Sandman Short Story

My hand swung to my side, feeling the sharp stone puncture layers of skin and muscle. Wailing in agony as blood spurted out of the wound, I run towards nearby shelter. The shrill screams of dying men rip through the air, accompanied by the sounds of arrows whizzing through the air and the Indians whoop when they hit a target. Dizzy from pain and hunger, I lay in a more comfortable position, just hoping to survive this wretched attack. ”Why did I ever come here?” the thought pounded through my head. “Oh yeah, I remember why. Land. Money.” That irritating know-it-all voice answered. I hear feet pounding around me and realize that the Indians have gone inside the town. One enters the door and maliciously grins when he sees me. He runs toward me and my eyes widen with shock as the spear plunges down, and becomes closer and closer….

The students “believe that whites [are] not quite human” they walk like angry wolves and terrify them (Maracle, 173). The white men have made themselves powerful. In One, two, three little Indians, the Whites do not help the Native Americans no

First and foremost, an evident parallelism is established between the Natives and Whites, where the Natives have unknowingly become detached from their “harmony with nature” and now conform to qualities of a modern Caucasian society. Games of golf (King 525) – a pastime characteristic to the pretentious upper-middle class white male, “bingo” along side the craving for “doughnuts and coffee” (523) – unique to Western culture – the replacement of traditional Native American names with “Elaine”, “Ross” (523) and “Moses” (525) for instance, along side many other classic names and notably the Native's striking use of “Jesus” (525) as an interjection all serve as evidence of adaptation to a modern culture. King's hyperbolic Caucasian attributes taken on by the Natives demonstrate how the reserve has become a micro cause of the greater society. However ironically, despite ample resemblance, rejection of the Whites continues due to the incapability to spot these similarities as a result of egoism, as made evident through the Native's inability to see how anyone but a mother could love a white baby (523). Furthermore, the idea of a Caucasian superiority is evident due to the presented lack of basic education among the Natives. Ross Heavy Runner, a member of the council – a group of people superior to the

horseman in the sky" for the first time. It is the silhouette of a man

In Ralph Ellison’s “Battle Royal,” the narrator begins with an old memory that haunts him; his grandfather’s last words to his family. Though the old man lived a quiet life in the shadows of the white man, he tells them to do the same, but also to not get undermined by them and be a “spy in the enemy’s country.” The speaker transitions to a specific night that he lived through the day after his graduation. Due to his brilliance and accelerated knowledge he is invited to a “smoker” event where all the topnotch white men go to smoke, drink, and for their peculiar entertainment. The event begins with young black men being rounded up as cattle and forced to witness a naked woman sensually dance for the men. As all men are aroused the white men

2. One of the texts most focused on educating readers about race and the challenges it presents to American culture is Ida B. Wells’ “Lynch Law in All its Phases.” As discussed in previous reading responses, Wells’ speech is made up primarily of evidence due to the limitations placed on women of colors’ speech but even more so due to her “deep-seated conviction that the country at large does not know the extent to which lynch law prevails in parts of the Republic” (189). In this way, Wells endeavours to educate the US both about lynching and about the repercussions of allowing lynch law to prevail. That is, Wells forces audiences to acknowledge the fact that lynching, and thus white supremacy and racism, actively threaten the moral pillars that the United States is built on.

The poor Black sharecroppers were frequently browbeaten in their hard work to collect payment for their cotton crops. The whites didn’t like that the blacks were receiving a higher amount of wages than them, so the whites attacked such consolidation that was done by blacks, and the two groups swapped firing into the night. The two white men procured it upon themselves to show up, one was a deputy sheriff, and the other was a railroad employee who attended it. It was all after that, that the combat had taken place. The escorts who were standing shot one of the white men. It resulted in the death of one of the white officers. A black executor

Now he has won our brothers, and our clan can no longer act like one.-we have fallen apart” (176). The white man used his owns customs and religion to turn the clan of Umuofia against each other as they began to doubt what they truly believe in. As the colonizers continued to defy and tell the clan members that their customs were wrong, slowly but surely people started to listen to them, leaving their own ways behind them. A similar scenario occurs in Dakotah 38 as the Natives presumptuously cling to the colonizers’ ideas. “They tell us we are the Dakotah and we say ok, we are the Dakotah. They tell us we are the Sioux and we say ok, we are the Sioux. They don’t understand or care who we really are.” The Natives of the Dakotah take what is given to them by the colonizers because of the authority that they won over them. With this, over time many parts of a culture is lost and forgotten because of the brainwashing and cultural wipe of the white men. While these Natives are suppressed by the overwhelming oppression of the whites, others are still sticking to their beliefs. “What did I tell you? Enough with that talk of yours, we speak English here” (Rabbit-Proof Fence). One of the

“The Negro, too, for his part, has idols of the tribe to smash. If on the one hand the white man has erred in making the Negro appear to be that which would excuse or extenuate his treatment of him, the Negro, in turn, has too often unnecessarily excused himself because of the way he has been treated. The

The Sandman: Worlds’ End, written by Neil Gaiman in 1994, is a comic novel that explores the idea of dreams. In the beginning of the novel, Gaiman starts the story with a man, Brant Tucker, and his fellow friend, Charlene Mooney, travelling by car to Chicago in the month of June. A storm suddenly appears, causing them to crash and get stranded in a mysterious guest house, known as Worlds’ End Inn. While waiting for the storm to pass by, different stranded travelers tell their own tales about dreams from different worlds and times, portraying a tale with artistic narrative styles. In his novel, Gaiman’s great use of narrative techniques of storytelling, consisting of the creative addition of narration, point of view, illustration, speech, and

William Apess’s narrative, “An Indian’s Looking-Glass for the White Man,” is a compelling indictment of not only race prejudice (specifically against people of color) but also of hypocritical actions and feelings performed by religious people. In his autobiography, A Son of the Forest: The Experience of William Apes, A Native of the Forest, Apess writes that he was born in 1789 in Colrain, Massachusetts. His father, who was of mixed race (Apess’s grandfather was white, while Apess’s grandmother was a Native American), joined the Pequot tribe and married his mother who was also a member of the tribe. After moving to Colchester, Connecticut, and living there for almost three years, Apess and his two brothers and sisters were taken into his grandfather’s

Neil Gaiman’s Sandman contains different kinds of psychological approaches as it comprises different types of short stories to execute diverse insights. Looking closely at the chapter Facade, the main character Rainie is feeling doubtful and upset as she has a challenging time finding where she belongs generally. She has a unique presentation of herself as she has interesting facial features. Rainie’s face is realistic, detailed, and is heavily structured to be almost photographic (McCloud 28). She’s illustrated with a high cheekbone structure as the shadows underneath it contour her facial figure. In fact, the passive lines throughout her face are illustrated so much, that we’re able to see a detailed bone structure of her face in general. With these details illustrated, it gives her a

The Sandman is a mythical character whose purpose is to lull children to sleep and give them sweet dreams, by sprinkling magical sand into their eyes. If children fought the effects of his magical sand, they would have torturous nightmares. The folklore says that the sleep in the corner of the eyes is a proof that The Sandman was there during the night.

E.T.A. Hoffmann's "The Sandman" illuminates Freud's theory of the Uncanny. Freud’s understanding of Nathaniel in E.T.A. Hoffmann’s “The Sandman” is that the Nathaniel’s “madman” like actions are the result of the return of his suppressed juvenile material. Nathaniel is the protagonist and is convinced that a frightful destiny awaits him. His fear focuses on a threatening old man whom he has understood since infantile to be the “Sandman”, a monster who takes away the eyes of children who are awake at night. He connects the “sandman” with Coppelius, a colleague of his father and he incriminates Coppelius in his father's death. As an adult, Nathaniel madness is triggered after having a visitor from what he believes to be the “sandman” whom

The muses were often depicted in art as beautiful women, mystical and playful by nature. Women who were often seen dancing and entertaining humans. For example, the oil on wood painting done by Baldassare Peruzzi. In this painting the muses are represented very light heartedly. They are gracefully dancing with the God Apollo; with skirts swirling and a hop in each muses step it is clear to see that this is a joyous and carefree representation of them. However, paintings of the muses were not always concerned with amusement. Another painting done by Hendrick van Balen the Elder shows the nine muses with the Olympian Athena, goddess of wisdom and just war. In this portrayal of the nine, they are seen with the musical instruments they have created.