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. 

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

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. 

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. 

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. 

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. 

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.