Mr. James M. Barrie

Peter got so angry. Brothers, though. Not enemies, not friends, but brothers-able to live in the same house” (Card 32). Before Ender left to battle school Peter was a type of person that got really angry and would fight a lot physically with Ender, just like a bully. This text shows and reveals Peters and Enders relationship they had with each other and how they were with each other. Ender reveals that Peter was a bully to him and was dangerous to him, however he loved him very much just like real brothers. In the text when Ender says, “brothers-able to live in the same house, it is kind of ironic because in the next chapter Graff comes and takes Ender away from his home and Peter to battle school. From this point on, this is where Peter’s character and attitude totally shifts into a strategic mindset and Peter becomes more independent, peaceful and unaggressive which was unusual coming from him. Valentine starts to notice this change in Peter and gets very skeptical on why he's become this person when Ender left. “Still, it was good. Peter never fought anymore. Never bullied. Got along well with everybody. It was a new Peter. Everyone believed it. Father and Mother said it, so often it made Valentine want to scream at them” (Card

Elizabeth Avila’s is Mexican American middle age, divorced mother and employed as an elementary school teacher; also ex-wife to Javier Avila’s. She prepares Thanksgiving dinner for her family. Elizabeth and the ex-husband Javier Avila’s have a distant relationship and he no longer lives in the house; they are divorced. Elizabeth appears to be a strong mother who has moved forward with her life. She works with a teacher who appears to be a nice gentleman that cares for her. The boyfriend has never met the family until the Thanksgiving holiday. As a single mother, Elizabeth continues to advise her two young adult children on how to live their lives and how she is going to lead her own life. She has fused relationship with her mother, Emma, Anthony and Gina; they all have a great connection. Elizabeth and the children get along without the father Javier, who left without any contact and never

As quoted by Eyal, “Barrie is at once knowing about his interest in the sexualization of children-unable to resist puns and allusions... willing to hide from his self knowledge through dismissal and humor (17)”. The reader can see examples of his dark humor as early as the second chapter when Peter introduces himself to Wendy. As Wendy learns that his name is just Peter Pan, she believes it to be disappointingly short, and Peter becomes very defensive about the situation (Barrie 15). While it may seem like small childish bickering, one must keep in mind the previously stated fact that Barrie found sexual puns humorous.

Research indicates that there is a correlation between childhood parental figure loss and adult depression. Studies show the strongest causal relationship occurring when the child experiences the parental loss between five and eight years of age. The elevated risk factor of parental loss that was experienced by Gilbert as well as the previously described symptoms of depression that Gilbert exhibits are strong indicators of Gilbert suffering from prolonged depression (Coffino, 2009).

Peter unveils how children encounter similar difficulties as adults do in society since children do live in a society where there is an organized hierarchy of injustice, struggle, and real-world issues. The rivalry between groups in Neverland is explicit when “the lost boys [are] out looking for Peter [and] the pirates [are] out looking for the lost boys” (Barrie 112). In Neverland this frenzy occurs as there is a mutual disdain between the pirates and the lost boys. The lost boys are playful and rambunctious with the presence of their leader Peter while the pirates are vexed by the boys’ attitudes, especially since “there [never has] been a cockier boy” than Peter (91). Captain Hook also seeks to kidnap the young girl Wendy from the lost boys so that Wendy “shall be [his] mother” and fill the gap of his traumatic past with his parents (146). This tension between the lost boys and the pirates represents the unsteadiness between conflicting social groups that naturally exist in the world of adults. This situation also does not represent typical, innocuous play and is rather a grave activity of fighting that the children in Neverland confidently participate in. The ubiquitous struggle for power commonly seen in the adult world when fighting a war or striving for new heights in a job position is mimicked as Captain Hook attempts to steal Wendy from Peter. Peter’s leadership role in being involved with the logistics of maintaining and striving for power

Establish that your character had a poor relationship with his or her parents (provide text details!)

The understanding of the causes of depression has evolved over centuries. While Styron was detecting his “forgotten or buried events” that underlay his depression it will be important to look into his case through the biopsychosocial lens. From biopsychosocial model perspective the three major factors which all play a role in causing depression are biological, psychological and social factors.

Peter changes a lot during the whole story. At the start of the book peter is a reckless boy that is always getting into trouble and never listens to the directions. Peter and his class are doing and plant project where they have to bring in ingredients for the plant to grow. Peter got something things that were rather different from everyone else.“I brought in cat litter (used), soda and a little bit of maple syrup.” (26) He brought this in even though Mr. Terupt told them not to bring in something that would stink up the classroom. Peter did not obey the rules Mr. Terupt had given them. Peter always

What this magical place represents is a state of remaining youthful forever, and not letting society conform one’s beliefs. The concept of age is masked by Peter’s stubbornness to not conform to such. For example, Wendy wants to get married and have kids one day; Peter does not. Wendy wants this because she is taught from a young age that this is a common normality of life. Peter refusing to stay at the house with the other lost boys, in the end, showed that such normality does not have to be one’s choice.

Peter is quiet and a shy boy. He has many duties chopping wood, fetching vegetables and potatoes from downstairs, and looking out for his cat. Anne thought he was boring and awkward. She later thought different and in up falling in love with him after she found him as a decent boy.

After the death of her husband, Mother struggles to keep her family together by providing the support and guidance they need, and encouraging them to use good judgment and think of the family as a whole before making their decisions. As the family faces various obstacles, each seemingly more severe than the last, Mother begins

For instance, within the primary dysfunctional family, many relationships are developed, which include two unbearable children, a power hungry dad, a hectic wife tending to her baby, and an unendurable grandmother. These relationships bring out other dynamics within the characters and the family (Lambert 2009). For instance, although both the father and grandmother are strict in ensuring that the children be respectful, on their part, they do not set an example that can be emulated within the family. First, the grandmother advises her grandchildren to be respectful, and then she goes ahead, making a profane racially prejudiced remark almost immediately (McCann, Jr 2011). At the same time, the head of the family—the father of the children, Bailey, requests the children to conduct themselves accordingly. However, confronted by a tense situation, Bailey loses his temper and threatens the family telling them that if they did not shut up, they would not go anywhere (Katharina 4).

This is concept of not wanting to grow up is proved throughout the play multiple times. For instance, he talks with Wendy explaining that he ran away from home saying, “I want always to be a little boy and to have fun” (Barrie 15). At the end of the play Peter is terrified to even pretend to be the boy’s father. He says, “It is only pretend, isn’t is, that I am their father?” (Barrie 43). Then in the lines proceeding he still was questioning Wendy to make sure his role was just pretending because he does not want any characteristics or responsibilities a grown person has. Wendy, on-the-other hand, was not afraid to take on the motherly role of the children. She awakes in the house and the boys ask her to take on the mother role and she replies, “Very well then, I will do my best” (Barrie 32). The concepts of the play follow the relation that exists between children and adults where their worlds are exclusive mutually as they complement each other (Barrie and Alton 7). There exists a higher association between Wendy and adulthood which helps show her transformation.  This proves Barrie’s play was created to showcase the bond between children as well as adults. This transformation for Wendy is interesting because she took on a mother role in a child-fantasy land that is supposed to be free of responsibility.

J. M. Barrie’s Peter Pan tells the story of “the boy who never grew up.” Barrie paints Peter as an extraordinary character living in a mystical world called Neverland, flying through the air, and fighting villainous pirates. He is also the boy who takes a young girl named Wendy from England back to Neverland with him. The interaction and interdependence of Barrie’s two characters, Peter and Wendy, symbolize and spread cultural gender stereotypes by mirroring the stereotypes embodied by the adult characters in the story—Mr. and Mrs. Darling—and by reflecting the ideas of gender roles of the time and foreshadowing the children’s understanding of reality and expectations, as well as their eventual maturation.

Barrie expresses the core of his argument through the actions of the children and Peter himself. Throughout the play, the reader observes many instances of the children playing "grown-up." When Peter first brings Wendy to Never Land, we see Slightly, one of the Lost Boys, playing doctor (69-70). This shows a fundamental need to grow up and find your purpose or profession. In many of the different acts the reader also sees the children pretending to have a family. The best example of this is in pages 98-118. The Lost Boys and Wendy's creation of a family reflects not only the children's need for a family, but their need to grow up and create families of their own. In this scene, one of the Lost Boys, Michael, states his wish to grow up when he says "Wendy, I am too big for a cradle" (101). Even Peter, who claims he wants to "always be a little boy and to have fun" reveals that he once wanted to return to reality as well (113). On page 110, Peter says that after some time in