Response To Billy The Kid By Jack Spicer Essay

Featured and organized by the Metropolitan Museum of Art, Romare Bearden’s collection is one that appreciates and depicts life for what it really is. Bearden did not like abstract expressionism. Instead, he made many collages depicting life with different perspectives, allowing the viewer to see reality, but also try to figure out the true meaning that Bearden meant to portray in the collage that was not directly seen by just looking at the picture. These collages were made by “Cut and pasted printed, colored and metallic papers, photostats, pencil, ink marker, gouache, watercolor, and pen and ink on Masonite” (MET Museum). Bearden liked telling narratives within these collages involving Harlem life. Whether it was on the streets, inside

Fourth, as interpreted by Ray (2006), the shape and posture of the bodies express protest while the flaming buildings and crumbled walls reflect destructive power of civil war. The newspaper background is the means by how the painted knew the massacre. Both Berger (1980) and Chipp (1988) cited by Ray (2006), believe that the broken sword in the painting mean defeats of the people.

A world in which old men can be degraded and abused, a world in which people wearing dirty, unwashed, striped uniforms are not seen as being oppressed, a world in which a starving boy of identical age yet vastly different physique is seen as simply being unfortunate - such a world cannot exist. Or can it? In the world of Bruno, this is precisely the way the world is.

Most people can argue that there is a fine distinction between what is recognized as art and vandalism. The individual is often faced with uncertainty when the topic of graffiti arises. The public often portray graffiti as a destructive act towards his or her surroundings however; graffiti can also be considered a form of self-expression. Many questions can be made pertaining to the graffiti movement, but the main question is graffiti a crime or an art? The answers lie in the complex phrase of “beauty is in the eye of the beholder”.

     Billy the Kid is one of the most famous outlaws in American history. He has been a widely told figure in American history as well as folklore. The have made movies from his history and have also wrote many books on him. Most of Billy the Kids life remains a heated controversy throughout America.

The book “This Boy’s Life” by Tobias Wolff is a memoir written about the author’s childhood memories and experiences. The author shows many different characters within the book. Many of them are just minor character that does not affect the author much in his life choices and thoughts throughout his growth. But there are some that acts as the protagonist and some the antagonist. One of them is Dwight, the protagonist’s or Jack’s stepfather. This character seems to be one of the characters that inhibit Jack’s choices and decisions. This character plays a huge role in Jack’s life as it leaves a huge scar in his memory. The author here spends the majority of time in this character in the memoir to show the readers the relationship between

This movie took place after graffiti had been so staunchly looked down upon. Craig Castleman supports this in his article “The Politics of Graffiti”, when he goes through

According to Boyd, through Graffiti is essential to understand as a form of art that crosses the boundaries of location, method, and motivation. He acknowledges that graffiti might include “racist remarks, empty slogans and illegal signatures.”(Boyd 251) Boyd’s piece is also very informative because according to the author, there are two methods for creating this form of art: murals and tagging. The most popular one is tagging because it can be found almost everywhere from fence posts to trains, street walls to buses. The main goal of graffiti writers is to put their signature tags in places to be recognized by their

203) The author also uses imagery within the paint factory to portray a snooty and arrogant tone of the workers and the paint factory as a whole. "White! It's the purest white that can be found. Nobody makes a paint any whiter." (pg 197) Along with the subject of the paint factory the author uses symbols as details to portray an arrogant tone. He uses symbols of the colors white and black. The optic white paint that he refers to "can cover up the darkest black", therefore showing that the white population attempts to cover the black population because they are viewed as inferior.

to Garrett, “That’s him!” “Quickly as possible I drew my revolver and fired, threw my body aside, and fired again” claimed Garrett.(p.3) The Kid was dead. Pat Garrett was with John Poe, Thomas McKinney, and Pete Maxwell when he shot Billy the Kid.

Has Bobby in the The First Part Last come of age? After reading this book many people wonder if he came of age. He came of age when Bobby decided to keep Feather as his own child. Nia, after giving birth went into a vegetative coma state which caused her to basically be brain dead. Being brain dead caused her to not talk,walk, or even make facial expressions.

The wall is a representation of Bobby. The wall is just standing alone by itself in the middle of New York, among these huge skyscrapers and busy streets. By this time Bobby has already found out that Nia is pregnant, so he was feeling very alone, just like the wall. He had no one to relate to or really talk to about this, except maybe Nia. Because he was feeling so alone and had so many emotions Bobby decided to graffiti this wall. On the wall he paints a mural of his memories, and how he feels about his life, Nia, and his unborn child. In the book it says Bobby uses a lot of blacks, reds, blues, and greens. Blues and mainly greens represent new life. Since he used a lot of these colors it symbolizes that, obviously a new life is being brought into his world, but also that Bobby is starting a new life. Once Bobby has finished painting the mural a police officer shows up and arrests him. After this incident and after Feather is born he realizes he needs to get his head in the game and become more

The story “Where Have You Been, Charming Billy?” by Tim O’Brien is a story of the anticipation of undertaking something new. Going through his first time at war was an unfamiliar and frightening experience for Paul Berlin. He is always worried about his own fate in the war. His lack of courageous actions and multiple distracted thoughts make him seem as if he is weak, therefore, others look down on him. Evidently, Paul Berlin is not prepared mentally for the war he is fighting in, partially being that he is homesick.

Mark Twain once said, "We are creatures of outside influences -- we originate nothing within. Whenever we take a new line of thought and drift into a new line of belief and action, the impulse is always suggested from the outside." In the memoir This Boy’s Life, by Tobias Wolff Jack shows that he is a creature of outside influence. Some examples of this are that he copies what his friends do, he doesn't try to shape his own life, and he is heavily influenced by the male figures in his life.

The symbolism between the Painter and the Mural is a salient contrast within Vonnegut’s story. This contrast is an intentional comparison used to highlight the ultimate behavior of humanity amongst a form of population control as inhumane as gas chambers. The painter acts as symbolism of humanity’s rejection. The mural acts as the glorification of the control. The Painter gives off a careless attitude and a slight rejection towards the population control in the story. In response to the orderly’s comments the painter scorns, “You think I'm proud of this daub? You think this is my idea of what life really looks like” (Vonnegut). This reveals the painter’s attitude towards population control. Furthermore, it solidifies the fact that the painter represents humanity’s rejection. In direct relation, of course, is the mural. The mural itself, is a representation of all the important people of the hospital staff. Moreover, the mural acts as a glorification and acceptance of the population control. Together, the painter is seen filling the faces of these people, simultaneously rejecting that the mural, “[l]ooks just like heaven or something” (Vonnegut). What the contrast reveals in a deeper sense is humanity (the painter) continuing to accept the inhumane population control (painting the mural) regardless of their rejection. It worthy to note that the acceptance of population control varies from each human being. That is