Alison Mertz

May 5, 2025

The Great Gatsby 

    I love Fitzgerald for the lyrical beauty of his words.  Almost no writer writing in the English language has ever composed sentences with such gorgeousness as Fitzgerald.  He is near unparalleled.  Being a master, of course, that beauty which oozes from every syllable of his writing echoes the Romantic themes of The Great Gatsby
    There is magic in the pages of the novel.  Let it transfix you. I have heard tell that a high school teacher or two has asked her class whether Jay Gatsby is a moral man.  If you must answer such a question, the answer is neither yes nor no.  You know why.  "Morality" shifts back and forth during the decade of decadence within which Gatsby, Daisy, Jordan, Tom and Nick live.  Morality, regardless of era, is a slippery concept.  The carelessness of the Buchanans is juxtaposed against the earnestness (note:  not carelessness) with which Gatsby goes about amassing his wealth.  He does it to enter society.  He does it with intensity.  Gatsby becomes wealthy to recapture love, innocence and youth.  Daisy and Tom are wealthy almost by accident.  Although, it can be convincingly argued that Daisy becomes wealthy out of necessity.  This reading would be in accordance with the image of woman succumbing to fragility that is a constant in the literature of Fitzgerald.  That is not to say that Fitzgerald was misogynistic or sexist.  Quite the contrary -- dealing with the erratic behaviors of his own wife, Zelda, he was in awe of, slightly afraid of, and constantly committed to protecting, the woman of fragile means.  (I use "means" intentionally.  Means refers to mental faculties, social domination, and poverty, all at once).
    And so what of Gatsby as an immoral Modernist?  Although it is strongly suggested in the novel that Gatsby's wealth was acquired through illicit means gained through complicity with shady figures, such as Meyer Wolfsheim, we do not ever really get to specifically understand where Gatsby obtained all of his money.  This is purposeful.  It is purposeful because it attributes to the magic surrounding his image.  It underlies the significance of his American way of following the Puritan work ethic, sprinkled with the conflicting American propensity for materialism and self absorption, in order to obtain a Benjamin Franklin plotted identity.  To call Gatsby immoral is to say America is immoral.  Of course, Fitzgerald does think America can be immoral.  However, he does not think that it is the Gatsbys of the world who render it immoral.  Rather, it is the desire to achieve thwarted by an opposing impulse of Americans to crush innocence in favor of self- fulfillment. 
     There is no way for Gatsby to ever attain the status of Daisy and Tom.  They are old money.  They play by different rules.  The game is, in fact, rigged in their favor from the start.  Gatsby does not understand this.  He proceeds from the proposition that he can succeed.  He can achieve whatever he desires through hard work and dedication.  Perhaps, he can achieve his desires by playing the system the way all of the players seem to be playing it.  That is, with numbered cards. 
    In any event, Tom and Daisy understand the playing field.  They understand the game and its consequence.  They just do not care who is hurt.  They do not understand the gravity of the death of Myrtle Wilson at Daisy's hands.  They do not even flinch at any repercussion that will inure to Gatsby. Gatsby does, in fact, care about something.  He cares about Daisy.  He cares about the purpose, the focus, his love for her gives him.  He understands nothing about his future until he falls in love with her.  He cannot fall out of love with her.  It is an innocence that transcends time and space. 
    Gatsby is unique, and Nick identifies him as such, at the same time as he decries the origins of Gatsby's wealth. If Jay Gatsby were a Modernist, he would understand his sins and haughtily absorb them into himself, in a declaration that they edified his being and led to his own redemption.  Fitzgerald cannot do that.  Fitzgerald is a Romantic, staring ever at the Grecian Urn and Nightingale problems posed by Keats.  Beauty is truth, but it is ephemeral.  It is ever out of reach.  There is no full self realization for Gatsby.  His whole self, his soul, his innocence, his striving to recreate himself into the ideal  that he feels is true beauty akin to God, collapses just as he does, in a pool on the eve of the fall, a victim of the bullet that signals the Valley of Ashes asserting itself into the lives of those who created it.
     Gatsby -- The Great Gatsby -- performs a disappearing act as the novel ends and we are introduced more to his alter ego, Gatz.  Just as Gatsby's image recedes from the social circles of Long Island upon Gatsby's death, however, Nick observes that Americans will always engage in Gatsby's tragic quest.  That is, to see truth, beauty and innocence, grab it fast and hard, and watch as it slips away.  It is a quest that repeats itself, never to be fully achieved, but always to be undergone.  Just as the Knights Templar rode off in search of the elusive Holy Grail.

Monique Hernandez  

April 5, 2025

Wuthering What?

      April’s finally here, which means two things: it’s  National Poetry Month—and spring! What better way to celebrate the season of all that’s flowery and fair than by dragging the most chaotic novel in the literary canon—Wuthering Heights—back into the classroom spotlight? Ah, Heathcliff! Toxicity with a traumatic “T.” Wuthering Heights isn’t a love story, people. It’s a tale of betrayal, revenge, and excellent planning. Let’s give credit where credit is due: our brooding, Byronic baddie is a master of the long game, systematically ruining lives without ever picking up a weapon.
     Emily Brontë’s writing is Gothic Romance at its finest. Her story spans three generations of love, loss, class struggle, and horrible characters making horrible choices. Her symbolism is as thick as the Yorkshire fog: weather mirrors emotions, houses reflect their inhabitants, and the moors seem to scream, “Abandon hope, all ye who wander here!” If nature had a warning label, it would be welded to a chain-link fence at the Heights.
     Heathcliff and Catherine are sardonic and codependent to the extreme. Their conversations drip with scorn, passion, and the kind of declarations you’d expect from people who’d welcome death rather than go to couple’s therapy. And the funny part? Heathcliff begins the novel as a rational (well, somewhat) character. Before the grave-digging and the real estate power plays, Heathcliff is our moral compass. He arrives as the “other”—possibly gypsy, possibly Irish, definitely unwanted. He suffers quietly, is repeatedly humiliated, and yet still manages to behave better than anyone else in the house. Nelly Dean is a two-faced gossip, the Lintons are whiny and entitled, Hindley is a shot glass full (see what I did there?) of toxic masculinity, and Catherine? Er, well... she marries Edgar for his money while famously spewing some insane nonsense about how she’s madly in love with Heathcliff: “Whatever our souls are made of, his and mine are the same..” Then she betrays him for a fancier house and a dolt of a sister-in-law who doesn’t know when to heed others’ advice. “Oh, Isabella—plot twist: I am the villain!"
   Happy flower picking, people! 🌸
__________________________________________
Try these class activities:

A. Create a “Which Heathcliff Are You?” quiz: the Lover, the Brooder, the Hellhound.

B. Write a 4-paragraph essay: How do Wuthering Heights and Thrushcross Grange symbolize Heathcliff and Edgar’s love languages?

C. Choose a passage where Heathcliff is spiraling (well, that narrows it down to every scene he’s in) and create a Found Poem by our favorite anti-hero.
You know... one you honestly wouldn’t mind getting lost.

                                                                                                                             Monique Hernandez  

February 11, 2025

On Love


Love is one of the most over romanticized and misunderstood concepts in human history. Literature and Hollywood films have spun tales of grand passion, soulmates, and fateful encounters that would have us believe love is some divine, unbridled force. But let's be honest: true love, as commonly portrayed, is a bit of a myth. The reality? Love is less about destiny and more about decision-making.

Take Lord Byron. The man who wrote some of the most swoon-worthy poetry is also notorious for his tumultuous love life. If Byron had truly found the mythical "one," would he have needed so many others? As he himself wrote, “Man's love is of man's life a thing apart, 'Tis woman's whole existence” (Don Juan). A cynical observation, indeed, but one that reflects love as an all consuming yet fleeting passion. Then there’s Shakespeare, who practically invented our modern perception of love—Romeo and Juliet, anyone? A couple of impulsive teenagers who knew each other for a matter of days and thought death was a better alternative to separation? As Juliet herself proclaims, "My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite"  (Romeo and Juliet). Poetic, yes. Rational? Not really.

The problem with the notion of "true love" is that it implies there is only one person meant for you, a single missing puzzle piece in a vast universe of potential connections.  This idea not only sets people up for failure but also diminishes the very essence of love. Love isn’t about finding perfection in another person—it’s about choosing them, flaws and all, over and over again. It’s not fate; it’s commitment.

Of course there's the revolutionary idea, sometimes overlooked in literature: loving oneself first. Author Oscar Wilde made a valid point when he said, “To love oneself is the beginning of a lifelong romance". Before one can truly invest in another, they must first invest in themselves. All the epic and tragic love stories mean nothing if you cannot stand your own company.

So perhaps the greatest love story isn’t found in Byron’s poetry or Shakespeare’s sonnets but in the relationship you cultivate with yourself. Love others, of course—but not because you’re incomplete without them. Love should be a choice, not a necessity. The most dependable, fulfilling love you’ll ever experience is the one you have with yourself.

Alison Mertz

January 19, 2025

The Bluest Eye-Toni Morrison 

I admit it.  When I first started to read The Bluest Eye, I could not help but be haunted by the ghost of Beloved.  I had thought my preexisting love for Beloved would infect my reading of The Bluest Eye.  It turns out that it did not.  It enhanced my reading of The Bluest Eye.

Generally, my advice to any reader (especially student readers) would be to not read forewords, afterwords, etc. until after reading the novel itself.  Writers are slippery.  They lie sometimes.  Also -- other writers critiquing a work never know more than you, the reader, does, about the novel's theme.  No matter how erudite the critics purport to be.  (See -- Poe was right.)That being said, you should read Morrison's foreword to The Bluest Eye.  It gives the insight (pun intended) needed to understand the theoretical complexities of the work.

Toni Morrison had to have been influenced by Thomas Mann in this novel.  The Bluest Eye is about "the gaze."  The gaze is a fixation with the relationship between the self and that which it sees.  Is the gaze a reflection of the self?  Or is it a negation of the self?  In the context of Mann -- namely, Death in Venice -- the gaze is a Modernist manifesto.  It is the self expressing a selfish love (even in decadence) that surpasses the gazer (including he upon whom the gaze is fixed).  Morrison's complex societal observation is that, in the context of racism, this gaze, while demeaning the integrity and selfhood of black Americans, also raises the consciousness of she upon whom racism is enacted above the racist.  This is Beloved, writ a little smaller.  It is also the rudimentary analytical narrative that Morrison enacted to genius proportions in Beloved.  

Pecola Breedlove sees how white children like Shirley Temple are favored in society.  She sees how children of lighter skin are treated preferentially to her.  She feels ugly because she is seen by others as ugly. That is why she wants blue eyes.  She wants what she feels is purity.  She wants to be seen and not ignored.   Significant to note here, however, is that Morrison acknowledges that it is not solely the observer who creates this ugliness.  It flows from reciprocal internal springs.  Pecola's exterior and the perception of it is also a reflection of her own perception of ugliness. 

Morrison is intrigued by the creation of this self loathing.  Of course, it stems from external racism and subjugation.  However, Morrison also understands that it can be transformed through something deeper within the self.  Hence, Pecola creates her own reality by the end of the novel.  She wills herself to believe in the alleged powers of Soaphead Church, an Anglican priest, child molester, and charlatan.  He tells her he can give her blue eyes.  Some might say he tricks her into believing that she has been given blue eyes. 

Morrison is more complex in theme than that.  The true answer is that Pecola has blue eyes because she SEES herself with blue eyes now.  That is the self triumphing over external brutality.  And yet -- it is also, complexly, a furtherance of ingrained racism in society.  Morrison knows that.  She wants us to see it, too. I could write for pages and pages regarding the multitude of themes and influences in The Bluest Eye.  Morrison references the Romantics (both American and British), Joyce and Faulkner, popular culture, and even Dante.  She is, more than I had realized in Beloved when I read it, very much akin to Eliot.  She is the Wasteland, superimposed over the camera that focuses in on the brutality of slavery and racism and everyone's inherent complicity in that system. 

As I mentioned at the top of this post -- The Bluest Eye is better read after reading Beloved.  But if you've read The Bluest Eye, you must read Beloved.  Beloved takes the concepts and makes them supernaturally real.  The Bluest Eye provokes us to linger on a little bit longer and continue our discussion of the intellectual fallout. 

December 6, 2024                                                                                      Alison Mertz

Teach Up:  "The Custom-House"

When reading The Scarlet Letter, don't overlook the crucial introductory section, "The Custom-House." Encourage your students to tackle the challenging prose and see how they rise to the occasion.

Some may wonder, "Why should I make my students read such challenging prose? Can’t it just be skipped?" Remember, it’s essential to engage advanced students too. By providing an outline and strategically pairing reading buddies, you might be surprised by how much your students can grasp.

I advocate for reading "The Custom-House" because it weaves together the central themes of The Scarlet Letter. The question you're asking is why Hawthorne wrote "The Custom House" as his introduction to The Scarlet Letter. It's a good question.  Hawthorne answers it for you. As Hawthorne relates, in the flowing music of his prose that I love so well, an author is compelled to find within his reading public some kindred spirit who will connect with what he has written.   However, authors are skittish about revealing too much of themselves.  Some parts of the human soul are not so eagerly revealed.

So we have The Scarlet Letter.  It is, as Hawthorne admits, his expiation for the sins of his forebears.  It is an unlikely attempt at salvation for his family name and his place of birth in that it is a work of literature that will, somehow, make public amends for the evil done in Salem.  Hawthorne is known as an author -- not as a man of commerce, government or business who would be looked upon more favorably in Hawthorne's native town by his ancestors and their society. The Scarlet Letter, the novel, is Hawthorne wearing his own red letter.  He wears it for his forefathers.  He also wears it to expose the sins that come from too close of a reliance upon commerce and custom.  

More provocatively, he wears the novel to force his own brandishing of his personal sins -- the sins that make him only half reluctant to reveal his true soul openly as a writer, as well as the sins that could lead him to either a rote literary existence or an overwhelming nostalgic yearning for the comfort of native soil. What of the officers of the Custom House?  What does Hawthorne feel about them?  Conflicted.  He becomes one of them, in a way, as he loses his ability to write and craft any writing of intellectual means when consumed with the practicalities of commerce.  And yet -- he cannot live as they do.  

Hawthorne aspires to exploration of the ideas that link humanity.  The Custom House officers do not and cannot so aspire.  However, as much as Hawthorne feels that the Custom House leads to evil and corruption, he understands that there is humanity to be revealed in the stories of the officers.  Hawthorne appears to be working out a resolution to the natural bonds that tether human beings to the lands and customs of their birth, but which must be snapped to ensure self reliance and human progress.  Salem's witch trials, one can extrapolate, were planted in the very earth of Salem by Hawthorne's (literal) ancestors.  Without the influence of the outside world and other customs from other places, and a resistance to the publication of contrary thought, those roots of the Puritans became long, invasive roots that led to destruction.

So it would appear that Hawthorne wrote "The Custom-House" for several purposes, all tied to his major themes.  He wrote it to engage the reader in the real life situation that inspired his writing of The Scarlet Letter.  He wrote it to expose his own potential lapses into sin and self involvement.  He wrote it so that we all remember that we all exist, partially, in a Custom House, ourselves.  We are our ancestors' descendants and we are, as well, our own escape from their (and our) ruin.

Monique Hernandez 

November  1, 2024

I Promise

Rethinking Romeo and Juliet for the New School Year


Rethinking Romeo and Juliet for the New School Year


I Promise I’m tired and it's only November. I just finished handing back essays on “The Birthmark” that I assigned over three weeks ago, and I’m halfway through rewrites on Sojourner Truth’s “Ain’t I a Woman.”  Sound familiar? Wait for it. I still have group projects to grade, and we’re eight days away from the end of the first quarter.

I won’t lie: I rewatched the last two episodes of season two's Interview with the Vampire last night when I could have been tackling those piles of papers. I’m a sucker for Sam Reid’s Lestat. Get the joke? But seriously, when is enough enough? I should be allowed to unwind.

The first few months of a new school year are always a little bit difficult for me. I’m configuring seating arrangements, color coordinating my class files, and learning students' names.  This year, I'm not teaching juniors but all sophomores, so the bright, curious faces are new to me. Honestly, I believe a few of them in my honors classes may actually be more well-read than I am. American literature is not my thing; I’m Brit lit born and bred. 

In the summer, life felt much easier. I had my daily rituals. I exercised every day, ate healthy, and bicycled in the park. This morning, I packed a hard-boiled egg and a rather dry turkey sandwich in my lunch box. Then, I rushed out the door, shoes in one hand, bag in the other, and a chocolate chunk cookie sticking out of my mouth. My lunch, you ask? I ate my enticing lunch during 7th period while reviewing college essays for my last year’s juniors. “Can you take a looook puleeese, Mrs. Hernandez?” Sure. In 42 minutes, one done. Not the most relaxing meal.  

Something has to change. So, I promise myself that I will hide for one period in an empty classroom to mark papers, allowing me to take half an hour at home to work out with Lucy Wyndham-Read, my personal YouTube trainer. Oh, and I will get to bed by 9:30 p.m. each weeknight.These are my goals for the school year. Check in with me in a couple of months to see how I’m doing. In the meantime, I have to shove these fries from the cafeteria down my throat; I’ve got students coming for extra help!

Alison Mertz

October 2, 2024

Rethinking Romeo and Juliet for the New School Year

Rethinking Romeo and Juliet for the New School Year


Rethinking Romeo and Juliet for the New School Year


As I start the school year, I realize that when I first taught Romeo and Juliet, I underestimated it. It does seem to be one of The Bard's more popular plays -- especially among the younger set. Maybe it's because of the romance between the leads. Maybe it's because of West Side Story. Or, perhaps, maybe it's because of the Leonardo Dicaprio movie. Whatever the reason for the popularity, when I taught the play in my somewhat older days, I realized that it is a lot more compelling than a tale of star crossed lovers would seemingly allow. If you ask your class to write a paper on Romeo and Juliet, don't have them write a thesis solely about the impetuousness of young love.

Yes, it is, in fact, a play about young passion. But it's a lot more than that. If you read closely (and let the iambic pentameter move you through the play), you will see a lot more to Romeo and Juliet than young romance. It's a retelling of the Felix Culpa. Check your Milton. If you've read Paradise Lost (and you should if you haven't), you will see parallels that Milton draws from Romeo and Juliet to his Adam and Eve cast out of the Garden.

Romeo is not a young hothead who foolishly sacrifices for love. Romeo is Adam. He is everyman, risking well being (orthodoxy, obedience to a Patriarch) for mortal love. Juliet is not a foolish, innocent child, swept away by Romeo's persistent wooing of her. Rather, she comes of age, comes into knowledge of her self and her womanhood, and risks the same things as Romeo in order to experience mortal love.

The Montagues and Capulets are as antagonistic as good and evil, light and dark, day and night, and hot and cold. Look at Shakespeare's words throughout the play and you will see the constant juxtaposition of these types of extremes. It's no accident. The import is to emphasize the theme that opposing forces of innocence and experience will collide into tragedy in order to create peace and self awareness to follow. The Montagues and the Capulets cannot know redemption unless Romeo and Juliet die. Mankind cannot be free from original sin until Adam and Eve fall. So it is that Romeo's banishment from the city (and, hence, Juliet's constructive banishment) is akin to our civilization as human beings forced to grow outside of Eden. To the East of Eden. (See Steinbeck for more on Adam and Eve and original sin).

When teaching the play have your students consider the character of Romeo as tragic hero: Is he really? Compare him to Hamlet, Macbeth, or Othello. There are divergent characteristics that would prevent one from characterizing him as the typical tragic hero, of the Shakespearean sort (and also the Greek sort). He is tragic, we know that because he dies and we mourn him. But the struggle is not really his own. He does not truly possess a tragic flaw apart from others in society. If anything, aren't his parents and the Capulets -- or even Tybalt and Paris more flawed than Romeo? Is his flaw really his willingness to love? Some would argue his tragic flaw is the seemingly fickle way in which he stops "loving" Rosaline in favor of Juliet. Let's consider that proposition for a moment. Do the great tragedians truly place transient love among the great tragic flaws? Even if they did, do the great tragedians typically give their tragic heroes more sympathetic tragic flaws than the other dramatis personae?

Hamlet's flaw is his inability to accept the experience thrust upon him after his father's murder. He cannot restore justice to Denmark, and therefore, Denmark suffers under the weight of the rank rule of Claudius and Gertrude. Macbeth's tragic flaw is the birth of his blind ambition and consequent guilt, the likes of which are never surfeited no matter how many murders occur to hide his deeds. Othello's tragic flaw is, perhaps the most obvious. His jealousy leads to the destruction of that which he adores the most. Are we to place Romeo's adoration of Juliet amongst these crises of conscience and conflicts of personality?

Romeo is an archetype. Not a tragic hero. The same can be said of Juliet -- although, a provocative paper would be to compare Juliet to Romeo and argue that she is the more developed of the two characters. Romeo and Juliet love and lose one another in life so that we all can understand that life is a struggle against opposites and that sometimes redemption springs forth from the wreckage. And, I suppose, it's also a very good love story.

Monique Hernandez

September 8, 2024

Professional Development 

Professional development. Okay, I get it. You get it.  We all get it. Professional development is important. It’s important because, as educators, we need to stay abreast of the best practices in our field. When we are at our best, we can give our students the best. Doctors take professional development classes. So do lawyers, nurses, and accountants. Learning does not stop after that final degree. However, I caught you rolling your eyes. Heck, I rolled my eyes.

Why? Well, professional development can be boring if not done correctly.  Worse than that, it can be a waste of time if one walks away from a professional development session not learning anything new at all. I can count on my fingers the many instances when I and fellow colleagues have finished a PD and looked at each other with our “couldn’t they have just sent an email” eyes. Let’s not even begin the discussion on how those simplistic “you be the student, I’ll be the teacher” role playing games present situations you could handle in your sleep.  The guest speaker, who never taught a day in her life, clicks through an array of Google Slides.  All the while, you are slouching in your seat pondering how many papers you could be grading at the moment.

Nowadays, we have the option to take online professional development. Easy. Convenient. Affordable. I understand the advantages, having taken classes online myself. However, I find that what I’m looking at resembles a student textbook. These are the rules, these are the suggestions, read them and then answer the questions that follow. Score a percentage right and you can move on to the next topic, all at your own pace. Take a test, click a button, print out your completion certificate. Done and dusted. Where is the fun in that? Where is the interaction, the collaboration among professionals? “There’s a discussion forum,” you answer. Okay. I’m still not enthralled. 

Lev Vygotsky, the Russian psychologist, said learning is social and here, at Greenlight PD, we agree with him 100%. A classroom comes alive when students and teachers are engaged in conversation and debate.  Voices give life to new ideas formed from pages in a book and personal shared experiences. This is how people develop and grow. This is how progress happens. This is why we offer in person professional development. And it’s not the kind of professional development that will have you slouching in your seat, lamenting the tests you could have scored if you stayed home. Our PD provides you with the actual research behind our activities, the statistics on which we base our decision making, and access to the materials we use in our sessions. You are exploring and creating new ways to inspire your students. You are given the opportunity to share your personal expertise with teachers from all over Long Island. 

“Sounds awesome,” you say, “but online learning would serve me best for now.” No worries.  Greenlight PD has you covered. Our online learning is equally as impressive as our in person sessions, and much more engaging than those traditional programs that leave you feeling like you just spent a fortune to read material copied from a textbook. We give you content created by teachers who have been working in their fields collectively over 20 years.  We cite the expert opinions behind the content, whether it’s grammar rules or reading strategies. We also provide exhaustive additional resources that you can delve into anytime, anywhere on your own.

So, there’s no need to roll your eyes anymore. Embrace the opportunity to earn NYS CTLE credits here at Greenlight PD, where each course is created by teachers for teachers. Teacher inspired.
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