Im Not Scared

CHAPTER 1: Main characters have a race, Maria hurts her leg. Barbara forced to complete a forfeit, Michele does it instead. Michele completes forfeit. Most of the main characters are talked about. Papa brings them a present of a model Gondola; Acqua Traverse is revealed.

A common theme in many great works of literature is that of forgiveness. Through studying some of these classics, we can learn the lesson that forgiving others, lets you to let go of hate and anger, and to draw nearer to God; this helps people to be happier and to obtain peace, even in terrible circumstances. First, in Left to Tell, Immaculée was able to find comfort and peace, when she found it in her heart to forgive. Second, in Blood Brothers, Elias found comfort and strength in the understanding that Christ loves and forgives all. Third, in Les Miserables, we see the results of being selfless and choosing to forgive. In this essay, we will examine this fundamental theme in the books Left to Tell by Immaculée Ilibagiza, Blood Brothers by Elias Chacour, and Les Miserables by Victor Hugo.

In Southern Italy in 1978, Niccolo Ammaniti’s novel I’m Not Scared is narrated by a 31 year old Michele Amitrano who tells us the readers a story which depicts a sense of his own ethical struggles and steady move towards good in the face of evil. Through experiences, the characters values through the book are disintegrated through fear, whereas Michele rose above his fears. Michele manages to do a whole lot better in ethical terms than the adults in Acqua traverse; the adults behave criminally because they are blinded by the hope of material gain. Despite Michele’s age, naivety and fears his compassion and natural sense of what is right and wrong is preposterous. Acqua Traverse children are isolated and adrift in a world of adult cruelty and blackmail. Michele fears of losing games that the Acqua Traverse children play because the punishment of losing is doing a forfeit. Michele fears of imaginary creatures. Pino fears of poverty.

| An example from text that denotes author’s style * And now for all the people of Africa, the beloved country. Nkosi Sikelel’ iAfrika, God save Africa. But he would not see that salvation. It lay afar off, because men were afraid of it. Because, to tell the truth, they were afraid of him, and his wife, and Msimangu, and the young demonstrator. And what was there evil in their desires, in their hunger? That man should walk upright in the land where they were born, and be free to use the fruits of the earth, what was there evil in it? . . . They were afraid because they were so few. And such fear could not be cast out, but by love.

The children filled their days with riding bikes, playing football, steal-the-flag, one-two-three-star and lounging around doing nothing.

Looking into the distance, an athlete runner can see the finishing line. However what stands before them are many hurdles one will have to jump over to reach the end. Comparing this analogy to an individual’s life, these hurdles are like the various challenges that one will have to overcome to cross their finishing line, and in order to come first, one will have to run. Melina Marchetta has written a novel, Looking for Alibrandi (LFA), which portrays the events that can waver a character from their finishing goal, their goal to achieve true freedom. It is situations such

Ammaniti’s novel I’m Not Scared set in Acqua Traverse, Italy 1978 is a powerful text, which explores relevant social themes and issues. Besides being a tale of adult cruelty and lost innocence we cannot ignore the role in which loyalty and betrayal play in the novel. These central themes make this novel a compelling text.

The story by Abani is set in an African background. It may be unfair to render the people as backward automatically, but their decision to act arbitrarily and against the wishes of the elders speaks of weakness regarding civility. Like the villagers in Jackson’s story, the bloodthirsty mob carries out an illogical and crude act with no regard for the life of the man they perceive to be a thief in the hope that the children will learn a valuable lesson.

The Other is configured in the two writers’ works as victims of power play, their unjust mistreatment subsequently exposing underlying social inequalities. Through adopting the Gothic medium characteristic of Romanticism, the texts induce within the reader emotions of terror and pity towards the marginalised, leaving a profound effect which impactfully conveys the intended social criticism.

1. Acqua Traverse has a very farm like setting, with a heap of livestock and things such a vegetables growing. It was a countryside setting. Acqua Traverse is very desolate during the day, only the children venture outside as it is summer and is extremely hot. The adults stay inside during the day to escape the heat. It seems as if most people in Acqua Traverse know each other as well. I feel as if Acqua Traverse is your typical countryside town, it is located in the south of Italy so I know they are not as well off with money but it seems like the population of Acqua Traverse still live their lives to the fullest.

With his writing Ammaniti conveys the idea of greed and how most citizens of Aqua traverse are motivated by it. Michele isn't and is greedy. Sometimes he respects those around him and helps those who need him. For example Barbara when she had to do the forfeit, but Michele stood up for her and said "[he] want[s] to do it...[He] came last".

This paper aims to make an analysis of the short story entitled, “The Vendetta”, written by Guy de Maupassant. “Vendetta”, which means “revenge” in the English language, is the core of this short story, and the concept from which the main character depends upon in order to survive. The story revolved around the revenge of the Widow Saverini because of the death of her son Antoine Saverini. Antoine was killed by a man named, Nicolas Ravolati, who was the object of revenge of Antoine’s mother. The death of her son, and her plot for revenge made her restless and sleepless at nights, thus, motivating her to avenge the death of Antoine.

When in the presence of the woman Romana trying to attack him, Condé writes, “He was about to throw himself on her, knock her down, kill her perhaps, when a voice reminded him of his difficulties in the Ashanti kingdom after the rape of Ayaovi. What would happen if he now committed murder? (Condé 265).” In two ways here, Malobali has grown up. First he realizes that all his actions have consequences and that he must realize them before making unwise decisions. In realizing this, Malobali represents Africans evolving as a whole to recognize that they must work together as a people. Secondly, Malobali realizes that Women are people too who can be reasoned with and respected rather than literally beat into submission. On a grand scale, Malobali’s second revelation represents a change in attitude toward women by African people. Still, more important is Malobali’s evolution in the context of the African Slave Trade.

Michele and Filippo, even though they are the same age are very different. Their upbringings are contrasting. Filippo is obviously from a rich background. He speaks of his electric train set (pg. 86). His mother, after appealing to his kidnappers on TV, appears to be in ‘a big leather armchair in a room full of books' (pg. 86). Michele's upbringing is the complete opposite. His bike, The Crock, is old and previously belonged to Pino (pg. 6), and he longs for a new one, however understands his family cannot afford it. He shares a corridor-turned room with his sister and his house is small. Despite all the differences in their lifestyle, Michele and Filippo share many of the same personal attributes, like honesty. Their actions and thoughts also depict a very same innocence, and childlike imagination.

Set in the depression times of post-World War II Italy, Graziadei and De Sica’s (1948) The Bicycle Thief narrates the story of Antonio Ricci (Lamberto Maggiorani), who, after finding a job as a bill poster, loses his bicycle to a young thief. He tries to look for it with his son Bruno (Enzo Staiola); however, despite seeing the thief, he fails to recover his bicycle. Desperate, he tries to steal a bike himself but is easily thwarted by a group of bystanders. They plan to bring him to the police station until the owner notices the weeping Bruno and, in an act of compassion, ask others to release the thief. In this paper, I argue that The Bicycle Thief