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Harper lee to kill a mockingbird themes
Harper lee to kill a mockingbird themes
Harper lee to kill a mockingbird themes
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I know the theme is acceptance strengthens bonds between family and friends.Because the text says Henry is on lunch duty in his all white school when he is joined by a Japanese girl named Keiko. At first, he is dumbfounded but slowly starts to accept her as the other white kids are teasing them. They share a can of peaches in the school pantry and Henry enjoys his time with her very much. A quote from the text Hotel on the Corner of Bitter and Sweet says “Then they ate their lunch, together, splitting a can of pears in the storage room. Henry thought they tasted especially good that day.” These sentences have a much deeper meaning than they appeared to have. The moment Henry and Keiko shared in the storage room was the blossom of their friendship.
The main character in the book Upside Down in The Middle of Nowhere is Armani Curtis. The setting takes place in a small town of New Orleans. The book opens in late August 2005 around the same time of Hurricane Katrina. Armani can be described by three things, brave , fiercely loyal, and feeling guilty for surviving. Armani's’ story is one of hope, strength, love and survival. Throughout the book she will be tested with harsh realities and it will be up to Armani to help her family survive. Work on combining your sentences with more flow, instead of short choppy sentences. Look out for improper phrasing.
Nancy Farmer's intended message in The House of the Scorpion is that your choices are what define you, not your origin. In the beginning of the novel, at El Patrón's party, Matt forces Maria to kiss him. "'I demand a birthday kiss'...'It's my birthday too,' said Matt, 'and I can have anything I want. Isn't that so, mi patrón?'" (109). This quote shows how, at first, Matt thinks that him being the clone of El Patrón means he has to, and should, be like him. He tries to impress him and tries to use the power that El Patrón has. This relates to how many people think where they come from defines them. For example, someone born into a family of criminals may not see the point in trying rise above it. They may not see that they have a choice to be
“He reminded me of Will Rogers- maybe it was the grin” (10). This is the way Ponyboy, the narrator from The Outsiders describes his friend, Two-Bit. Two-Bit is just as funny as he is laid-back and tough. Each member of the gang had their own role in Ponyboy’s perspective, Pony believes Two-Bit was the funny one, though there is much more to Two-Bit than being the comedian. Two-Bit is just as funny as he is laid-back/lazy and tough. The gang needs Two-Bit for his attitude.
Repeatedly through the novel, Naoe tries to recapture this feeling of “interconnectedness” found within this intersection. At the beginning of the novel, Naoe, regarding Keiko, states, “This Western food has changed you and you’ve grown more opaque even as your heart has brittled” (Goto 13). In Naoe’s perspective, Keiko’s ability to nurture, respect, and evoke “mutual pleasure” is contingent on her ability to nourish her family. Thus, Keiko’s lacklustre Western food implies a breakdown in the mother-child bond Keiko shares with not only her daughter, Murasaki, but also her own mother. Keiko supplies, but does not nourish her daughter and mother with the burnt and bland “Western food” she cooks (13), which signifies a loss of the “interconnectedness” that feeding another being brings. Conversely, Naoe and Murasaki’s profound bond is strongly embedded in Naoe feeding Murasaki pleasurable Japanese foods: “We ate, we drank, in Obāchan’s bed of feasts. Now I was tired and all roasty toasty, covered in sheets of cracker. I snuggled my head in Obāchan’s bony lap and closed my eyes to listen” (18). Unlike her mother and father, Murasaki listens to Naoe, although she cannot understand “the words [Naoe speaks]” (18). This transcendence of language suggests the intensity of Naoe and Murasaki’s bond, which is explicitly bolstered through the sharing of food and entails, as Frampton states, “mutual
Considering she is still uncomfortable to discuss her personal life, she is not at peace with herself; she’s determined to keep her past a secret. Even later, she continuously sugar coated her past into something that didn’t seem so harsh. But then, something alters her feelings towards her parents. When she needed money for college, her father provided nearly all of it. Jeannette wouldn’t take it at first but once her father insisted and her mother agreed, she couldn’t say no: “So, when I enrolled for my final year at Barnard, I paid what I owed on my tuition with Dad’s wadded, crumpled bills” (Walls 264). Here she sees the redeemable qualities of her parents. It’s another one of those small moments where her parents prove Jeannette wrong of how they aren’t always awful parents. This is where the line between acceptance and forgiveness is disturbed. Despite those small moments of redeemable qualities, Jeannette still struggles to find her own peace. Forgiveness leads to peace, acceptance does not, this is the ultimate
For example the novel states, “Joy. If all business days were like this … but it was more than business, the success of his store. It was a chance to meet a young Japanese couple socially, on a basis of acceptance of him as a man rather than him as a yank or at best, a tradesman who sold art objects. Yes, these new young people, of the rising generation, who did not remember the days before the war or even the war itself- they were the hope of the world.Place difference did not have the significance for them” (Dick ). This instance is slightly ironic to see Childan thinking this way. He has been known to be a person who stereotypes the Japanese, and here he is trying to be treated as an individual and not a member of the “yank” group. Childan even expresses a hope that there might be some future social unity among them all. This point of view shows a more hopeful and considerable outlook on social classes in the post-war
Base needs met, Chef moves to fulfill sexual needs without love; just an opportunity to pontificate to “get the girl”. A painting of an apple causes Chef to dwell on times past; a time before war. A time of friendship; not love. We do not need details. The apple peeling away is enough. It is a comfort to him. A simpler less complicated time where his life was his own. Art stimulates the mind.
2. The ending of “A Small, Good Thing” results in Ann, Howard and the baker sitting together, eating and listening to the baker’s life story. Although Ann and Howard come into the bakery with fury, the baker opens up to them because he sees how much they are suffering from the loss of their son, Scotty. Ann is “suddenly hungry” not only because she has physical hunger, but also because she is aching for emotional connection after the loss of her son. The baker may not be able to understand their individual pain, but by revealing his own agony he is allowing Ann and Howard to begin to process their sufferings as well. It didn’t heal them, but his small g...
At the end of the story, the boy decides to finally eat. Though he still has no money to pay for food he decides to go to a restaurant and leave without paying. The narrator says, “He did not dare to look at her: it seemed to him that if he did so she would become aware of his frame of mind and his shameful intentions” (1158). The boy’s plan to eat the food and leave without paying starts to make him feel guilty. Even though he still feels too embarrassed to look at the waitress, he puts his need to eat before his feelings. After that moment the boy starts to cry in front of the waitress. She brings another plate of cookies to the boy and he eats them. The narrator says, “He ate slowly, without thinking about anything, as if nothing had happened, as if he were in his own house and his mother were that lady behind the counter” (1158). In this moment, the boy eats and does not think about himself crying. He eats the cookies and is comfortable because he feels like he is at home. He also feels comfort because he imagines the waitress is his mother. The boy relating the woman to his mother shows the reason why he must eat, because his mother is important to
Being young in Bukowski's world is not a pleasant experience. Even youth is full of violence, sex and self-delusion. The simple concept of a playground friendship with another kid in school is turned into a materialistic affair in Bukowski's "those marvelous lunches". The speaker (Henry) talks of being poor and making a "friend" who gave him parts of his lunch every day. It seems that throughout the course of the poem, Henry manages to delude himself into thinking that he truly was friends with Richardson, when it slowly becomes quite obvious that it's the lunch he truly loves. There is a striking difference in the descriptions of Richardson himself and Richardson's lunch. "Richardson was/fat,/he had a big/belly/and fleshy/thighs" the speaker states of his "friend", as compared to "his potato chips looked/so good-/large and crisp as the/sun blazed upon/them". This difference lets us see where the preference really lies. At a certain point, Richardson is violently accosted in front of Henry, and Henry does nothing but pick up his lunch pail afterward and carry it home. Yet throughout the course of the poem, almost obsessively, the speaker repeats the phrase "he was the only/friend I had" in one form or another, seemingly trying to convince himself of it as much as try to convince us.
The husband was also selfish in his actions. With good intentions, the wife had planned a surprise for him, but he was not pleased. “Instead, he was hotly embarrassed, and indignant at his wife for embarrassing him” (13). When the narrator describes the husband at the beginning, he has a “self-satisfied face” (3). Embarrassment is a result of feeling self-conscious. Because of his self-conscious nature, he assesses first how the few people in the restaurant will view him because of his wife’s actions. He does not prioritize appreciation for his wife’s effort and care, but rather sees the worst in her misguided actions. The husband’s selfishness causes him to be prideful, which in turn causes him to destroy his relationship with his wife through his actions.
... is very funny, the audience cannot ignore the symbolism that the food exposes: two men who find themselves relatively unfit to be living in such a high-class world. Also during this scene, the men seem to have a contest to see who hates tea cakes more than the other. Just after Jack states that "I hate tea-cake" Algernon brings up an argument, asking "Why on earth then do you allow tea-cake to be served up for your guests?”. Both men showing a hate for practically everything was both abnormal and uncivilized during their time period. The symbolic note here is that tea cake is a much cleaner snack, where muffins are messy and, if one had to classify food in such a way, less civilized than tea cake. The fact that both characters greatly prefer muffins to tea cake is a dead giveaway that they have a hard time fitting into the "civilized" society they are currently in.
The episode starts off by showing Lacie’s life. She seems content and happy with her current life. The society looks like it was copied from a fairytale book, colorful and light. It seemed all too perfect for me, but as the story continued, the flaws of this seemingly perfect world surfaced. I noticed that people were very cautious with their actions, because if a person didn’t like what he or she did, he gets dinged down meaning a person rated him down. I was bewildered on how Lacie took bites of the free cookie, then realized why when she put it next to the coffee cup and took a picture of it to upload on her feed. This relates to how people nowadays care too much for good pictures and the likes rather than actually enjoying the food. It effectively portrayed how the current society depends too much on social
The Ballad of the Sad Cafe by Carson McCullers is a story of love illustrated through the romantic longings and attractions of the three eccentric characters; Miss Amelia, Cousin Lymon, and Marvin Macy. McCullers depicts love as a force, often strong enough to change people's attitudes and behaviors. Yet, the author seems to say, if the love is unrequited, individuals, having lost their motivation to change, will revert back to their true selves. The allure of the different characters, which is never revealed by the author, seems to indicate that feelings of love and attraction are not necessarily reasonable or understandable to others.Miss Amelia is self-reliant, outspoken and very much a loner. She stands six foot one inch tall and has a strong, masculine build. Her grey eyes are crossed, and the rest of her features are equally unattractive.
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people