What Is Lulia's Dual Identity

Lula is a tall Negro woman and was bullet-headed with strange almond-shaped eyes, straight nose, and an Indian-bow mouth who attend the same church

| Tom wants his old life back prior to the accident and he sees the accident as the end of his life as he knew it. He loses his sense of identity and sense of family in particular.Feels guilty and ashamed about the irrevocable consequences his brother’s irresponsibility had for other people and their familiesRetreats into a depressed state which feels empty and black.

To begin, three brothers, Lafayette, Charlie, and Ty’ree were orphaned due to the tragic death of their parents. Over the course of two days, Lafayette (the narrator) includes flashbacks to earlier events. After spending over two years in Rahway Home for Boys, a juvenile detention center, Charlie recently returned home. Watching Charlie get ready to leave the apartment with his new friend Aaron, Lafayette laments the changes that have become apparent in his brothers actions since he came home. Once, Charlie was the kind of kid who would stay up late telling stories to his younger brother. And who had cried over a wounded dog, he saw on the street. Now, he barely even looks at or speaks to Lafayette, and he usually denies feeling anything at all. Charlie seems to prefer spending time with tough characters such as Aaron and acting tough in the streets. Lafayette has even taken to

In the essay Lovely Hula Hands, Trask shares her emotions and thoughts with the reader about the rape and prostitution of her native land. She explains that different

Second, through the narrator’s use of pronouns, he creates multiple illusions and mysteries. For example, in the opening, the narrator states “First he grabbed the revolver that was in a desk drawer, rubbed it gently across his face, put it to his temple, and pulled the trigger” (5). At a glance, one may think that Ismael has killed himself. However, this is not the case. The pronouns “he” and “him” stand for two different people, Ismael and the minister. In the closing of the story, the narrator states, “And Ismael coming out of his office (the other man’s office, the minister’s) almost relieved, even though he can predict what awaits him” (6). Here, the narrator finally solves the mystery behind “All About Suicide”; whether

This novel is a classic example of many people's lives, which includes fear, jealousy, pride and their insecurities to name a few. The transformation of the narrator from before his reincarnation until afterwards is filled with tragedy and grief, but it is through the sacrifice of his own life that he is permanently freed from his jealousy and egotism. His "punishment" or his purgatory seemed to prove how good of a person he was all

Although there are situational and developmental variables at stake, ultimately, Beckett is dealing with an existential crisis. He is coming face to face with his own mortality, and in so doing, confronts moral and ethical issues related to his relationship with his law firm and colleagues.

this point, he has lost his friend, his job, his relationship with his spouse, and his house. Despite all of these things, he continues on. He reaches the climax of his change from a brain washed conformist to a justice seeking citizen when he seeks revenge on his fellow

Different events, positive and negative, changed his thoughts and helped him become more mature, and a responsible person. Watching his home going to the work made him realize he should do something in his life. Once he started working, he learned to be respectful and reliable even if it took a while for him to change. Once he became more familiar with Penny, she starts to trust him. She starts to give more responsibility. With that in mind, the accident that Penny had changed everything. It ended the relationship between him and Kentucky. However, he moved on without much difficulty. At the end, he was still thinking about his father's words and what he said about the white boys. He never forgot him. Perhaps, the father also had a positive effect on

The main character, Reuben Land, is the protagonist of this novel. Everything that is happening in the novel evolves around his point of view. Reuben changes from a little eleven year old child to a mature eleven year old young man throughout the story. For example, when Davy Land murdered two thug kids, Reuben realized that their “friends” were never there for them: “Of course vindictiveness is an ugly trait and, yes, I do mean to forgive all these nice deserters; I mean, eventually, to say, to their ghosts if not their living faces, It’s all right. I understand. I might’ve done the same. Not yet, though. Let me bear witness first. Two men I remember who did not desert---no, three” (Enger 59). Reuben was mature enough to realize that only true friends will be there for you. He sees that only your true friends will stick with you during the troubled times, and the others would stay away. One thing I can’t identify with Reuben was when he was going to rat out his brother to

development of the plot. It comes down to the point where a self-respected-man like himself

Troy’s choice to cheat leads to a birth of another child within the cycle, the death of her mistress, and the divorce of his loyal wife of eighteen years. Troy destroys his family to comply with the enchanting sounds of lust, which in turn digs him a bigger hole within the black poverty cycle. On the other hand as Troy enjoys his lewd

After his anger and confusion as to what is going on, he dials in on the fact that there are no repercussions for his actions. To occupy himself, he runs from the police and stirs chaos to the point of even dying. He knows he will just wake up the next day. Eventually, after many different approaches to reliving this same day, he finds genuine kindness and affection to win over Rita and becomes a humble and approachable man. At this point, the day finally stops repeating himself and he remains there happy with his newfound love and newfound

Silence of the lambs is a phenomenal book that encompasses a variety of literary themes. Arguably two of the best used themes out of this novel is transformation and symbolism. Most of the major characters inside of this book are going through some sort of inner transformation and there are usually always symbols pointing towards this. To allow us as readers to receive an insight into these conflicts, Thomas Harris uses an omniscient narrator so that we not only visualize the outside disputes, but also the inner emotions of these characters. Jack Crawford is throughout the book dealing with the struggles of his wife on her death bed, Senator Martin is trying everything possible to get back her missing daughter, and Claurice is attempting to finally prove to herself that she can silence the dreaded screams of the lambs. These conflicts and symbolism are woven together to create a masterpiece of a book and everything can be relatable in one form or another. However, the idea of transformation and symbolism is no greater than in the nature of Jame Gumb. His character is the most dynamic out of the whole book. With the trauma he suffered as a child he is convinced that to truly be loved once more he must partake in a metamorphosis; a transformation that was sparked by his interest in the Acherontia Styx.

At the end of scene one Lula says “You’re a murderer, Clay, and you know it.”(Baraka 2751)This quote could be thought of as a subliminal way of saying that Clay killed the black man inside of him. All throughout the first scene Lula has the more aggressive and dominant role, but in scene two Clay takes on the more authoritative role, while Lula ends up being the actual murderer at the end of the play. Lula’s plot to kill Clay is in some way foreshadowed when the other passengers board the train and she says “we’ll pretend that people cannot see you”. (Baraka 2751) Clay tries to defend himself all throughout the play but doesn’t succeed because he can’t defend something that he is not. While Lula is insulting the stereotypes and behavior of black men, Clay cannot fully defend them because he himself isn’t truly “black”. (Klinkowitz 123-124)