Without warning, a different voice came out of the mouth of Ostara. It spoke while Ostara’s mouth was left opened “The medium is happy now, having been transported to a more pleasing realm.” It was the demonic entity who, having been given Ostara’s consent, possessed the ability to switch places with the Union spirit medium at well. “Do you puny humans ever stop showing regret toward your past actions for once? It’s people like you who we despise.” “I’ll make the commitment, whenever you start introducing yourself,” Hannelore told the entity in a blunt tone. “That’s not important,” responded the entity, referring to its name, “What can be deemed important in your eyes, human, is that the Union now has complete control over this State Chancellor …show more content…
This left them horrified by what they saw there; for out of all of the Dweller cities that the RGA has ever encountered, Blood Moon was probably one of the worse. Large statues devoted to various strange gods were erected there like monuments. A strange odor pervaded throughout the city, resulting in some of the Dweller population to make contact with demonic entities. Never before have they seen actual demons and humans existing side by side under the watch of the Union occultists who made such relationship possible. Wherever they went, the sight of Union sentries patrolling the city in groups of four or five was commonplace, heavily armed and dangerously …show more content…
Those who were not well off in this Dweller city were barred entry. Hearing the sounds of profanity and witnessing brawls were common occurrence there. The subsequent visits to the theater was also the case as well, except the plays offered were the most decadent depictions–they cannot be considered works of art by any degree. The library was nothing more than a collected repository of occult knowledge, only to be accessible by those who were worthy enough to enter, as with the other two places they had visited; much to the Mongoose’s chagrin, of
The woman I met spoke pragmatically about avoiding crime in the city and this, more than anything else, depicted the prevalence of crime that, having grown up in a much smaller town, I had never experienced. The unbreakable grips that New York City’s denizens maintained on their belongings while engulfed in throngs of people suddenly made absolute sense in a way that I felt almost uncomfortable with. “Young Lions” also illuminates the frequency of crime in cities and, perhaps more disturbingly, the forethought individuals devote to stealing from others. While following Anna, Caesar explains that “for two months he had secretly placed himself in her life, doing all the scoping out, the drudgery that had once been up to Sherman” (Jones 63). This passage depicts the effort Caesar commits to stealing from a woman attempting to simply get through her
In the case of a lynching, the violence affects both the lynchman and the lynched. Other times the violence is psychological in nature and it is often indirect. No matter what, it poisons and corrodes everything and everyone, from the environment itself to the very self; the “i” within the environment. And it still does to this day. Jean Toomer’s short story, “Blood Burning Moon” and other works featured in Cane, visualizes depictions of violence through lynching and reveal the innermost madness of the psyche that is the product of racialized violence in the South.
Cormac McCarthy's setting in Blood Meridian is a landscape of endless and diverse beauty. McCarthy highlights the surprising beauty of combinations of scrubby plants, jagged rock, and the fused auburn and crimson colors of the fiery wasteland that frame this nightmarish novel. Various descriptions, from the desolate to the scenic, feature McCarthy's highly wrought, lyrical prose. Such descriptions of the divine landscape seem to serve a dual function. While being an isolated highlight to this gruesome novel, McCarthy's beautiful setting also serves as an intricate device in defining the novel's themes and creating the reality in which it is set.
Sometimes we all feel as if no one person could or would ever truly love us as we deserve. This is the case in the Moon for the Misbegotten. A young, not so attractive, wants to be loved but fears that if she did love, her life would not be as it is now. She fears change and not because she wants the life she is leading but because it means she would have to free herself from who she pretends to be.
Beaumont's failed comedy, 'The Knight of the Burning Pestle', is a unique play that seeks to satirise and burlesque the theatrical and social domain. Crucial to this satire is the collision of two concurrent plots that vie for the audience’s attention. These collisions allow the audience to see opposing ideologies in contrast through the dramatic effect of the breakdown in the boundaries of theatre. It is arguable that this play encourages one to question hierarchy and tradition through exploration of ideology, disputed genres, and Rafe's potential rebellion.
The opposing argument serves as a perfect gateway to the topic of relationship between Federal and State government. In the United States, the Supremacy Clause serves...
Some take life for granted, while others suffer. The novel, Night, by Elie Wiesel, contains heart-wrenching as well as traumatic themes. The novel unfolds through the eyes of a Jewish boy named Eliezer, who incurs the true satanic nature of the Nazis. As the Nazis continue to commit inhumane acts of discrimination, three powerful themes arise: religion, night, and memory.
Bad blood is a book that was written James H. Jones who is an associate professor of History. The book narrates on how the government through the department of Public Health service (PHS) authorized and financed a program that did not protect human values and rights. The Tuskegee Syphilis Experiment which was conducted between 1932 and 1972 where four hundred illiterate and semi-illiterate black sharecroppers in Alabama recently diagnosed with syphilis were sampled for an experiment that was funded by the U.S Health Service to prove that the effect of untreated syphilis are different in blacks as opposed to whites. The blacks in Macon County, Alabama were turned into laboratory animals without their knowledge and the purpose of the experiment
In Charles Baudelaire’s “The Old Acrobat,” the flaneur describes his encounter with a fallen figure who eventually reveals the lack of humanity in the city people’s hardened hearts. The flaneur finds comfort in people with border personality types because he can easily relate to them. He is an idler in a world which concentrates on excess, over-stimulation and one of which runs on a constant invisible ticking clock that pushes the masses towards desensitization and unhappiness. These, among many other pretentious things, make him seek out the uncommon populace, a breed of seemingly raw people who live their lives in front of the world’s eyes. He is bored and uninterested in the ennui, commonplace people who make up the majority of society because they can create facades to shield their faults from the world’s view. Rather than concentrating on the mundane and masked life of the middle and upper class, the flanuer focuses his attention towards the transient, eccentric “drifting clouds”1 who are not a part of the active social milieu.
Scholl, Lesa. “Fallen or Forbidden : Rossetti's Goblin Market.” Victorian Web. . Web. 24 Nov. 2010.
The City of Dreadful Delight starts with some cultural analysis of the historical background that helped to produce the social landscape of Victorian London. In discussing the transformation of London, Walkowitz argues for seeing more than merely a shift from one type of city to another but rather a conflicted layering of elite male spectatorship, the “scientific” social reform, and W. T. Stead's New Journalism. Here Walkowitz investigates the “Maiden Tribute of Modern Babylon.” The “Maiden Tribute” consisted of a series of articles, authored by Stead and presented in the penny press, which exposed the sale of girls into prostitution. According to Walkowitz, these stories relied on the new scientific methods of social investigation, but the...
It was a dark, menacing night as she stood there in the shadows. Waiting for the finale of the show that was playing, she glanced toward the exit through which people would soon be leaving. The rich, as patrons of the theatre house, promised her a salary at least for today. Her tattered clothes revealed the effects of personal destitution; the emaciated frame, that presently existed, harked back upon a body she must have once possessed. Driven by poverty to the realms of "painted cohorts," she makes up her face daily, distinguishing her life from the respected (264). She is an outcast, a leper, a member of the marginalized in society; she envelops the most degraded of positions and sins against her body in order to survive. As she looks up, her eyes reflect a different kind of light, a glimmer of beauty that has not yet faded despite her present conditions. She was, at one time, a "virtuous" woman, most likely scorned by a dishonest love. Finding no comfort or pity for her prior mistakes, she must turn to the streets and embrace the inevitable - the dishonor and shame from her previous engagement will follow her unto death. Shunned from society she becomes the woman who sells herself for money and sadly finds no love. She is the abandoned, the betrayed, and the lost, embarrassed girl; she is "of the painted cohorts," the female prostitute of the streets (264).
There are no longer humans in this city, which is evident because when talking about the beings in the city Lampman wrote “They are not flesh, they are not bone,/ They see not with the human eye”(33-34). This part of the poem is important because if there are no more humans left it is easy to assume that the only driving force of these “Flit figures with clanking hands”(31) is work. They work to make the city bigger and to build more than they already have.
and solicitation of ‘pennies for the Old Guy’. Eliot’s images of scarecrows, a cellar, and violent souls recall this tale of a violent plot tha...
Christina Rossetti tackles multiple taboos of the Victorian era in her poem “The Goblin Market”. Introducing a sense of supply and demand with the physical body as a form of commerce. With a demon infested marketplace setting Rossetti tests her characters Lizzie and Laura sense of worth when it comes down to a tempestuous trade the goblin market men. Like any other Victorian maiden they cherish their virtue and value their religion. Struggling to fight the human urges of desire and sexuality to uphold a holy lifestyle and refrain from allowing their bodies to become nothing more than any other commodity at the market.