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Gangs and Socs fought with their fists!

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In the book, it talks about how Johnny and Ponyboy  were quoting Robert Frost, how was this important?

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Who Was Robert Frost?

Robert Frost was an American poet and winner of four Pulitzer Prizes. Famous works include "Fire and Ice," "Mending Wall," "Birches," "Out Out," "Nothing Gold Can Stay" and "Home Burial." His 1916 poem, "The Road Not Taken," is often read at graduation ceremonies across the United States. As a special guest at President John F. Kennedy 's inauguration, Frost became a poetic force and the unofficial "poet laureate" of the United States.

Frost spent his first 40 years as an unknown. He exploded on the scene after returning from England at the beginning of World War I. He died of complications from prostate surgery on January 29, 1963.

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Early Years

Frost was born on March 26, 1874, in San Francisco, California. He spent the first 11 years of his life there, until his journalist father, William Prescott Frost Jr., died of tuberculosis.

Following his father's passing, Frost moved with his mother and sister, Jeanie, to the town of Lawrence, Massachusetts. They moved in with his grandparents, and Frost attended Lawrence High School.

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After high school, Frost attended Dartmouth College for several months, returning home to work a slew of unfulfilling jobs.

Beginning in 1897, Frost attended Harvard University but had to drop out after two years due to health concerns. He returned to Lawrence to join his wife.

In 1900, Frost moved with his wife and children to a farm in New Hampshire - property that Frost's grandfather had purchased for them-and they attempted to make a life on it for the next 12 years. Though it was a fruitful time for Frost's writing, it was a difficult period in his personal life, as two of his young children died.

During that time, Frost and Elinor attempted several endeavors, including poultry farming, all of which were fairly unsuccessful.

Despite such challenges, it was during this time that Frost acclimated himself to rural life. In fact, he grew to depict it quite well, and began setting many of his poems in the countryside.

Wife

Frost met his future love and wife, Elinor White, when they were both attending Lawrence High School. She was his co-valedictorian when they graduated in 1892.

In 1894, Frost proposed to White, who was attending St. Lawrence University, but she turned him down because she first wanted to finish school. Frost then decided to leave on a trip to Virginia, and when he returned, he proposed again. By then, White had graduated from college, and she accepted. They married on December 19, 1895.

White died in 1938. Diagnosed with cancer in 1937 and having undergone surgery, she also had had a long history of heart trouble, to which she ultimately succumbed.

Robert Frost's Children

Frost and White had six children together. Their first child, Elliot, was born in 1896. Daughter Lesley was born in 1899.

Elliot died of cholera in 1900. After his death, Elinor gave birth to four more children: son Carol (1902), who would commit suicide in 1940; Irma (1903), who later developed mental illness; Marjorie (1905), who died in her late 20s after giving birth; and Elinor (1907), who died just weeks after she was born.

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Robert Frost's Early Poetry

In 1894, Frost had his first poem, "My Butterfly: an Elegy," published in The Independent, a weekly literary journal based in New York City.

Two poems, "The Tuft of Flowers" and "The Trial by Existence," were published in 1906. He could not find any publishers who were willing to underwrite his other poems.

In 1912, Frost and Elinor decided to sell the farm in New Hampshire and move the family to England, where they hoped there would be more publishers willing to take a chance on new poets.

Within just a few months, Frost, now 38, found a publisher who would print his first book of poems, A Boy's Will, followed by North of Boston a year later.

It was at this time that Frost met fellow poets Ezra Pound and Edward Thomas, two men who would affect his life in significant ways. Pound and Thomas were the first to review his work in a favorable light, as well as provide significant encouragement. Frost credited Thomas's long walks over the English landscape as the inspiration for one of his most famous poems, "The Road Not Taken."

Apparently, Thomas's indecision and regret regarding what paths to take inspired Frost's work. The time Frost spent in England was one of the most significant periods in his life, but it was short-lived. Shortly after World War I broke out in August 1914, Frost and Elinor were forced to return to America.

Public Recognition for Frost's Poetry

When Frost arrived back in America, his reputation had preceded him, and he was well-received by the literary world. His new publisher, Henry Holt, who would remain with him for the rest of his life, had purchased all of the copies of North of Boston. In 1916, he published Frost's Mountain Interval, a collection of other works that he created while in England, including a tribute to Thomas.

Journals such as the Atlantic Monthly, who had turned Frost down when he submitted work earlier, now came calling. Frost famously sent the Atlantic the same poems that they had rejected before his stay in England.

In 1915, Frost and Elinor settled down on a farm that they purchased in Franconia, New Hampshire. There, Frost began a long career as a teacher at several colleges, reciting poetry to eager crowds and writing all the while.

He taught at Dartmouth and the University of Michigan at various times, but his most significant association was with Amherst College, where he taught steadily during the period from 1916 until his wife's death in 1938. The main library is now named in his honor.

For a period of more than 40 years beginning in 1921, Frost also spent almost every summer and fall at Middlebury College, teaching English on its campus in Ripton, Vermont.

In the late 1950s, Frost, along with Ernest Hemingway and T. S. Eliot, championed the release of his old acquaintance Ezra Pound, who was being held in a federal mental hospital for treason due to his involvement with fascists in Italy during World War II. Pound was released in 1958, after the indictments were dropped.

Robert Frost's Most Famous Poems

Some of Frost's most well-known poems include:

"The Road Not Taken"

"Birches"

"Fire and Ice"

"Mending Wall"

"Home Burial"

"The Death of the Hired Man"

"Stopping By Woods on a Snowy Evening"

"Acquainted with the Night"

"Out, Out"

"Nothing Gold Can Stay"

Pulitzer Prizes and Awards

During his lifetime, Frost received more than 40 honorary degrees.

In 1924, Frost was awarded his first of four Pulitzer Prizes, for his book New Hampshire. He would subsequently win Pulitzers for Collected Poems (1931), A Further Range (1937) and A Witness Tree (1943).

In 1960, Congress awarded Frost the Congressional Gold Medal.

Photo: George Silk/The LIFE Picture Collection via Getty Images/Getty Images

President John F. Kennedy's Inauguration

At the age of 86, Frost was honored when asked to write and recite a poem for President John F. Kennedy's 1961 inauguration. His sight now failing, he was not able to see the words in the sunlight and substituted the reading of one of his poems, "The Gift Outright," which he had committed to memory.

Soviet Union Tour

In 1962, Frost visited the Soviet Union on a goodwill tour. However, when he accidentally misrepresented a statement made by Soviet Premier Nikita Khrushchev following their meeting, he unwittingly undid much of the good intended by his visit.

Robert Frost's Death

On January 29, 1963, Frost died from complications related to prostate surgery. He was survived by two of his daughters, Lesley and Irma. His ashes are interred in a family plot in Bennington, Vermont.

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Robert Frost was an American poet and winner of four Pulitzer Prizes. Famous works include "Fire and Ice," "Mending Wall," "Birches," "Out Out," "Nothing Gold Can Stay" and "Home Burial." His 1916 poem, "The Road Not Taken," is often read at graduation ceremonies across the United States.

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Ponyboy discusses Pip in a Great Expectations being like him and the gang (pg 13).

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Who is Pip?

Imagine growing up orphaned by your parents. It might be difficult to navigate the world and know what to expect from others. You might spend most of your time trying to figure out how to be successful and grow into a respectable woman or man. The novel Great Expectations, written by Charles Dickens, tells the story of a boy who does just that.

Great Expectations is a coming of age novel, a novel that focuses on the maturity of the protagonist from childhood to adulthood. It tells the story of Philip Pirrip, or Pip. Pip is the protagonist (main character) and the narrator of the story. Pip tells readers the story of things that took place in his life as he grew into adulthood. Pip lacks knowledge of the world and the ways of people. He views life and success in naïve ways, but like all of us, eventually matures and grows as a person.

Character Analysis

Pip is a poor boy who grew up orphaned but wants to make over his life after he meets the wealthy Miss Havisham and falls in love with Estella. Pip is treated badly by Miss Havisham and Estella, and it hurts him. Pip is raised by his sister and her husband, Joe, but is mistreated and does not feel a special connection to anyone. When Pip meets Miss Havisham and Estella, he starts to believe if he becomes a rich gentleman, his life will be different, and wealthy people will treat him better.

Throughout the story, Pip strives to become a wealthy and smart man instead of being poor and ignorant. Pip is idealistic about life and fails to see the realities of the world. Pip is an immature character with honorable principles and values who tries to improve his overall lifestyle in whatever way possible. Pip does not just want to become rich, he wants to improve his life in every way, including by learning to read. Like so many of us, Pip is hard on himself for his shortcomings and rarely rewards himself for the things he does well. He is afraid he will be punished for misbehavior and is a nice boy who helps others when they need him.

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pip in great expectations: character analysis & overview - video & lesson transcript | study.com

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Pip in Great Expectations: Character Analysis & Overview - Video & Lesson Transcript | Study.com

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Imagine growing up orphaned by your parents. It might be difficult to navigate the world and know what to expect from others. You might spend most of your time trying to figure out how to be successful and grow into a respectable woman or man.

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This is one of my fav. book covers because it ties into a theme topic:
1. Society's expectations and values
2. Group vs. Individual

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What the Soc boys wear...

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What Ponyboy would actually sound like...

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What Ponyboy would actually sound like...

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the outsiders audiobook by s e hinton full unabridged

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Uploaded by Alii Wayne May on 2016-12-30.

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How is this car significant in ch. 1?

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Ford Mustang from the 60s

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This man is very important in Chapter 5.

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manufactured in 1960-1969; about $2,000, which was expensive back then; gas was around 31 cents a gallon!

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In case you forgot where it is.

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We actually have one in Glendale, Az!

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West Wind Glendale Drive-in Movie Theater in Glendale, AZ | Weekend Entertainment, Date Night and Family Fun - West Wind Drive-In

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West Wind Drive-In is your Glendale destination for a fun, one-of-a-kind movie-going experience.

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Wondering what the gang might have looked like?

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How much was a coke in 1967?

15 cents

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What does kid brother mean?( pg.12) https://www.google.com/amp/www.urbandictionary.com/define.php%3fterm=Kid%2520Brother&amp=true

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Another book by Hinton.

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Who are the southern men in Gone With The Wind?

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When Americans think about the Confederacy, they often think about Margaret Mitchell's 1936 classic, Gone With the Wind. Inspired by recent debates over the Confederate flag, I decided to give the book a try. I confess that I did not have high hopes. I expected to be appalled by its politics and racism, and to be bored by the melodrama. (Scarlett O'Hara, Rhett Butler, and Ashley Wilkes? Really?) About twenty pages, I thought, would be enough. I could not have been more wrong. The book is enthralling, and it casts a spell.

Does it make a plausible argument for continuing to display the Confederate flag? Not even close. But it does raise a host of questions-about winners' narratives, about honor and humiliation, about memory, about innocence and guilt, about men and women, about what's taken for granted, about the particularity of human lives, and about parallel worlds. Teeming with life, it offers surprising insights into the Confederacy and the Old South. To be sure, its presentation of slavery is appalling. But at its core, it's much less about politics than it is about the human heart. On that count, it has a lot to say, not least about how to come to terms with history.

Mitchell was born in 1900, thirty-five years after the end of the Civil War. For perspective, it's as if someone born in 2015 were to write about the transition from Jimmy Carter to Ronald Reagan. In that case, as in Mitchell's, we would not exactly be talking about ancient history. Grandparents, and possibly even parents, would have been around at the time; for millions of people, memories would be fresh. And so it was for Mitchell, whose family had been in Atlanta for several generations. Russell Mitchell, her paternal grandfather, fought in the Civil War, suffering two bullet wounds to the head during the Battle of Antietam. Annie Fitzgerald, her maternal grandmother, married in 1863, and she had keen recollections of the war and Reconstruction. Mitchell remembered hearing, as a child, numerous stories about the heroic battles, about Southern bravery and Yankee treachery, and about Southern life before, during, and immediately after the war. It was not until she was ten, she joked, that she realized that the South actually lost.

It was boredom, more or less, that got Mitchell started on Gone With The Wind. Just twenty-five years old, and a reporter for the Atlanta Journal Sunday Magazine, she suffered from a recurring ankle injury and took leave. As a young reporter, she had greatly enjoyed the magazine's Oldest Inhabitants Beat, for she "was interested in how people felt during the siege of Atlanta, where casualty lists were posted, what they ate during the blockade, did boys kiss girls before they married them, and did nice ladies nurse in hospitals." Almost as a lark, she began a novel, accompanied by exhaustive and somewhat-obsessive historical research. Not long after publication, she wrote that she had spent "ten years of reading thousands of books, documents, letters, diaries, old newspapers, and interviewing people who had lived through those terrible times." In the words of one of her biographers, Darden Asbury Pyron, "She spent a vast amount of time verifying historical facts. The fear of missing something or getting something wrong drove her to distraction." Nonetheless, she hid the project from both family and friends, and she was ambivalent about publication.

When it appeared in 1936, the book was an immediate sensation. Within several months, it had sold more than a million copies, even though it came out right after the Depression, with an unprecedentedly high price of three dollars (about fifty today). Over a thousand pages, it was the year's bestseller in fiction-and it obtained that honor again in 1937, when it won the Pulitzer Prize.

But the reviews were mixed. In The New Republic, Malcolm Cowley wrote condescendingly (and with a whiff of sexism), "I would never say that she has written a great novel, but in the midst of triteness and sentimentality her book has a simpleminded courage that suggests the great novelists of the past." The New York Times noted blandly that "for the research that was involved, and for the writing itself, the author of Gone With the Wind deserves due recognition." Its stark conclusion: "Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject matter." But very few readers agreed. On the contrary, they were rapturous.

Related Story

Gone With the Wind and Hollywood's Racial Politics
They continue to be. Gone With the Wind sells over 250,000 copies every year, and it has now exceeded the 30 million mark. It is part of American culture. As recently as 2014, readers in the United States named it their second-favorite book, right behind the Bible. Undoubtedly, David O. Selznick's immensely popular movie version is part of the reason. While the movie remains dazzling, though, the book is in another league.

But what about its politics? What about race? In his admiring preface to the 75th anniversary edition, the novelist Pat Conroy wrote that Mitchell "was a partisan of the first rank and there never has been a defense of the plantation South so implacable in its cold righteousness or its resolute belief that the wrong side had surrendered at Appomattox Courthouse." For Conroy, "The moral weight of the narrative is solidly and iconoclastically in line with the gospel according to the Confederate States." This year, Max Boot dismissed the book as "pro-Confederate propaganda." But in 1936, The New York Times thought that Mitchell "writes from no particular point of view, although now and then there glitters a dull rage at the upset that ended such a beautiful civilization."

Gone With the Wind can be counted as pro-Confederate, and also as propaganda, but it is not in line with any gospel. With respect to race, parts of it are excruciating, almost beyond belief; but its thrust is not didactic. It is a romance, not a treatise. It paints a picture. It is much less interested in politics and apologetics than in innocence, loss, foolishness, resilience, and the mysteries of friendship and love (and also sex).

Mitchell's tale begins with Scarlett's suitors, Stuart and Brent Tarleton, twins "with sunburned faces and deep auburn hair, their eyes merry and arrogant, their bodies clothed in identical blue coasts and mustard-colored breeches," and "as much alike as two bolls of cotton." They have hounds and horses, of course, who are, like the twins, "healthy, thoughtless young animals, sleek, graceful, high-spirited," and potentially dangerous, but "sweet-tempered to those who know how to handle them" (as Scarlett certainly does).

They're excited about the coming war: "I'd heap rather go to war than go to Europe." They're eager to fight, even if they have no idea what they're fighting for, and even if their main interest appears to be getting Scarlett to dance with them. Scarlett has no interest in either, of course, but they are confident that "she's crazy about" them both. They're also confident about the outcome of the war. "Why, we could lick them in a month!"

We don't see the Tarleton twins again for about two-hundred pages, until Scarlett encounters the casualty lists. "There they were. 'Tarleton-Brenton, Lieutenant.' 'Tarleton-Stuart, Corporal.'" Stricken, she is unable to keep reading: "She could not know if any other of those boys with whom she had grown up, flirted, kissed were on that list." Rhett Butler tells her that there will be "be a longer list tomorrow." And as the deaths and the injuries mount, the "wounded flooded Atlanta in trainloads and the town was appalled," for every "hotel, boarding house and private residence was crowded with sufferers," to the point where "the choked town could take care of no more."

But Gone With the Wind is even more about the women than it is about the men; they wait, they work, they mourn, they nurse. As the soldiers first line up for battle, the women look on, "sweetheart to lover, mother to son, wife to husband. They were all beautiful with the blinding beauty that transfigures even the plainest woman when she is utterly protected and utterly loved and giving back that love a thousandfold." But Scarlett has no patience with their politics, finding the women "simply silly and hysterical with their talk of patriotism and the Cause," and the men "almost as bad with their talk of vital issues and States' Rights." Rhett Butler, her soulmate, agrees. He doesn't care about the Confederacy and he thinks the South is going to "get licked."

Gone With the Wind is a sexy book ( Fifty Shades of Gray, '30s style?), which undoubtedly helps to account for its appeal. Describing the Tarleton twins as "long of bone and hard of muscle" (!), Mitchell has them lounging "lazily in their chairs," laughing with "their long legs, booted to the knee and thick with saddle muscles, crossed negligently." Of Scarlett, she writes: "Her breasts, pushed high by her stays, were very nice breasts." Of Rhett: "Something vital, electric, leaped from him to her at the touch of his warm mouth, something that caressed her whole body thrillingly." There's a lot more. Much of it involves the torrid struggle for dominance (not merely power) between Scarlett and Rhett; the real war in Gone With the Wind is the battle of the sexes.

The book has strong feminist themes. It can even be taken as an early argument for sex equality. Scarlett is much smarter than her men, and she deplores traditional sex roles, which are depicted as confining and foolish. Wildly successful in business, Scarlett breaks out of them. Drew Gilpin Faust's important book, Mothers of Invention, offers a detailed account of the challenges faced by Southern women during the Civil War, as they had to improvise and assume new roles and responsibilities. Faust shows that the war helped to produce a transformation of gender roles. Mitchell's account of that transformation-in the person of Scarlett, incredulous about social expectations-is not incompatible with Faust's, and it has real fire.

Mitchell also offers diverse voices, and slaves and former slaves are prominent among them. In some ways, the wise Mammy, who helped raise Scarlett and is her only constant, provides the book's moral center. But here's a strong point for those who see the book as Confederate propaganda, and of the very ugliest kind: Not one of Mitchell's slaves complains of slavery or welcomes freedom. Mitchell doesn't exactly celebrate slavery, but she doesn't seem to have much of a problem with it. In her account, there is nothing particularly good about emancipation. And with a trope that has defined Southern thinking for many decades, Mitchell describes the Northerners as the real bigots.

Mitchell gives the phonetic spelling for words spoken by African Americans-but rarely for words spoken by Southern whites. She characterizes freed slaves as "childlike in mentality, easily led and from long habit accustomed to taking orders." She describes them as running wild, "like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension." There's much more, and it's worse. (If you want a more accurate portrait of slavery and emancipation, try Solomon Northup's Twelve Years A Slave, which is no fiction.)

AP

Nonetheless, Gone With the Wind should not be mistaken for a defense of slavery or even the Confederacy. Mitchell is interested in individuals rather than ideologies or apologetics. She parodies the idea of "the Cause," and she has no interest in "States' Rights." She is elegiac not about politics, but about innocence, youth, memory, love (of all kinds), death, and loss (which helps make the book transcend the era it depicts). Irrevocably stuck in the past, and a bit of a ghost, Ashley Wilkes reminds Scarlett of "the sad magic of old half-forgotten songs," and "the far-off yelping of possum dogs in the dark swamp under cool autumn moons and the smell of eggnog bowls, wreathed with holly at Christmas time," and "Stuart and Brent with their long legs and their red hair and their practical jokes," and "a whisper and a fragrance that was Ellen," Scarlett's mother, who died during the war. Mitchell draws a sharp distinction between those pathetic souls who keep hearing that sad magic, like Ashley, and those who want to move forward, like Scarlett and Rhett. Her own heart ultimately sides with the latter. But she also cherishes, and tries to capture, the magic, the yelping, the practical jokes, and a mother's whisper.

At this point, skeptics might respond that subsuming the actual politics of the war, and the pro-slavery convictions of the Confederacy, beneath the gauzy romance of the plantation is precisely what the Lost Cause has been about-that in the end, Gone With the Wind is inescapably a set of political claims, designed to promote political ends. That's a fair objection to some depictions of the world of the plantation, but it's grossly unfair to Mitchell's book, which is much more interested in memory, love, and resilience than it is in causes, won or lost. Of course, Gone With the Wind is a novel, not a work of history, and what it offers is only a slice of what actually happened. But as Americans remember the war and their own history, they have an acute need for novels, which refuse to reduce individual lives to competing sets of political convictions. That is an important virtue, even if one set of convictions is clearly right and another clearly wrong. In fact that very refusal can be seen as a political act, and it ranks among the least dispensable ones.

Official efforts to display the Confederate flag did not become prominent until the 1960s, as a response to the civil-rights movement. That flag should be taken down. But even so, it would be a mistake to disparage the sad magic of half-forgotten songs. Americans have good reason to remember the sweetness, and the deaths, of the countless real-world Tartletons-and never to dishonor those who grieve for them.

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When Americans think about the Confederacy, they often think about Margaret Mitchell's 1936 classic, Gone With the Wind. Inspired by recent debates over the Confederate flag, I decided to give the book a try. I confess that I did not have high hopes.

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S.E. Hiton's husband and her.

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Typical diner in 1965 (Year The Outsiders takes place in)

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Another book by S.E. Hinton; Ponyboy is in this book also. The book takes place in the same universe, but Ponyboy is not the protagonist.