Monday, December 9, 2013

Blog Post #20: Food and Identity

Access the Glog here.



Rebecca Horton states, “By participating in a meal, we participate in a moment, an experience, a sliver of life.”

When my family walks into a Chinese restaurant, we’re always handed a menu where General Tso’s chicken and egg rolls aren’t even listed as items. Instead we can order cow tripe, jellyfish, and pork kidneys. This is known as the authentic menu. I prefer calling it the “secret” menu.

Don’t get me wrong, it’s not like a race-activated sort of deal. You don’t need a special password. But while for others it might just be an interesting change in taste, for me it’s a reminder of my cultural heritage and of course, my own family’s secret menu.

Kao fu—or “baked spongy gluten”—has been a trademark dish of our dinner table for as long as I can remember. I grew up eating it, a mixture of the above food, various fungi, and bamboo shoots. It’s also incredibly Shanghainese, where my mom grew up as a child. So Shanghainese that most of my Chinese friends have never heard of it and I rarely find it in Chinese restaurants that aren’t labeled as such. In fact, almost one-hundred percent of the time, I eat it on my own dinner table.

I did find it one time in a Wal-Mart in the Xinjiekou of Nanjing. About eight years old at the time, I was shopping with my grandparents. I exclaimed in delight upon seeing one of my favorite dishes, all freshly cooked and steaming hot. My mouth was already watering.

We bought a gigantic batch to take home. Walking down the busy streets, getting on the bus—all I could think of was that beautiful plastic bag of goodies just waiting for me. Come dinner, and I was digging in already, shoving chopsticks-fuls into my mouth but taking the time to chew and savor the taste.

It was delicious—but something was off. Was it too salty? Maybe too sweet? Or too chewy? It wasn’t like I didn’t enjoy it or anything; it just felt different. Then I realized—it wasn’t the same as my family’s version. It was like putting a generic piece of chocolate in a Hershey’s wrapper.

Looking back on it, I think food’s an integral part of growing up. It tells a lot about where you lived as a kid, what kind of family you were raised in, and maybe even what kind of person you were then. For me, kao fu is a story of my grandparents, my mother’s side of the family, and on a broader scale, my identity as a Chinese American. Even the preparation process strays from normal recipes; it’s devoid of measured amounts and serving sizes as the authentic Chinese cooking style isn’t dependent upon that.

In Culture, Food, and Identity, Sidney Mintz states, “Food habits […] are normally learned early”, meaning a strong part of our childhoods stems from the food we eat.  Food creates that hidden background, that family story—it’s a home you can always go back to, and anything different from it, even if it’s the same dish, is like living in someone else’s house.  As Horton states, “Share a home-cooked meal with a friend, and in the process you may learn a thing or two about who they are and what makes them tick – something that words alone might never articulate.”

Everyone has their own tale to tell.

Everyone has their own secret menu.

Works Cited

Claxton, Mervyn. Culture, Food, and Identity. n.d. Web. 9 December 2013. <http://www.normangirvan.info/wp-content/uploads/2008/06/culturefood-and-identity-6.pdf>.
Horton, Rebecca. Food and Identity: The Stories Behind the Foods We Crave. 16 October 2009. Web. 9 December 2013. <http://www.curatormagazine.com/rebeccahorton/food-and-identity-the-stories-behind-the-foods-we-crave/>.
Reichl, Ruth. Tender at the Bone. Random House, 1998. Web. 9 December 2013. <http://www.nytimes.com/books/first/r/reichl-tender.html>.

Tuesday, November 19, 2013

Blog Post #19: The Rainbow Timed Essay

PART I: Essay

A soft bed, a full stomach - even with these, at times people are never happy with what they have. In The Rainbow, D. H. Lawrence pictorializes the life of a Brangwen woman in the rural countryside; through contrasting diction, repetition, and parallelism that captures the woman's inner desires, and through the idea of the vicar as a symbol of knowledge, Lawrence expresses the woman's wish to live and know beyond what she already has, even if her current life is a good one.

The paradox created in describing life on the farm sets the tone for a separation between the men and the woman. The split is immediate from the beginning, when Lawrence specifically notes that the farm was "enough for the men". This shows the difference in opinions between the men and the woman, even if what the woman thinks is not explicitly stated. Also, the work on the farm is "warmth and generating" but also "pain and death", nouns that would normally not go together when describing a fruitful life, "full and surcharged". This contrast creates a split between what the readers expects and what is true in the passage, foreshadowing the split between what the woman has versus what she wants. This is further emphasized through the repetition in the imagery leading up to the second paragraph. Despite having "senses full fed" and "faces always turned [...] into the sun", which seems like an ideal life, the woman "wanted another form of life". This shows that even though she had much, probably more than most, she wanted something new, something fresh.

The woman's desires continue to be emphasized through parallelism that describes her viewpoint on life, which again separates her from the men. "She stood...she faced..." - this buildup of what she wants shows her inner desires of a "magic land" beyond "the scope of man". Parallelism also serves as a compare and contrast method in which her looking "outwards" is matched with the men looking "inwards", showing that she could see and want things that the others in her family don't. This is again shown when she looks for "the activity of man in the world" while her husband looks for the "sky and harvest and beast and land", exemplifying their different views on what life should bring. Through this, Lawrence continues to express that woman's woeful desires to what she does not have despite her normally fulfilling life.

Through the symbol of the elusive and mysterious vicar, the woman's desire for knowledge is expressed - her true desire in a life of bliss and ignorance. The magic of the vicar is shown at the beginning of the third paragraph, moving "in worlds beyond" and speaking a language of "finer bearing". This is followed by the woman's realization that she could "perceive, but could never attain" what the vicar had. All of these descriptions serve to create the vicar as a symbol of what the woman wants. Lawrence continues to build upon this symbol through the comparing of the vicar to the woman's husband. The vicar had "a quickness and a range of being" that made her husband seem "dull and local". The use of "range" and "local" here shows her desire to escape the confines of the comfortable life she knew and explore the unknown. By doing so, the woman strives for knowledge, shown when the vicar is described as having "power over her husband". In a time where the male head was the dominant figure in the household, it would be strange for something else to be above him. Such is the power of the vicar, which was "not money, nor power, nor position" that placed him above the woman's husband. So the woman wonders why, and decides it "a question of knowledge", which now shows that the vicar is a symbol for knowledge and the woman's quest for knowledge. This is ultimately what she wants in order to see beyond her family life.

The Rainbow is a story, a quest, for the beyond - being where one hasn't been before, knowing what one doesn't already know, and escaping what one currently exists in. Lawrence effectively captures this desire for a woman of the Brangwen family by contrasting imagery of her normal life and emphasizing what more she wanted. The ultimate conclusion he makes at the end of the passage is that without knowledge, venturing on is not possible. Without knowledge, the woman cannot fulfill her quest for the beyond.

PART II: Reflection

What was your initial essay score? Using the language of the rubric, why did your peer score your essay in this way? Do you agree or disagree? Why? 

My initial essay score was a 7. My peer, Alisa, scored it this way because while it offered a persuasive argument, it lacked the complexity that strengthened the analysis to a 8-9 score. The argument was fairly straight forward and missed some of the main ideas presented, such as the repetition of "knowledge" and the symbolism behind the earth and blood. Otherwise, the ideas were stated clearly, and the text was clearly referenced for support. Because my essay had more sophisticated language and more consistent command of the elements of effective composition, it was separated from being scored a 6. I agree with her score because I knew that I did not have the complexity it needed from the moment I finished. The essay could use a lot more improvement, especially in developing the symbols and devices I did not use to describe the woman's situation. 

After researching D. H. Lawrence, discussing his concept of "blood knowledge", reading through the "Prose Passage" chapter in 5 Steps to a 5, participating in class discussion, and norming the essays from 1-9, discuss what you would do to improve this essay.

One of the biggest things I can do to improve this essay is to support my argument with some of the missing symbols and/or devices. In class we talked about the use of the earth and blood in the passage and what they represented. We also talked the repetition of knowledge. I missed a lot of these ideas in my own essay so by including them would be a good step for improvement. I also lacked a lot of the complexity that came with these ideas and the themes in D. H. Lawrence's writing. The men's contentment versus the woman's desires, conception and creation, facing in and out, the symbolism behind the vicar - these are all of the things I could have incorporated in my discussion of the woman's situation. 

Another thing I can do to improve my essay, especially as a technique for future essays, is to delegate my time wisely. The 5 Steps to a 5 had specific times for accomplishing different things. I think that if I used more time to analyze the passage and write margin notes, I would have created a better essay in a shorter amount of time since I would have known what exactly I would be writing about. I would have also realized more of the complexity hidden in the text. Managing my time is definitely something I need to work on.

After norming the essays, I did feel much better about my own essay, as I was on the right track for a lot of it. However, I did realize that I could update my personal mind thesaurus, as well as practice having quicker access to it. Sometimes I would run out of good words at a bad moment or be unable to remember a word on the tip of my tongue. This cost me time as well as sophistication. When I read the 8-9 essays I realized so many words that I could have used but totally forgot. Learning and relearning elevated diction would be a great way to improve my essay. 

Thursday, November 14, 2013

Blog Post #18: Final Portfolio Reflection

To view a compiled list of all the pieces of the portfolio, click on the "AP English Portfolio" in the navigation bar above or click here.

One of my favorite pieces from my portfolio is my comparison and contrast essay on The Namesake, by Jhumpa Lahiri. Even though it was an exceedingly long - and perhaps slightly painful - essay to write, I can now look back on it and be proud of all that I have done for it. This was probably one of the assignments I put the most time into, as it was three essays put together into a gigantic project. It was truly the first time I analyzed one scene in such depth. Before I already knew how diction created meaning, but not syntax. Through this essay I learned that. I also continued the process of polishing my formal writing - practice does indeed make perfect - as well as how to incorporate mis en scene analysis into the deeper meaning of the moment. Some strengths of this piece are what is said above - the analysis of syntax and diction and the mis en scene analysis. I am especially proud of the introduction and conclusion paragraphs, where all the sentences flow together and create a rhythm that clicked from the first time. Some weaknesses were that I did not spend as much time as I wanted to on this piece. I believe that there is always room for improvement, and this essay is no exception. The overall argument of the essay could have been more complex and could use some reorganization.

Another one of my favorite pieces from my portfolio is the American Drama Project. This one, like the comparison and contrast essay, took hours upon hours of work and probably overloaded my stress meter. A movie project tends to do that - the scripting, the filming, the retakes, the editing...but even through the storm and stress of all of that, I think it turned out to be one of the best projects I have ever done. The play itself could have been more interesting, perhaps from a different perspective or adaptation rather than the straight text from the script, but I think me and my group members did an excellent job in analyzing the meaning behind the scenes that we chose. I also think that everyone in my group was wonderful in their acting, especially the scenes where we had to memorize the lines. I love how the Criminal Minds-themed introduction turned out; however, it could have also used more work to be just like the actual show, had time permitted. The lighting and camera shakiness could have also been fixed if we had better equipment. Some parts were confusing to viewers unless they had either had seen the play or had a detailed synopsis, so we could have cleared up some things. Truthfully though, I think the biggest thing I learned from this project was how to use Sony Vegas and how to be a better actor. Overall, while it was a lot of work on everyone's part, I think we did a fantastic job!

Participation. This may or may not be the question that shows whether a person is lying or not. Or they could be deceiving themselves. But enough of others, what about me? In terms of group participation I think I put down 100% effort. No, maybe more. For the group presentations at the beginning of the year I did almost all of the analysis work - the theses, the topic sentences, the evidence, etc. While I knew that I needed to let my group members do some of it, those attempts usually ended up in me editing much of their work. I had wonderful group members - that's no lie, but I always had the concern that we weren't doing as well as we could have. Perhaps I am also guilty for logging on at 4 o'clock to chug through the presentation, but I couldn't have waited until 8 o'clock to do it, when most people were online since I have an internet curfew at 10:30 PM (the internet turns off then, which means I have the nagging desire to finish before then in case someone forgot something, or other problems like that). However, for the other projects that required groups/a partner, I believe my workload was considerably lighter. It was nice to have someone else that had a similar work ethic as me, since I worked with people that were also taking three, four AP classes this trimester. 

In terms of class participation I will admit that I could have done better. Many times I knew the answer to a question posed but I just didn't want to raise my hand. I blame it on occasional laziness and lack of motivation, but also on the fact that I wanted other people to get a chance, especially when I had already answered the previous question. I didn't want to overwhelm the discussion either. For papers I think I put in a lot of work, effort, and participation. I asked questions when I had them. I asked for feedback on my argument. When I finished my own essay I would gladly skim through a classmate's and give my editing remarks - which may just be the result of my own fondness for writing. 

Looking back on all that I have accomplished in these 12 weeks, I know that there is still much I have to improve upon. While I did quite well on the final exam (96), which was as exact AP exam, this was only possible with the test corrections. Unfortunately, those are obviously not available on the actual test. I could definitely use more practice on analyzing texts, so I would say that by the end of second trimester I would like to aim to understand Shakespearean and more archaic forms of the English language better. To do this I would like to read at least three poems and do an in-depth analysis on each either during class or on my own (the guidance in the beginning really does help!). I would also like to continue memorizing figurative devices and their meaning as well as understanding how to identify metric lines in poetry - flashcards, flashcards, flashcards...and practice with the poems I analyze of course. 

Although I am quite confident in my writing I would like to improve upon my timed essay skills. I have always been nervous about writing a good essay in a short amount of time, especially since I do have an inkling of perfectionism inside of me that wants to make the essay as good as it can be. I think the best way for me to do this is to gradually shorten the amount of time for each essay that I write. By the end of second trimester I would like to cut it all the way down to the 40 minutes allotted during the actual AP exam. This way I can be fully prepared for the essay writing portion.

The horror stories have been cleared, the rumors about impending doom gone. This first trimester of AP English has turned out to be a lot better than I imagined and is one of the classes I look forward to everyday. It has been a lot more relaxing, especially having it 4th bell, even though analyzing poetry and writing timed essays isn't exactly my activity of choice. I think I gained a lot of insight on analyzing texts and understanding writing themes, things I didn't know how to do before. Now I am excited to hide some of these deeper meanings in my own writing (my book series, to be specific), and what will come next trimester!

Blog Post #17: Hamlet Blog 6 - Justice

Sunday, November 10, 2013

Blog Post #16: Hamlet Blog 4 - Ophelia

For this blog assignment, read Seng's criticism. In the voice of your character, respond to this criticism. Use at least THREE direct quotations from the criticism, and at least FIVE direct quotations from Acts 1-4 to support your position. If your character is Ophelia, pretend that you've come across someone's diary entry about you. If you are another character, respond as though you've been watching the news, or reading a newspaper/magazine.

***

My, my. What on earth could have happened to Ophelia? I, for one, would not know. A girl like her could not possibly think to act mad as I have in order to get what she wants. All she has to do is bat her eyelashes and act pretty, "for the power of beauty will sooner transform honesty from what it is to a bawd" (3.1.111).

She truly is a indecent girl, no better than the woman who calls herself my mother. In her supposed madness, it is obvious she is trying to blame me for soiling her innocence, but that is not possible as she had none to begin with! "Let in the maid, that out a maid/Never departed more," she sings (4.5.38). No, it is not I who dirtied her sheets - her dear brother and that fool, Polonius, have already done so with their words. As Seng remarked, "Ophelia's father and brother have had their share in the spoliation of her mind's purity and her child-like trust" (220). Yes, it is Polonius and Laertes who have ruined her with their "groundless slander", if she hadn't already been ruined (Seng 221). 

Ophelia is weak. The others have nothing but pity for her, saying that it is "the poison of deep grief" (4.5.49). But I think differently. Her words carry "but half sense" (4.5.8). I think she is mad because she could not have me; she thinks me dead. Seng states that she believes "Hamlet has been laid to earth by strangers, and without the tribute of [her] true-love tears" (219). True love! What humor. And that is precisely what makes women so weak, so dependent on those they share beds with. Without me, that girl has lost her object of desire. She should have listened to me, who told her, "To a nunnery, go" (3.1.149), but she didn't. Quite ironic in that her father and brother were the ones who told her not to flaunt herself in the first place. 

Seng does bring up an interesting point though, that "the lives of all [of us] seem to have been infected by Claudius' original crime" (227). He believes that this is what Ophelia's songs truly represent, though I would be hesitant on taking it that far. She is but a mere woman, one who could not possibly understand such happenings. But it does seem peculiar when Seng provides a detailed criticism of the song. Perhaps there is something more complex that I am missing, something I must figure out once I return to Denmark. 

Thursday, November 7, 2013

Blog Post #15: Hamlet Blog 3 - To Be or Not To Be

Part One: Soliloquy Analysis
  1. Locate imagery that refers to the uncertainty of death.
    • "To die, to sleep./To sleep, perchance to dream--ay, there's the rub./For in that sleep what dreams may come/When we have shuffled off this mortal coil" (3.1.65-69).
    • "But that dread of something after death./The undiscovered country from whose bourn/No traveler returns, puzzles the will/And makes us rather bear those ills we have/Than fly to others that we know not of?" (3.1.80-84)
  2. Identify imagery that refers to the negative experiences of life.
    • "The pangs of despised love, the law's delay./The insolence of office, and the spurns/That patient merit of th'unworthy takes" (3.1.74-78).
  3. Appeals: Which appeal(s) does Hamlet use to convince and/or motivate his audience? Refer to specific lines.
      • Logos: "For who would bear the whips and scorns of time.../When he himself might his quietus make/With a bare bodkin?" (3.1.72-88)
      • Pathos: "To die, to sleep--/No more--and by a sleep to say we end/The heartache and the thousand natural shocks/That flesh is heir to--'tis a consummation/Devoutly to be wished!" (3.1.61-65)
  4. Literary Devices: Identify the significance of the following in his speech - paradox, parallelism, the infinitive, synecdoche, tone, diction, metaphor. What are the two primary metaphors he will use in this speech?
    • Paradox: The underlying theme behind his ending conclusion; he decides not knowing about death is what causes evil, but it is also what causes people to live through evil
    • Parallelism: Used for comparing and contrasting things, emphasizes the similarities and differences between things that may not be related; the paradox
    • Infinitive: "To die, to sleep" (3.1.63); Hamlet considers these actions as if trying to decide if he should cause them, makes his thoughts more ambiguous and complex
    • Synecdoche: Highlights the pain in the common things in life; "--abuse from superiors, the insults of arrogant men" (3.1.73), specific examples to support his argument and questions
    • Tone: Creates the atmosphere of the speech, makes it pensive and thoughtful, rather than cold and unforgiving or warm and happy; also builds on Hamlet's identity as a thinker
    • Diction: Shakespearean diction; formal and continues to emphasize his elaborate thinking, also makes the speech more dramatic
    • Metaphor: Compares the things he is talking about to more familiar things, more relatable and thought-provoking to why he chose those things
      • Death as sleep 
      • Life as war
  5. Identify evidence of the following comparisons: life on earth, afterlife, death, humans, thinking
    • Life on earth: "The slings and arrows of outrageous fortune,/Or take arms against a sea of troubles" (3.1.60-61).
    • Afterlife: "The undiscovered country from whose bourn/No traveler returns, puzzles the will" (3.1.80-81).
    • Death: "To die, to sleep--/No more--and by a sleep to say we end" (3.1.61-62).
    • Humans: "Thus conscience does make cowards of us all,/And thus the native hue of resolution," (3.1.84-85).
      • Thinking: "To be, or not to be? That is the question--" (3.1.56)
  6. Identify at least three oppositions present in the argument Hamlet makes.
    • Life against death
    • Knowledge and the unknown
    • Courage and cowardice
  7. What eternal philosophical questions does Hamlet ponder?
    • With all the bad things in life, is it better to be alive or dead?
    • What is after death?
  8. What conclusions does Hamlet draw?
    • The fear of death makes people weak and do misguided things; it also makes people live through all the suffering because they don't know what death is. 
Part Two: Acting Analysis
  • Kenneth Branagh
    • The two props used in the scene are the knife and the mirror. The mirror is symbolic; it almost seems to represent Hamlet talking to himself, or perhaps looking into himself to answer his questions. The knife shows his dilemma between life and death, and the prospect of suicide to end all life's sufferings. When he touches the knife to the mirror, it is like Hamlet contemplating if he should kill himself or not. This knife also represents the war that is life. The two camera angles used are over-the-shoulder and close-up. The over-the-shoulder allows Hamlet to be reflected in the mirror while still showing his real self, showing his questions to himself. The close up allows the viewer to see his emotions and what he feels as he ponders. The lighting is natural as to not retract from the soliloquy. This same emphasis on Hamlet's words is also supported by the sound. His voice - diegetic sound - is the main focus of the scene, and therefore the main sound. There is also some non-diegetic music in the background. Interestingly, the music almost sounds like the singing of angels, which would be symbolic in that the central theme of his soliloquy is life versus death. 
  • Laurence Olivier
    • The soliloquy is set on a cliff by the sea. The camera starts by heading up several stairs before finally resting upon a bird's eye view of Hamlet's head. This appears to symbolize his contemplating of suicide, as all he has to do is jump off of the cliff. The camera then descends into his head, opening up the soliloquy which is switches between a voice-over and a diegetic speech . The music in the beginning is dramatic, providing a stark contrast between the quiet during the soliloquy. Only the diegetic waves resonant in the background, creating a lonely mood reflecting his purpose at the time. The music also rises abruptly just as Hamlet seems about to kill himself with a knife. This achieves the effect of startling the audience as well as a transition between his reason to commit suicide and his reasons to not to commit suicide. However, since the main focus is still on the soliloquy, there is not much sound that would distract the viewer from it. The lighting of the scene is in black and white, as is the entire movie. This is probably due to the fact that color movies weren't that popular in 1948 or they had not been developed yet. However, symbolically, this could represent the darkness of Hamlet's thoughts during the scene as well as the darkness of the entire movie as a whole. 
  • Mel Gibson
    • The soliloquy is set in a catacomb. This is symbolic as Hamlet ponders life and death. Perhaps he himself is wondering if he should just end it all there, in a place of death. The lighting is extremely dark, natural to the underground room. In the beginning Hamlet's face can barely be seen as the light is coming from the exit behind him, representing his movement away from the light. However, as he comes to a resolution about what the fear of death does to people, the light from a grate above settles on his face - a physical representation of his revelation. The sound is purely diegetic, with a focus on his the soliloquy and little else. In fact, the setting of the catacomb makes hi voice echo, creating more of an emphasis. There are no props; the setting of death makes up for the knife present in the previous two versions. The camera angle mostly interchanges between medium/long shots and close-up shots. The medium/long shots are used when Hamlet is moving; this is to again put an emphasis on the setting as a part of his speech. The close-up shots are used to put on focus on his more extreme emotions during the soliloquy, showing his own personal response to what he is saying. 
  • Ethan Hawke
    • This version of the soliloquy is a modern take on the play. It is set in the action section of a Blockbuster store, which could be an attempt at irony. Hamlet is considering death as sleep, yet he is walking through an area of movies that are many, fights against death. The sounds are both diegetic and non-diegetic. In the beginning of the scene, the sound is all non-diegetic, with mournful background music and a voice-over of the soliloquy. However, when the camera shifts from Hamlet's face to a movie playing on a television - also symbolic as it shows someone dying - Hamlet begins to say the words instead of just thinking them. This represents a shift in his thoughts. At first he seems to want to give up; his voice sounds like final thoughts before a death. But when he begins to contemplate the reasons of living on, his voice changes to a diegetic sound to represent him taking action. The camera angles are close-up shots of his face and medium shots of him walking except for a few moments where it focuses on the movie playing in a television, which as previously stated, is a symbol of the contents of his speech at the moment. The close-up shots allow the viewer to see his emotions and pensiveness. The medium shot is used at the beginning, where it almost seems like a wandering into the unknown.
  • Most Effective Execution
    • There are many versions of me, and I believe they all have their good points. However, I think that Kenneth Branagh's version of my soliloquy is the most effective. It captures the inner meaning of the speech through the use of the mirror and also uses a knife appropriately as as symbol of suffering. This version does not detract from my speech through its use of minimal background music. The angles from which it is shot effectively portrays my emotional state at the time, and does not change my speech to a voice-over. I believe that this is how my soliloquy should be presented, not as my thoughts, but as spoken words for myself to truly understand their meanings. Branagh's version is not overly dramatic as well, but rather provoking to elicit a thoughtful response from the audience as well. Why does one live? What is after death? These are the questions I ask and also the questions those watching would ask. 
  • Changes
    • I think the biggest thing I would change about any of the version is to take out the voice-overs and replace them with a diegetic speech. Though it does make the soliloquy more personal if Hamlet is thinking it, I think this is one of those things where you actually have to say it to believe it. It also gives more of an emphasis on any of the props used during the scene - especially the knife. In Olivier's version I think it would be more effective in color. This would provide more use for the lighting and also perhaps reflect any weather that would be symbolic of the moment - stormy, cloudy, etc. I also think that some of the background music in some of the version took away from the focus on the soliloquy. While they made good dramatic effect, I believe that it is not necessary as the speech is very pensive and thoughtful. 

Tuesday, November 5, 2013

Blog Post #14: Hamlet Blog 2 - Revenge



***
Taken from the perspective of Act 2, Scene 2
"Rise". 

I recently came upon this game, and I must say, it does strike me as familiar. I believe it is because it reminds me much of what I have been through these past few days - my father's ghost, his accusation against King Claudius...

Connor Kenway, the protagonist of the game, has a motive much like mine. It is a goal of revenge against those who destroyed his family and ripped him from what he loved. Because of this, he begins a journey to take down those enemies - the Templars. In doing so, he is subsequently caught up in the American Revolution and may ultimately decide its outcome. 

Oh, how uncanny the resemblance! My father to Connor's family, King Claudius to Charles Lee, two "bloody, bawdy" villains (2.2.541). Just as "Denmark's a prison" to me, Connor's enemies are a prison to him (2.2.230). We have both "known true freedom", a freedom that has been "taken away" from us (Ubisoft).

This is exactly why I must know more; I must "have grounds" to work with, definitive evidence that what King Claudius has done is true and what I am doing is right (2.2.565-566), so I may escape this prison. Just like Connor begins to doubt his reasons behind his revenge, I am wary of my own, for that ghost "may be the devil" (2.2.561). As Connor's mentor, Achilles said, I must take care that through my actions "to save [this] world", this kingdom, and perhaps even myself, I do not "destroy it" (Ubisoft). 

Sometimes I still feel helpless under the prying eyes of my mother, the king, and of course, Polonius. Is it not obvious to them that I can see them trying to "find out...the cause of this defect" (2.2.104-105)? Ha! Such a defect it is! No more a defect than the hood that covers Connor's face. Yet they persist at it, and all I can do is "fall a-cursing like a very drab,/A scullion!" (2.2.549-550). But I am alone in this matter. "Prompted to my revenge", alone to understand the cause of my father's death, "because no one else will" (2.2.547) (Ubisoft). I can only hope that what I am doing is justice.

Therefore I will find the truth. I will rise. 

Monday, November 4, 2013

Blog Post #13: Hamlet Blog 1

Prompt: Write an entry as if you were Hamlet, describing your feelings about your father’s death, your mother’s remarriage, and your new step-father. OR . . . write about bumping into the ghost and the "antic disposition" you're going to put on. Or you may want to address your role as the only individual who carries the burden of atoning for the death of your father, as you say, “The time is out of joint: O cursed spite / That ever I was born to set it right!”

***
Taken from the perspective of Act I, Scene 2

They don't understand. None of them. They tell me to "cast thy nighted color off" and "all that lives must die" while they go parading off in their wedding (1.2.68,72). And a mere month - no, less - after my father's death too! 

No. They do not understand. My mother can only see my grief from the outside, from "my inky cloak" and "dejected 'havior of [my] visage" (1.2.77,81). But she does not think that anyone can dress up in black clothes and put on a sad face; she does not think that I have more grief inside of me than that on the outside. She, who would jump into bed with my father's brother - or rather, be convinced of it by that man (1.2.142). 

King Claudius is nothing to my noble father. He think himself a great king, and perhaps his words to the court prove him so, but I know he is nothing but a lying, scheming scoundrel. My father was "Hyperion to [this] satyr" and my heart breaks "for I must hold my tongue" against such hatred for Claudius (1.2.142,161). Yes, not even the lords and ladies understand. They only see a god.

"How weary, stale, flat and unprofitable/Seem to me all the uses of this world!" (1.2.33-34). What once was a beautiful kingdom now seems like an overgrown garden, with nothing but vines and weeds. I wish I could go back to Wittenberg, but King Claudius and my mother would not allow it. But perhaps wishing for Wittenburg is not enough. Perhaps wishing for death is a better solution. I would rather die than live under this king, than look upon the people who have not a thought for my father. 

But what can I do?

I can do nothing. 

Friday, November 1, 2013

Ruin and Rising Synopsis

One of my most highly anticipated books now has a summary and a release date - and two days after my graduation no less! Look forward to a lengthy review in the future!

***

Ruin and Rising
By: Leigh Bardugo
Expected Publication Date: June 3, 2014

The capital has fallen. The Darkling rules Ravka from his shadow throne.

Now the nation's fate rests with a broken Sun Summoner, a disgraced tracker, and the shattered remnants of a once-great magical army.

Deep in an ancient network of tunnels and caverns, a weakened Alina must submit to the dubious protection of the Apparat and the zealots who worship her as a Saint. Yet her plans lie elsewhere, with the hunt for the elusive firebird and the hope that an outlaw prince still survives.

Alina will have to forge new alliances and put aside old rivalries as she and Mal race to find the last of Morozova's amplifiers. But as she begins to unravel the Darkling's secrets, she reveals a past that will forever alter her understanding of the bond they share and the power she wields. The firebird is the one thing that stands between Ravka and destruction—and claiming it could cost Alina the very future she’s fighting for.

Blog Post #12: Following a Hamlet Character

The character I would like to focus on is Hamlet himself. I have always considered darker heroes to be more interesting than the normal, good ones. After all, they have flaws and weaknesses just like we do, making the more human and in my opinion—hundreds of times more fascinating than traditional heroes. In Hamlet’s case, I’m particularly interested in his downfall from prince to insanity, which in terms of social media would also be interesting to portray. There are plenty of things that could represent his character such as songs that explore the darker parts of humanity. Even though there are other characters that are equally, perhaps even more, depraved as Hamlet, his role as the protagonist makes him more appealing in that it is not the villain that has immoral traits, but the hero.1
1 This post is for an AP English assignment.

Wednesday, October 30, 2013

Future Book Reviews


Reviews coming as soon as my November 1st college applications are done...

Tuesday, October 29, 2013

Blog Post #10 : American Drama Project

The Little Foxes
By: Lillian Hellman

General Synopsis
            Regina and her brothers, Oscar and Benjamin, are trying to work out a business deal with Marshall, a businessman from Chicago. They want to profit off of a cotton mill by combining their money. However, Regina needs the money of her husband, Horace, who is in Baltimore because he is extremely ill, in order to complete the deal. She uses her daughter, Alexandra, to bring Horace back to get the bonds he has in his safety deposit box. She and Ben also agree to give a part of Oscar’s original share to Horace’s share to entice Horace into the deal. When Horace returns, he refuses to hand over his money, so Leo, Oscar and Birdie’s son, is pressured, by Oscar and Ben, into stealing the bonds.
            When Horace finds out about the stolen bonds, he tells Regina that he is going to change his will so most of his money goes to Alexandra and that he gave the bonds to Leo as a loan, which cuts Regina out of the deal. However, before he can change his will, he suffers a heart attack. Regina makes no move to help and watches him die.
            Afterwards, Regina threatens to blackmail her brothers about the stolen bonds, saying that she wants 75% of the profits or she’ll report the theft. This drives her brothers away from her, as well as Alexandra, who abandons her (Hellman).

Playwright Background Information
  • Lillian Hellman (1905-1984)
    • One of the major playwrights in America in 20th century
    • Social justice themes, controversial
    • Often compared with Ibsen and Chekhov
    • Education as a child split into different cultures because of her often moving
    • “I cannot and will not cut my conscience to fit this year’s fashions.”
    • Extremely outspoken, adventurous, rebellious, and reckless; fit into the life of the 20’s
(Brody)
Characters
  • Main Characters
    • Regina Hubbard Giddens - Wife of Horace, and sister of Ben and Oscar
    • Benjamin (Ben) Hubbard - Brother of Regina and Oscar
    • Oscar Hubbard - Brother of Regina and Ben, husband of Birdie
    • Alexandra (Zan) Giddens - Daughter of Horace and Regina
    • Horace Giddens - Husband of Regina
(Hellman)
  • Side Characters
    • Birdie Hubbard - Wife of Oscar
    • Leo Hubbard - Son of Oscar and Birdie
    • Addie- Slave of Horace and Regina
    • Cal- Slave of Horace and Regina
    • Marshall - Chicago businessman
(Hellman)

Setting: A small town in the deep South, 1900; Regina and Horace’s house (Hellman).

Key Plot Moments
  • Near the end of Act I, Regina demands for more of the cotton mill contract’s share because the brothers are now dependent on her husband’s money. Ben; therefore, offers up a part of Oscar’s ⅓ of the share as appeasement, and Oscar gets bad end of the deal. Greed is prevalent in the Hubbard family.
  • In the beginning of Act II, Zan brings Horace home from Baltimore where he was treated for a heart condition. He is very weak from the travel and Zan is shown to be more independent and mature, strengthening her role as an individual.
  • At the end of Act II, Horace’s bonds are stolen by Leo to invest in the rest of the contract shares, heightening his role as the henchman and proving the Hubbard brothers will stop at no end to get what they want, with or without their sister.
  • In the beginning of Act III, Horace directs Cal to inform Mr. Manders about receiving his safety deposit box and is asking for his attorney-of-law in front of everyone--referring to Leo--so he will find out by what Cal tell him of Leo’s reaction if he truly did still his bonds Horace’s manipulative side and his reaction to betrayal is revealed.
  • At the end of Act III and the play, Regina indirectly kills Horace by not helping him when his medicine bottle is broken and gets up out of his wheelchair to collapse at the top of the stairs because he will not use the fact that her brothers and Leo stole Horace’s bonds to gain more money out of the investment. Her greed manifests into murder and the “renewal” in her and her daughter’s life.
Key Quotes
  • Aunt Birdie: “Don’t love me. Because in twenty years you’ll be just like me...And you’ll trail after them hoping they won’t be so mean that day or say something to make you feel so bad…” (Act III).
  • Regina: “I told you I married you for something...But I couldn’t have known you’d get heart trouble so early and so bad. I’m lucky, Horace. I’ve always been lucky” (Act III).
  • Horace: “You wreck the town, you and your brothers, you wreck the town and live on it. Not me. Maybe it’s easy for the dying to be honest. And I’ll do it without making the world any worse. I’ll leave that to you” (Act II).
  • Alexandra: “Addie said there were people who ate the earth and other people who stood around and watched them do it. Well, tell him for me, Mama, that I’m not going to stand around and watch you do it” (Act III).
  • Birdie: “I saw Mama angry for the first time in her life. She said she was old-fashioned enough not to like people [the Hubbards] who killed animals they couldn’t use, and who made their money charging awful interest to ignorant niggers and cheating them on what they bought” (Act III).
  • Horace: “It’s a great day when you and Ben cross swords. I’ve been waiting for it for years.” (Act II).
Symbols/Motifs
  • The bricks are physically the cotton mill that represent the stability and wealth brought to the “homeowners” (Act III).
  • Lionnet, the plantation that Birdie’s family used to own, which Oscar married her for, shows old wealth as her family is aristocratic. The Hubbard Brothers are after this wealth, to attain it quickly and to keep it “in the family” (Act III).
  • The piano and music are outlets for the suppressed family members: Birdie, Horace, Alexandra, and Addie. A way to express themselves when no one else listens to them. Horace and Birdie played together when she first came into the family to make her more comfortable--a sanctuary away from the abusive husband, and good-for-nothing son (Act III).
  • Chicago, a city in the North, is where the Hubbards and Regina, who are from the South, would like to go to and make profits. They are well off in the South, but Chicago is a status they want to achieve, to rise in social stature (Act I).
  • Stairs show the level of domination. The higher the person is on them, the more dominance and power they have over the person lower on the stairs and on the floor. Mostly Regina is up on the landing talking down to her brothers, and when Horace crawls up the steps when he has a heart attack, he collapses and dies, never reaching that power (Act III).
Themes
  • Lust for power - The Hubbard brothers and Regina will do anything, stealing to killing, to gain wealth and power.
  • Death brings renewal - Regina wants to start a new life with Alexandra by using Horace’s death.
  • Betrayal - the fading family bonds are shown when Leo steals Horace’s safety deposit box to invest in the cotton mill contract, and especially when Regina lets Horace die in front of her.
    • Family - destruction of family is self-evident from the greed and betrayal.
  • Escape from family pressures and social constraints is revealed by Hellman when Horace wants Alexandra to get away from this family in the South by understanding what they are capable of.
  • Hopelessness for Alexandra is prominent after the tragedy of her father, but she is set on not moving with her mother to Chicago to live with her.
  • Loss of innocence in Alexandra is seen from her giddiness to drive the buggy to her taking care of Horace and fighting with Regina to live her life the way she wants to after learning the knowledge of her mother’s and uncles’ nature.
(Hellman)

Stylistic Devices
  • Characterization is developed through their actions instead of the use of descriptive paragraphs to do so
  • Writing Topics: legal distress, social justice, controversial themes
  • Truthful and eye-opening
  • Simplistic
  • Blunt and plainspoken

(Kornstein)


Prompt
2007, Form B. Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Select a novel or play that includes such acts of betrayal. Then, in a well-written essay, analyze the nature of the betrayal and show how it contributes to the meaning of the work as a whole.

Thesis
Set against the tense backdrop of the 1900 deep South, The Little Foxes by Lillian Hellman expresses the power of greed through the Hubbard's betrayal of each other to achieve selfish fulfillment; this is juxtaposed to the ideal thematic values of family which typically hold against all hardships.

Cast
Regina Giddens - Regina Zbarskaya
Benjamin (Ben) Hubbard and Birdie Hubbard - Sunny Chen
Oscar Hubbard and Agent Shi - Chelsea Shi
Horace Giddens and Agent Lee - Angela Lee
Alexandra Giddens and Hallway Agent - Rukmini Cheeti

Introduction
  • Thesis voiceover
  • Cues to opening death scene of Horace then cuts out
  • Criminal Minds title and introduction of the actors as characters
    • With Criminal Minds opening theme music
  • Quote voiceover - From which the title was based off: "Take us the foxes, the little foxes, that spoil our vines, for our vines have tender grapes" (Song of Solomon 2:15).
Transition #1

Agents walking along hallway, talking about the case, go into an interrogation room to talk to Regina, who recounts the happenings before Horace’s death in a flashback; talks about the bonds they were planning to borrow from Horace. 
  • Topic Sentence: In the beginning, the Hubbards attempt to preserve family bonds by insisting that the money will always stay in the family, providing an excuse for them to take a part of Oscar’s share.
Transition #2

Cuts back to the interrogation room, agents ask Regina if that’s all; she says yes and they leave her. Agents head to a coffee shop/cafe where they plan to meet Alexandra and get a little more information on what happened between her mother’s story and her father’s death. Alexandra recounts in a flashback what she learned from Birdie.
  • Topic Sentence: Despite the outer appearance of a well-functioning family, a look at the more oppressed members of the household reveals that the family is crumbling from the inside.
Transition #3

Agents thank Alexandra and head back to interrogation room, where they confront Regina once more. This time, Regina confesses the truth in a flashback after some pressure by the agents; also mentions the stolen bonds. 
  • Topic Sentence: The family finally breaks down completely when Regina kills Horace by refusing to give him his medicine; this act of betrayal shows the overwhelming power of greed over blood.
Conclusion


Regina convicted as guilty for killing her husband. Cut to a few days later, where the agents reflect upon the message of the case as they walk along a sidewalk.



View original document (with the full script, storyboards, and works cited) here.


Saturday, October 12, 2013

PROPAGANDA: The Orb of Tides Chapter 1

Author's Note: Because I feel obligated to share a little bit of the book I keep mentioning. There are supposed to be indents, but the formatting on Blogger kept glitching up, so I decided to just not indent anything. Enjoy!

O N E

This is not my story to tell.

But neither is it a story I deserve.

Because my hands are tainted with the blood of those that should not have died, because my heart only contains memories of those I once loved. And even if I stand in the light, I am not good. I am not a hero.

Yet in this world, how could I possibly be one? In a world created by lies and vengeance, secrets that people keep “for the greater good”, how could anybody be one? This world is not good. There are no heroes.

This is a world where lives are traded like coins, where last words spoken are not ones of love, where one person’s legacy threw cities into flame--where black is white and good is bad and where thrones are lined with chains and prisons are filled with keys. Only words tell of countries built by peace and virtue. But that is not here. At least, not before.

Now you ask me, what world is like this?

And I say, what world isn’t?

◙ ◙ ◙ ◙ ◙ ◙ ◙
A L V A R A

The evening air drifted with the faint scent of holiday candles. It was a clear night with an effulgent eye of the moon hanging like a theatre prop against a lonely ink sky. A fresh breeze tickled the trees. Below the hills, a snow-showered village was painted in light. It was the New Year, and even in this troubled time, families were celebrating.

Alvara stumbled across the cobblestone streets, lamps glimmering in her presence. Her breath made tired clouds that melted away into the darkness. In one hand she held tight a tattered cloak, closed against the billowing wind. In the other floated a small sphere of bright light.

How far had she traveled? Before the Incident, she had never ventured beyond the stream bordering her forest home. It was strange to think that after just a year her feet had taken her more than halfway up the continent--trudging through silent ghost towns and skirting militia forts. Alvara still faintly remembered her surprised reaction when she first saw snow, and now that was pretty much all she saw.

But that didn’t matter. She had to find it. She had to find him.

Her sore footsteps led her to a building with a sunken roof--WELBURY INN: Breakfast, Bar and Hotel. It was in better shape than the ramshackled places she had stayed in on her journey north. Warm bread smell blew over her when the door opened, and she walked in, extinguishing her glowing orb.

"What kinda lonely soul pays ol’ Thorn a visit this time of year? Surely this is the worst time to be off on a journey," a rough voice rumbled from behind a counter. Embers of a fireplace crackled in a corner, the only other witness in the empty room.

"Just traveling by," she said, keeping it brisk. "Are there any rooms open?"

The owner of the voice turned around, revealing a portly man around the age of sixty. He had a large, frazzled beard that could’ve made up for his bald head and then some. The barman eyed her for a moment before saying, "How many nights?"

“One. I'm heading out tomorrow. Do you take money--"

"Ten copper.”

Surprised, she fumbled to draw out the coins. Most of Mageia had resorted to bartering now; money was near worthless.

The barman stuffed the coins into his pockets with a grunt. "Up the stairs, second floor, third room from the end on the right. Breakfast's at six.” He wiped his palms with a towel, conjured up some fire in his hands to relight the fireplace, and then slid the key across the countertop.

Alvara thanked him and ascended the stairs to find her room. It wasn't anything royal, occupied by a pathetic bed, a small night desk,  and a washbasin, but it was still better than nothing. Most towns these days didn’t even have an inn; it was strange that this one was still intact. Her bag slid off her shoulder, and she collapsed on the mattress. All she hoped for now was a dreamless sleep.

◙ ◙ ◙ ◙ ◙ ◙ ◙
T E E T E R

Frost clung to leaves like bitter dew. The ground crunched with every step. Teeter shifted her bag up her shoulder, a makeshift backpack sewn out of a potato sack, and exhaled a white cloud into the air. She took a moment to watch it disappear before continuing. This is how it’s like to be Seth, she thought with a flicker of triumph. Poor Edan must be panicking, finding both his little brother and sister gone now. But he shan’t fear. I am different from Seth! Seth toiled in delinquency, but Teeter was out for justice.

The guy had been morphing into a Seeker ever since their mom’s death orphaned them, talking poop like “I’m gonna find the Orb of Tides!” and doing nothing to help his siblings. He kept poofing, coming back, poofing, coming back, until finally he seemed gone for good. For “the Orb of Tides,” Teeter bet. Even Edan, in all his protectiveness, cursed Seth’s name and declared no one ever find him. But Teeter would bring Seth back, oh yes. No matter how much Edan opposed.

She just had to run off, the way Seth did. Her destination? Thorn, the village where they had grown up. Then the Incident hit, and they moved into the woods, but that was a story Teeter would rather not think about. What mattered was that it was the closest town, and that she was almost there.

When her boots finally touched the cobblestone path, she dropped her bag in surprise.

There was a time when Thorn hummed, as such small a town couldn't create much bustle, but even then the painted rooftops glowed green like the forest it was named after, and windows were kept open through the night because the air was just that nice. Though, for all Teeter knew, the present Thorn had every other door locked shut. The streets littered with radical fliers as termites wasted away at the rotting wooden walls.

But, no; the town had changed. A sweet tang mingled with the air, and she felt something warmer than the snow beneath her feet. At a corner, a man was playing the fiddle as a crowd clapped along, and just on the next street a gang of kids was playing kickball with a stuffed bag. Sparklers replaced the lanterns, and laughter replaced the cries.

Peaceful times were rare, and celebration was a treat few could truly enjoy. But here the townspeople were, making cheer for New Year’s Eve outside of their weathered homes.

Teeter felt her chest bloat. This was what she wanted: for her family to rejoice like that again.

She turned her back on the villagers and headed to the inn she knew so well. The door was pushed open, and a sweet, cozy smell filled her nose with warmth. A man with a frazzled beard greeted her with clouted tankards from behind a bar. "Welcome," he started, then nearly dropped his mug. "By Regia, if it isn’t Teeter! Whatcha doin’, showing up after all these years? Aren’t ya nearly twelve now? Your family doin’ well?”

"Mr. Welbury­­--” His bear arms suffocated her tiny self and she continued in a squeak. "We’re okay. You?"

"Quite busy, actually," he said, “A strange maiden was here just a bit ago. Before her, there was a southern girl--y’know, the ones with blue hair."

"You've got another one," Teeter said, shaking her arms free from the hug. “Just me, for the night. I’m running an errand, don’t ask." She tossed over a dozen clattering coins.

“Whatever ya say.” He pocketed them, passing her a copper object. “Your key. Up the second floor, third room from the end. Ya remember the schedule?"

“Thanks, and yep.” Teeter turned to clamber up the stairs, tossing a “good night” behind her.

She reached the hallway, expecting the same familiarity she found with the first floor. And most of it was--the patterned rug, the dark wooden walls--but something off the corner of her vision wasn’t.

Teeter whipped her head around. A shadow flitted across the wall, shrouding her eyes. She didn’t even have time to scream; she scrambled down the hall, slammed her key into a door and jiggled it. “Open, stupid door, open!” It wouldn’t.

Heart pounding, the girl booted the door with a swift kick.


◙ ◙ ◙ ◙ ◙ ◙ ◙
A L V A R A

Thwunk, thwunk, thwunk.

Alvara shot out of the covers. Her door rattled; somebody was beating it, preceding each blow with a muted growl.

Why did I choose such a cheery village? She tiptoed to her bow and nocked an arrow, gritting. The happy ones are the suspicious ones!

She poised herself to kick. One foot struck the door, swinging the entire thing from its hinges. The panel smacked the floor, and Alvara leaped atop the wood, bow in hand, arrow pointed. Out squeaked a timid yelp.

Alvara lowered her bow; it was just a little girl. She stared up with horrified lime eyes, cheeks pale under a dapple of freckles. When she shook, a crop of brown pigtails shivered with her. “I--uh--you--what are you doing here?”

Alvara's mouth twitched. “What’s a kid like you doing?”

“I saw a ghost--or something like it that was black and shadowy, and I dunno how but it was right there! Right there, you see?”

“No, and I thought I was about to be ambushed by someone in the middle of the night.”

“Fine. Sorry. But I really saw something!”

“What in the name of Regia’s charmer is goin’ on?” The stairs creaked as the barman stormed towards them. “It sounds like horns babbling up here!” Then his eyes caught the door and he stopped himself. A dark smile shadowed his face. “Teeter...have ya forgotten in time to respect my precious property and my precious customers?” He swung an arm around Alvara’s shoulders.

“It wasn’t me!” The girl, Teeter, pointed. “It’s that-­­-that Copperlocks!”

“Copperlocks?” The man turned to his “precious” customer. Alvara stared down at her copper hair, feeling heat come to her cheeks at the sudden nickname. For a moment, the barman was silent. Then he said, “Oh, dearest apologies, precious customer! That door wasn’t the freshest of the batch--­­” he turned to the small girl to hiss, “­­--don’t blame my precious customers­­!” and then, turning back to Alvara with a smile, “­Please don't take it personally; that girl can't control herself.”

Teeter groaned. “That's not the point, Mr. Welbury! There was something here.”

“What do ya mean, a ghost?”

Alvara crossed her arms. “She thinks she saw a ghost and tried breaking in my door on accident.”

“Is that so, Precious Copperlocks? Well, I assure ya this place isn’t haunted, and neither did anyone ghastly book a room tonight.”

“Thank you, that’s good to know. So, about the door...”

“Wait,” Teeter said, “You don't believe me either, Mister?” Alvara glanced at Mr. Welbury in expectation.

He rubbed his forehead. “Look, how about this? I’ll give Precious Copperlocks a change of rooms for now, and you two can settle the door issue tomorrow over breakfast. Teeter,” he shook his head, “go to bed now. Me and you’ll have a chat about this ghost thing later, okay?”

“But...” Teeter clenched her teeth. “Okay, fine. Tomorrow! You will--you both will--believe me.” With a muffled humph, the girl drove her key into her proper door and shut it taut. Once silence settled the hallway again, Mr. Welbury turned back to Alvara.

“I apologize for her behavior. She’s the daughter of an ol’ friend of mine, and I’m afraid she’s quite callow.” He paused. “Your name is not Copperlocks, is it?”

She watched his face as she answered, “No, it's Alvara.”

Mr. Welbury appeared amused, though Alvara wasn’t sure why. He chuckled and said, “Then here's your key, Precious Alvara,” he said, pointing to her room, “and make sure to be there tomorrow morning.”

Alvara turned to get her rucksack. “If it’s about the door, I can pay for it right now.”

“Ah, but it really isn't about the door, is it?” He gave her a long look. What? She froze, and her teeth sank into her lip.

“I’m sorry, but I need to go to bed.” She grabbed the rucksack and strided past him.

“You think about what ya wanna say tomorrow. Six o’clock, be there!”

She shut the door.

When the quiet showed that the man had left, Alvara slid down to a crouch, pressing both hands to her temples. He can’t know anything just because he sounds like it. Just like how that girl--Teeter--couldn’t have seen a ghost just because she thinks it. They’re mad. She pulled herself up. This cheery village is full of mad people!

By the time Alvara reached the bed, she had decided that she’d attend the breakfast meeting. She’d clarify everything, fix the door, and leave them no need to remember her. Such happenings were the ones she had to watch out for; they were the little things that crumbled the big goal in the long run. The reason for all her wandering, the reason for all her secrecy...

Shaking the thought from her head, Alvara snaked a hand into the pocket of her bag and drew out a small, golden pendant. A colorful butterfly charm was twisted in its own tangles, facets reflecting burnished sunset under the candlelight--her dead mother’s. Dead because she was stupid enough to leave the forest right after the Incident.

It was exactly what it was called: an occurrence, a happenstance, and what the destroyed government once labeled “an accident”. Nobody believed that now.

But it wasn’t politics people were interested in. It was what caused the Incident in the first place--a set of five powerful weapons, created by a secret team of elemental masters. Rumored to be able to level mountains and split seas, all they did was backfire, kill their makers, then disappear.

Someone had stolen them. At least, that was what everyone said. The public had factionalized about the fate of  the “Great Weapons” by that time, and their disappearance tore the deteriorating government apart. Civil wars raged. Cities were destroyed. Nobles fled their mansions and most turned up dead months later. Nobody ever did find the Weapons to quell the chaos.

Those were the words her father had spoken. It had felt like some distant dream back then, an absurd dystopian novel fetched for a low price at a nearby market. Then her mother died, and reality set in.

Alvara flipped over on the bed, heart stiff. Everyone died one day; it just happened to be her mother’s time. Such grief was a weakness.

She sighed. How long had it been since the Incident? A year? Maybe more? She never bothered to remember the date, and she didn’t care. What she did remember was the note, so perfectly arranged with that beautiful bow she now carried. “Find the Orb,” it had said. The Orb of Tides--the Great Weapon that ruled the oceans. She hadn’t seen a trace of her father since then.

Don’t think about it. You’ve already wasted too much time doing that. Alvara squeezed her eyes shut. Just sleep. And it worked.

She dozed off in the glow of the candlelight, copper hair splayed across her face.

Then the light blew out.


Do not use, reproduce, or edit without express permission from the authors.