No One Is Here Except All Of Us

“Hana’s suitcase”, written by Karen Levine, records a painful memory of a Toronto resident, Gorge Brady, to his lost younger sister in the World War II (WWII), Hana Brady. This memory is provoked by an unexpected package from Japan. Which tells him they are exhibiting his sister’s suitcase as well as her drawing photographs in Tokyo Holocaust Center for a purpose of education about the Holocaust to the Japanese children. And they hope to get more information about his sister, Hana Brady’s life. In the continuing communication with the Japanese children, Gorge gives them all the details about Hana’s short life, and what happens to her in the WWII.

Suddenly looking around himself, the child begins to notice the outbuildings as if they were familiar to him and realizes that he is not at a plantation he has never seen before, but is instead watching his own home that he had left earlier that afternoon burn to the ground. Upon this realization the boy begins to run around the conflagration, and comes upon the prostrate body of

We hear of her moving to New York to escape her life as a child bride after being orphaned at a young age. This story allows the audience to gain a sense of sympathy for Holly, and enhances the pathos of the story. This pathos puts the audience into the shoes of Holly and enables them to understand the reasoning behind her escape. The use of language features like pathos and literary allusion allow the authors of both texts to convey the theme of escapism.

The opening sequence of the film introduces and defines the genre ("a filmed essay in human geography") and the setting ("a sterile and inhospitable area" in Spain). The expedition begins in Alberca with the watching of a "strange and barbaric ceremony." Once the people of the town are "drunk with wine," the expedition continues to an uninhibited monastery. Afterwards, we move on to the first village of Las Hurdes, where numerous young girls eat bread dipped in the water of a small stream. At the local school, "starving" children study geometry and educational moral lessons. Arriving in another village, the expedition meets a "choir of idiots" and then finds a young girl ill in the street. Land Without Bread then surveys the Hurdanos' diet of potatoes, beans, pork, and honey. The scene where a goat falls off a mountain and a donkey is covered and killed by bees is staged unbeknownst to the viewer. A short-lived essay on mosquitoes and malaria leads into a portion on illness and dwarfism, caused "by hunger, by lack of hygiene, and by incest.". As the camera pans across some graves marked with crosses, we hear that, "despite the great misery of the Hurdanos, their moral and religious ideas are the same as in other parts of the world." We tour a "luxurious" church before visiting the inside of a Hurdano home. As the family prepares for bed, an elderly woman walks the darkened streets, chanting of death. The expedition abruptly ends.

The book begins by giving a detailed description of the main character, Mende. She speaks about her community and her life as an adored and indulgent child of a loving family. Mende was the youngest of five children and the

Meanwhile, Seth disobeys the rules and goes off into the woods. On his adventure, he spots an old shack covered in ivy and vines. He notices an old women that is gnawing on a rope that she is tied to. She asks Seth if he would come inside and share a cup of tea with her. Seth asks if she is a witch, then she becomes very furious and puts a curse on him. He sprints of like a cheetah and runs away from the “witch”. The next morning, their grandpa asks them “What do you suppose makes people so eager to break rules?’’ He keeps his eye on Seth. Seth explains to his grandpa that he was just very curious and that he met a creepy old lady. His grandpa nods and changes the subject. They are given some milk (the magical one) by Lena she said that it would give them the power to see “what is really out there.” Seth shows Kendra a hidden pond with gazebos, a boardwalk, and a boathouse. Grandpa explains that his yard is not a place for endangered animals, but for mystical creatures such as fairies, trolls, and imps. This land is known as Fablehaven and it is owned by lots of people, passed down every few centuries. He also explains that the old woman in the forest was actually a real witch. Her name is Muriel Taggert and the knots were her punishment for trying to put a curse on Fablehaven. After meeting

Ursula Hegi’s “Floating in my Mother’s Palm”, tells a story of a young girl growing up in a small German town in the 1950s. Hanna, who is the lead character, has a painter mother and a dentist father, both of whom try to shield her from the harsh realities of their small town. The novel tells a story of a young girl’s experience right from birth and the many things that shaped her childhood. This essay will pay special focus on the second story of the novel, “Trudi Montag’s Romantic Episode”. This part tells a story about Trudi Montag, who is the town’s librarian and Hanna’s friend, though she is older. Trudi tells Hanna of stories of her childhood and any gossip that goes around town. The story sets precedence for major themes like love, broken love and superstition evident in the community. The author also uses the story to expound on issues of tradition and diversity that is evident in every community.

The central idea of this book is a little girl and her struggle in concentration camps the author shows this by “ tomorrow is deportation”( Leitner 3) . This happened on May 28, 1944 where she started her journey in the camps. She explains her feelings and fairs of them too and how she's not ready to leave this place called home because she was living in hungary and she ends up having to move away. Something else that is showing Isabella’s struggle is ”Every since childhood,I remember them with terror in my heart.” (Isabella Leitner 5). In this quote she is talking about the people that heard them like cattle and stuff. This was also the people that would kill them and make them do horrible things.These were the people that didn't make them feel like people. “75 to a car... no toilets... no doctors ... no medication”( Leitner 7) Isabella is talking about how they were moved place to place in these little cattle cars and how horrible the conditions normally where. Imagine being shoved in

“A Yellow Raft in Blue Water” is divided into three sections narrated by three different Native American women: Rayona, Christine and Ida. All three of these women are all related. Rayona is the daughter of Christine, and Christine believes she is the daughter of Ida, but Ida is actually her half-sister and cousin. All three sections were a part of a larger story; they all helped support or complete each other. The structure of this novel forces us as readers to be more active. It causes us to look more closely, and fit together the stories of the three women. When the ladies’ are explaining the same event, it sometimes feels

The idioms of everyday American speech in a middle-class domestic situation are used in showing the events and relationships of the Berlin family. In contrast to the conversations of Becca and Stan, usually presented as straight dialogue, the discussions among the three sisters are conventionally presented, often with “she said” and other interpolations to give explicitly the emotional level of the sister’s disagreements. Madga, the Polish student who acts as Becca’s guide to the death camp site speaks fluent English but at times awkward English “Oh, they are much in appreciation” she says when given a pair of jeans. Contrast between the formal, traditional language of the fairy tale and childish, informal chatter is shown when the children comment or question as Gemma proceeds with her Briar Rose fairy tale story telling. Her contrast revisiting of just this one fairy tale shows the reader that while her conscious memory has buries the details of her past horrors, she cannot help returning to the fairy tale allegory. Contrast is also shown between the warm, happy imagery of life in the Berlin house and the bleak, harsh details of the holocaust.

“That’s why they were only taking a few things at a time; they weren 't really coming for ivory and paintings. They wanted me!” Even when she wasn’t in her room she was always afraid of something. “I always dreaded that my parents would divorce. It was my third biggest fear, right next to the fear that one of them would get abducted by heartmen on the road to Sugar Beach, or my first fear, that I would get sucked into the lagoon by neegee.” Out of all three fears only one seemed to happen. Her parents relationship finally came to an end after a lot of fighting, disagreement, and cheating. “Daddy, I hold your foot, don’t leave us. Daddy, please, I beg you” she cried that day. From then on, except the servants and cook, “it was only women at Sugar Beach.” Even after dealing with something so hard in her life that wasn’t even what affected her the most.

Although some readers might think Margaret Laurence's short story “The Loons” is about the naivety of a young girl named Vanessa who spent her days fantasizing about native american culture, it is in fact about the adversity an individual faces when presented with a lack of belonging. Laurence employs this idea through the loss and mourning of her two main characters. Through Vanessa McLeod and Piquette Tonnerres she shows how one individual’s perpetual need of belonging influences the others ulterior reality. She does this to showcase the disastrous effects of a dominant society on the prior inhabitants of the land and how it relates to a feeling loss and mourning.

An early scene shows the funeral service of villagers, many of them children, murdered by cartels. A sobbing villager’s interview tells how they were brutally beaten to death.

Toni Morrison’s short story “Recitatif,” tells of a friendship started between two young eight-year-old girls, Twyla and Roberta, one black and one white, who find themselves in an orphanage after their mothers are deemed unfit to care for them. Through Twyla’s perspective, she tells us her mother “danced all night, and Roberta’s was sick.” (239) The story follows the two girls, Twyla and Roberta, through specific encounters and dialect shared well into their thirties. At each encounter, the women recount their time at St. Bonny’s, specifically discussing Maggie, the “kitchen woman with legs like parentheses” (240) whom the girls thought to be a deaf-mute. Maggie’s character, although not in the forefront, is specifically important in understanding the girl’s memories and the overall story. It is through Twyla and Roberta’s sporadic dialogues that Morrison’s ambiguous writing encompasses not only social class, economic status, and racism, but contains an underlying message that truth in memories is subjective. This powerful message, reinforced at the end of the story, leaves the audience wondering how much of Twyla’s recollection is, in fact, true, when Roberta uncovers her tearful face and asks Twyla, “What the hell happened to Maggie?” (252)

On one side of a mountain in the Long Kloof, there is Fiela Komoetie who is devoted to her child – a three-year old boy she finds one night, crying on her doorstep like a castaway lamb. On the other side of the mountain, in the Forest, are the Van Rooyens. Many years ago, the three-year-old son of Elias Van Rooyen, a woodcutter, and his wife Barta disappeared. In Fiela’s Child, Dalene Matthee passionately portrays ideas about identity to the reader. She uses the story of Benjamin, a white boy who is brought up by a coloured woman, to communicate her thoughts about the nature of identity, not only in the situation of Benjamin, but also everyday