Monologue Of Mrs Light

I don’t agree with Leo’s choice because he only just made the problem even more difficult for Stargirl and himself. During the shunning and after his visit with Archie there were times where Leo would avoid Stargirl and also he wishes that they could be more like them or they could be more like Stargirl. He doesn’t really do anything to fix the shunning. The only thing he did was change Stargirl into Susan, but it seems like it was more for Leo not for Stargirl. He seem to love Susan more than Stargirl because she finally more like them. Like the rest of Mika students.

Learning that Hugh has not been home yet, Deborah rushes off to the mill with food for him, her fatigue vanished in the face of her desire to care for Hugh. It soon becomes even more apparent to infer from Deborah’s “painful eagerness” to please him that she is in love with Hugh (8). In these opening pages we see not only Deborah’s affection for Hugh, but that this affection is merited: for we see also Hugh’s gentle nature as he does what he can to protect Janey and to care for Deborah by sending her to sleep on the warm iron ash until he can take her home at the end of his shift (8). Yet, as Deborah watches Hugh work, she acknowledges that “in spite of all his kindness, . . . there was that in her face and form which made him loathe the sight of her. . . . [D]own under all the vileness and coarseness of his life, there was a groping passion for whatever was beautiful and pure” (9). The initial use of Deborah as a focal character, then, allows the revelation of Hugh as a kind human being who is loved by those to whom he shows kindness; it also establishes his artistic love of beauty and thus strengthens the effect of his kindness to the hunchbacked Deborah.

The culture of set societal rules and conventions urges Catherine to be with Edgar, compelling her to be ‘the greatest woman of the neighbourhood’ due to them being relatively firm in their gentry’s status. This suggests the importance of her social status against the nature of her love for Heathcliff stating, ‘we would be beggars’, through employing the word ‘beggars’ the reader crafts the idea of her belief that she won’t survive without her status. Catherine admits ‘It would degrade me to marry Heathcliff now; so he shall never know how I love him’ Thus implying a swelling sense of her vanity and pride; enough to enjoy the position she gains from being married to Edgar despite her admiration for Heathcliff, being ‘more than (herself) than (she is)’and

And when «she knows it's happening: that thing, that connection» between them, when she dances for him and «making him fall in love with her» she says to him: «We've got all we need. We don't need love. Don't diminish yourself – don't reveal yourself as a sentimental sap. You're dying to do it, but don't. Let's not lose this.» (p. 231). She knows she's driving him nuts, she knows that her rejection of his feelings makes him want to attach to her sentimentaly even more. She dances for him and teaches him what life really is. She – a 34-year-old illiterate janitor, teaches him – colledge proffessor, ex-dean, a member of highest rank of society class, what life is all about.

The young speaker is infatuated with his friend’s sister. He believes that if he brings her a gift from the bazaar than she will love him back. The speaker’s time at the bazaar is nothing like he thought it would be. It is a horrible experience and he fails to buy a gift for his crush. The speaker says “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.” He realizes that he wasn’t actually in love with his friend’s sister. His desire for her was only a vain wish for something new and different. She would never live up to his expectations. The speaker’s dreams about romance are shattered when he faces the reality of

When Andrew, her docile servant, punches her in the face during sex, what made him the perfect companion is gone. He not only denies her physical pleasure, but causes her unwelcome pain. She sees that Andrew was not worth her devotion, because the only things that deserved her allegiance were those that brought

Ross: I wake up, eat, brush my teeth, and go. Who, what, where, when and why. Where I go is nowhere because that place does not exist. It’s a place where everybody is the same and everything is unimportant. If a place has no differentiating factors, is it really real?

Jane Austen’s Northanger Abbey is a bildungsroman, a coming of age story that focuses on the psychological development, and maturity of the protagonist Catherine Morland. This essay will analyse the language, and narrative techniques of the set extract, and discuss how this excerpt suggests vicissitude in Catherine’s priorities, within her role as Austen’s female bildungsroman. In addition, it will discuss the ‘domestic gothic’ and real life abuse that prevails in ordinary situations. Furthermore, it will argue how Austen’s rhetorical techniques work to encourage reader interest, and to exercise perception, when distinguishing between appearance, and reality. Finally, it will conclude by briefly discussing the significance of the extract within

Out in the night Roger waiting for his next victim Mrs. Jones walks past and there he goes as fast as his small, nimble body could carry him, he grabs the purse and with all the weight of her unintendedly heavy pocket book and her heavy self he fell fast. Roger starts to understand what just happens, but it was too late, he was already being held by his collar. Roger started to feel hot in the face in which he figured they could easily see, but all he wanted was to be let go. Mrs. Jones started ranting again about how his face was dirty, but that didn’t matter to him, he had even told her he wasn’t hungry that was a bad lie, he was starving, but no matter what he could not change Mrs. Jones mind he was going home with her to wash his face and eat some nice food he stared at the door as she turned him loose but he didn’t run so he washed his face. Roger sat where she could not see him and decided to move to show trust.

Jacob is immediately attracted to her – “She looks so much like Catherine I catch my breath – the plane of her face, the cut of her hair, the slim thighs I’ve always imagined were under Catherine’s staid skirts.” (39)

A few days ago, I was made aware that Ms. Linh Pilkington was let go. From my understanding, she was let go because of her character. I beg to differ. I have been coming to Finishline's Texarkana location since my early teens. I have known Ms. Linh since then and I must say she has been the same since then. She has not only brought me but my family a memorable customer experience. For the most part I only order/buy from Finishline when Ms. Linh is there. It has become a habit.

Luna I stand out from everyone else, but I think that is special So what my life has a little dishevel I was walking down the hall yesterday When I stumbled upon a boy who appeared very grey I brushed it off as just another stupid boy who doesn’t care I decided I’d wait for my Romeo elsewhere

In the interim, this threat is negated by Rowland’s overt show of kindness towards Roderick, to whom he offers the sculptor his opinion, “The only chance that I see, then, of your reviving your sense of responsibility to – to those various sacred things you have forgotten, is in sending for your mother to join you here.” (137) Taken aback, Roderick seeks further clarification as to whether Miss Garland is also coming upon which Rowland makes clear, “For your mother – and for Miss Garland.” (137) The mentioning of the young woman’s name triggers a physical reaction in Roderick, and this is apparent in his flushed complexion. Moreover, these corporeal effects indicate to the reader that Roderick is sexually excited to see her or, most likely,

Angela Carter, an English writer, is best known for her feminist rewriting of classical fairy tales. In her stories she prominently uses themes, such as, virginity, the pornographic image, violence and sex, and many others. Degrading someone to the status of a mere object, in other words objectification, is a theme Angela Carter shows in many of her fairy tales, specifically the objectification of women. According to Carter, the objectification and subjugation of women is part of a “latent context” of fairy tales that she expressed simply by virtue of being a woman. Both “The Tiger’s Bride” and “The Courtship of Mr. Lyon” are fairy tales intertextually linked with “Beauty and the Beast” and show the reader Carters’ views on femininity. Not

“Earthly Paradise,” by William Morris, highlights the Victorian way of thinking by emphasizing Morgan Le Fay’s beauty. This intense focus on her beauty is unique to this poem, which offers a window into how people experienced beauty in the 19th century. Beauty was meant to be shown off and compared, so many upper-class women went to great lengths to perfect themselves. Nowadays our perceptions of beauty are more private and personal; we find beauty in unexpected places,