are at the same time out of our control’ [39]. One can also see conflict i n privileging decision. In 1961, Frost co mmented that “The Road Not Taken” is “a tricky poem, very tricky” implying that people generally misinterpret this poem as e vidence of the benefit of free t hinking and not following the crowd, while Frost’s intention was to comment about indecision and people finding meaning in inconsequential decisions [40]. One source talks about the inner conflict of the traveler because he has to rely on himself to make a decision [41]. This fear and conflict may be the result of not following tradition. The indecision of the spe aker—his divided state of mind —is heightened by the repetition of “I, ” split by the line division and emphasized by the rhyme and pause. It is an effect possible only in a rhymed and metrical poem [42]. The repetition of the word “I” gives the effect of a pause. This repetition communicates a sense of indecision on the part of the poet. He does not announce his choice with surety. Apart from binary oppositions, punctuation marks also have an effect on the meaning of the poem. Batool et al. emphasize frequent use of commas as a depiction of the traveler’s wandering and a si gn of pause for further reflection and thought. Semicolons at the end of the first stanza and eighth line show strictness of the speaker’s decision and his selecting of the less travelled road. Exclamation mark emphasizes distress. The use of hyphen in the last stanza is a pause “to make it more expressive before taking the final decision” [43]. Conclusion It is revealed through this analysis how the poem can be approached from a deconstructive point of view that requires moving beyond individual phrases. The poem seems to be an example of individualism because we privilege some ideas and devaluate others. The poem’s overt ideological project rests on some binary oppositions that can be deconstructed by contradictory textual evidence, we discussed throughout this study, that conflict with or undermine these hierarchies. As David Orr states “the poem isn’t a salute to can-do individualism; it’s a commentary on the self-deception we practice when constructing the story of our own lives”. So a deconstructive reading reveals the poem to be “a wolf that is somehow also a sheep, or a sheep that i s also a wolf” [44]. Throughout The Road Not T aken it has been shown that frost neither intended the poem to be about conformity or nonconformity, but a free play between the two polarities. Referen ces [1] Orr, David., 2015. The Most Misread Poem in America. On the WWW, Oct. URL w pari sreview log. [2] Tyson, Lois., 2006. Critical Theory T oday: A User- Friendly Guide. Routledg e, New Y ork. [3] PhD thesis, Súarez, Mónica Barzallo, Hilda T apia A ndrade., 2010. “. PhD Thesis Nat ure and Philosop hy in Robert F rost´s Poetry”, Universid ad De Cuenca. See also URL ds c/bitstream /1234567 89/2093/1 /tli291. p df. P. 56. [4] Montashery, Iraj., 2012. “T he Postmode rn Notion of Uncer tainty in Robert F rost. s Poetry”. Internat ional Journal of Innovat ive Ideas (IJII). V olume 12(1), O ct, pp. 24- 31. [5] Wikipedia contribu tors. "The Road No t Tak en. " W ikipedia, The Free Enc yclopedia. Wik ipedia, The Free Enc yclopedia, 31 Mar. 2016. Web. 13 Oct 2 015. [6] Batool et al., 2014. “Stylisti c Analy sis of Rober t Frost’ s Poem: “T he Road Not T aken. ”. Journal of EL T and Applied Linguistics (JEL T AL) 2. 4, Oct, pp. 52-64. [7] Batool et al., 2014. 4NCIH2017, 8 June 2017 ResearchGate has not been able to resolve any citations for this publication. ResearchGate has not been able to resolve any references for this publication.

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