I ork at the cardiology ward ,so i need a tital relating to the area i Essay

I ork at the cardiology ward ,so i need a tital relating to the area i work to write a 3000 word assy - Essay Example Such includes gathering adequate information on personal responsibility on promoting, protecting and preventing their exposure to the risk factors of coronary heart diseases. Coronary heart disease is deemed to have occurred in situations where the coronary arteries are clogged with atheroma or plague (fatty material). The development of atheroma is slow and occurs on the inner artery walls, which makes such walls to be narrow (Khan et al. 2012). This often regarded as the atherosclerosis process, which can start at a young age to such a time when a person attains a middle age. Narrowing of the arteries is a dangerous situation since it implies a reduction of the volume of blood, which can reach the heart muscle of a person. Research has indicated that the number one killer of men and women all over the world is the coronary heart disease (Jamil et al. 2013). However, adhering to an effective healthy lifestyle ensures that a person is able to prevent or control the development of the coronary heart disease risk factors. This is essential since most of the lifestyle that individuals adopt begin during the childhood stage. Hence, parents and families have to embrace measures, which are focused on ensuring that their children are given the opportunity of adopting the best heart healthy choices, which will contribute in lowering the risk of developing coronary heart disease. Furthermore, individuals at higher risks of developing coronary heart disease tend to live for a shorter time in comparison to individuals that are at lower risk. This indicates a need for a person to change the adopted lifestyle in case the signs of developing coronary heart disease are identified at an early stage. Cardiovascular disease is a term that is associated with a disorder that develops in the cardiovascular system. It is linked to the atherosclerosis, which is commonly referred

Charlotte Perkins Gilman’s “The Yellow Wallpaper” Essay Example for Free

Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper† Essay Charlotte Perkins Gilman wrote â€Å"The Yellow Wallpaper† in the late 1800’s while being treating by the very trusted Weir Mitchell. During this time women were commonly admitted into the care of doctors by their husbands without their given consent. At this time there was very little research concerning Post- Partum Depression. According to the A.D.A.M Medical Encyclopedia, Post-Partum is moderate to extreme depression women may experience after giving birth. The symptoms include fearfulness, restlessness, and anxiety- all of which are displayed by Jane in â€Å"The Yellow Wallpaper. † Gilman was advised by Dr. Mitchell to stop writing and rest, only partaking in â€Å"household† activities. She was not to visit with friends or go outside much. Contesting to these rules, Gilman ended treatment with Mitchell and wrote â€Å"The Yellow Wallpaper† with the hopes of shedding much needed light on the ineffectiveness of his strategies. The mental condition of many women often worsened due the general population’s lack of consideration involving a woman’s outspoken opinion involving the betterment of her own health. Carol Kessler writes in â€Å"Consider Her Ways: The Cultural Work of Charlotte Perkins Gilmans Pragmatopian Stories, 1908-1913,† â€Å"The utopian fiction of Charlotte Perkins Gilman takes on as its cultural work the demonstration that women are not confined to one traditional mode of beingwife/motherhoodbut can fill as varied social roles as can male counterparts† (126). Kessler is stating Gilman’s writing is not only a statement against the mental health practices concerning women, but also includes other issues that were dominated by a patriarchal society. Denise D. Knight suggests in her essay â€Å"I Am Getting Angry Enough to do Something Desperate,† that Jane’s behavior at the end is â€Å"an expression of the tremendous rage she feels toward her husband, John† (78). This statement is evidence suggesting that women were well aware of the need for a change involving these matters. Gilman uses the yellow wallpaper to symbolize the psychological, sexual and creative oppression women experienced during Gilman’s contemporary times. Jane’s â€Å"condition† is revealed to the reader at the beginning of the story. Jane has just arrived at the â€Å"vacation† home and is writing secretly since John forbids it. She writes of John, â€Å"You see, he does not believe I am sick!† (Gilman 173). This quote indicates to the audience that Jane’s voice is of no importance next to John’s. Jane continues to voice her opinion about her illness and what she believes could cure her. John blatantly ignores any suggestions she may have concerning her own health, appearing heartless and cold. This is very clear when Jane initially voices dislike for the room with the yellow wallpaper, in which she is assigned to stay. Jane writes, â€Å"I don’t like our room one bit. I wanted one downstairs that opened on the piazza †¦but John would not hear of it!† (Gilman 174). Gilman allows the audience a glimpse at the symbolism of the wallpaper at this point. Jane mentions her dislike of the room with the yellow wallpaper as soon as she is introduced to it. Upon bringing this discomfort to John’s attention she is sufficed with a promise to replace it. However, John later breaks his promise with the reasoning that they will only be there three months. The creeping feeling Jane experiences concerning the wallpaper symbolizes the mental instability she feels looming over her. John convinces Jane there is nothing wrong with the room and refuses to move her even though she requests he do so. When Jane persists she writes of his response to her, â€Å"But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself† (Gilman 174). Jane is forced to h ide her feelings and worsening condition, as well as her writing. This interaction between the two characters demonstrates how many women during this time period were not to have opinions or preferences. This scene displays the lack of self-expression and freedom women encountered. Creativity in women was not widely accepted in Gilman’s society and was often deemed improbable. In one of Jane’s entries she describes, â€Å"There comes John, and I must put this away he hates to have me write a word† (Gilman 175). This sentence is powerful because the written word is often more powerful than the spoken word. Women were rarely given the luxury of speaking freely, much less writing freely. John’s reluctance to allow Jane to write illustrates the narrow minded ideals men had concerning women. In â€Å"Why I Wrote the Yellow Wallpaper,† Gilman writes that Dr. Mitchell, â€Å" concluded there was nothing much the matter with me, and sent me home with solemn advice to live as domestic a life as far as possible, to have bu t two hours intellectual life a day, and never to touch pen, brush or pencil again as long as I lived’†(51). Both Gilman and Jane were creative women that used writing as therapy to express what others around them could not understand. Jane’s journal and her writing symbolize the creative talents and intelligence many women were capable of but were forced to conceal. Gilman contradicts the idea of women being married to make great â€Å"mothers† with the statement, â€Å"And yet I cannot be with him† (Gilman 177). Jane is referring to her infant son. The possibility that a woman could want more from life other than to marry and have children was an almost impossible notion at the time. In â€Å"Gilmans The Yellow Wallpaper: A Centenary† Linda Wagner- Martin writes, â€Å"Of these many conflicts inherent in womens trying to lead acceptable female lives, perhaps the most troublesome is that of motherhood, its attendant responsibilities, and its almost inevitable loss of self-identity† (52). The A.D.A.M Medical Encyclopedia suggests that a common cause of Pos t-Partum Depression in women is the decreasing amount of time they have to themselves after having a child. Women of brighter minds were often misplaced in this type of society. Many artists feel an undeniable obligation to their work, often taking time away from their families. It was impossible for artistic women to prosper when their prime purpose in life was to marry and have children. Knight writes, â€Å"Gilman demonstrates how stifling the cult of domesticity was for intelligent women† (78). Jennie, Jane’s caretaker, represents this idea. Jane writes of Jennie, â€Å"She is a perfect and enthusiastic housekeeper, and hopes for no better profession† (Gilman 178). Jennie’s characteristics and tendency to stay out of Jane’s business resembles a fear felt by many women. While it was common for many intelligent women to become depressed due to creative and psychological oppression, fear often quieted any desires for change. It was widely understood that any woman who tried to live otherwise would just as easily end up in Jane’s predicament. Martin writes of the matter, â€Å" The point, obviously, is that society expects women to be fulfilled through motherhood, and that women who question their roles as mothers, who complain or are angry about those roles, are suspect if not beyond human comprehension† (63). In â€Å"The Yellow Wallpaper† Jane’s behavior often reflects this idea that women longed for the opportunity to choose their life occupation, rather than being assigned it. Sexual oppression of women is also touched on in this piece. John often goes away for a work and even when he visits, there is minimal physical contact between him and Jane. Judith A. Allen writes in â€Å"Reconfiguring Vice: Charlotte Perkins Gilman, Prostitution, and Frontier Sexual Contracts,† â€Å"Gilman shared in a common, international, late nineteenth-century feminist critique of marriage and of other sexual economic contracts† (173). Gilman’s very opinionated statements regarding women’s freedoms clearly extended to their sexual needs as well as emotional needs. While it was often expected for women to stay behind and tend to the children while the men were away at work, it was often overlooked how these physical absences affected them. It was socially acceptable for a man to appease his sexual appetite with other women while he was away, but not for his wife to do the same with other men. This was taxing on many women. When John is visiting Jane one night, he simply scoops her up and takes her to bed, where he reads to her until she is tired and ready for bed. Jane appears to be too ill to confront her sexual desires like many women of the time. Her relationship described with John is surfaced. Since there is a lack of a physical relationship between the two, there appears to be no relationship at all. This clarifies the belief that women were married off to produce children and please their husbands. Once Jane begins taking notice of the wallpaper itself, the tone of the story takes a dive. While the tone of the story begins somewhat light hearted and seemingly harmless, there is still a hint of foreshadowing. It is when Jane becomes obsessed the audience becomes aware of how terrible her condition truly is. It is almost used as a mockery of John’s ignorance throughout the entire story. The narrator writes, â€Å"There are things in that paper that nobody knows about but me, or ever willâ €  (Gilman180). This is when Jane is realizing the figure in the wallpaper in fact is a woman and she appears to be behind bars. The symbolism here is that no one can understand how Jane is feeling, including the other women around her. As time goes on John tells Jane things such as, â€Å"You are gaining flesh and color,† and â€Å"I feel much easier about you† (Gilman181). Rather than asking Jane how she feels, he is telling her. The irony is Jane’s willingness to accept being told how to act, feel, and live. Based on the mockery provided by the narrator, John does not truly understand what Jane needs, considering he, like everyone else involved, does not view women as people capable of reasoning and complex feelings. This idea was prevalent to the society throughout that time period. The phrase â€Å"dear John† is mentioned throughout the story, indicating the importance of John to Jane. As Jane’s condition and obsession with the wallpaper worsen, her strength d ecreases as well. She is forced increasingly rely on others, including John. She writes of John, â€Å"Dear John! He loves me very dearly and hates to have me sick† (Gilman 180). The irony is how little of importance Jane appears to have in John’s life. He has a routine written for Jennie and Jane to follow throughout the day while he’s away. One of the nights he is visiting, Jane writes, â€Å"He said I was his darling and his comfort and all he had† (Gilman 180). These words have an empty meaning. If Jane were the only thing John had, he would have paid more attention to her and realized she was not getting better in the least. This supports the then popular belief that women would be content with simply being told what they want to hear. In â€Å"The Yellow Wallpaper,† there are statements made against the male physicians that were so highly admired among communities during Gilman’s time. Jane writes, â€Å"John is a physician and perhaps that is one reaso n I do not get well faster† (Gilman 173). Jane is admitting that a woman’s duty to submit to her husband gets in the way of her need to be persistent concerning her health. This observation is ironic and bold. It argues the mockery in the situation. John, as a doctor, is held up to such high standards, yet he has no idea what is really going on with this woman. The story is ridiculing society’s idea of â€Å"intelligence.† John makes the mistake of treating Jane as if something is wrong with her. However, the humor is in the doctors’ inability to figure out that women are simply composed of the same emotional capabilities as men. It is also necessary to pay special to attention the symbolism of name choice in â€Å"The Yellow Wallpaper.† John and Jane can allude to â€Å"Jane Doe† and â€Å"John Doe.† If this is the case, both could be identified as of no particular importance to the audience. A Jane or John Doe are unidentified people. Gilman did not feel the need to give the se characters any specific names that would identify them with a particular characteristic or trait. Their situation is unidentified, and their situation was very common for that time. John’s disregard for Jane’s claims of her slow descent into a worsening mental condition was a common practice for doctors regarding women. Often when a woman needed or wanted something, she had no other choice but to acquire the assistance of her husband. In the instance of Jane needing alternative means of medical care, her only hope would have been John. Naturally John did not listen to her protests. Gilman is stating that both men and women should have an equal say in marriage. Kessler writes, â€Å"The ‘partnership’ society that Eisler defines seems already to have been present in the pragmatopian imagination of Charlotte Perkins Gilman as revealed in her turn-of-the-century fiction, especially the short stories: the alternative or partner-oriented gender roles she depicts could be realized or attained then or in the present-day society that we know† (126). There were also many marriages lacking the understanding John clearly does not display. This coincides with the idea that many women who were married to many men at that time experienced the oppression Jane feels and were met with the same ignorance John displays. At the end of the story Jane writes, â€Å"For outside you have to creep on the ground, and everything is green instead of yellow† (Gilman 188). This has a childlike feel to it. Earlier in the story, when Jane is trying to talk to John about how she is feeling he replies with, â€Å"What is it, little girl?† (Gilman 181). The last scene of the story describes Jane as this crazy woman, but it has her creeping around the ground like a child. In â€Å"Environment as Psychopathological Symbolism in The Yellow Wallpaper,’† Loralee MacPikew writes, â€Å"The fact that the narrators prison-room is a nursery indicates her status in society. The woman is legally a child; socially, economically, and philo sophically she must be led by an adulther husband† (286). One day when Jane is stuck in her room alone, she reverts to her childhood while staring at the wallpaper, giving a description of a vivid memory. She writes, â€Å"I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy-store† (Gilman 177). These behaviors revert to the idea that even as children, females were facing emotional neglect. It also supports the idea Jane was often treated like children by their husbands, posing the question how could she be expected to be a â€Å"good† mother if she herself was not permitted to act like an adult. Gilman’s decision to make the wallpaper yellow as opposed to any other color is interesting. Yellow is often viewed as a neutral color concerning gender. This may be connected to Gilman’s outcry of the belief that women ar e inferior to men concerning creative, emotional, and intelligent capability. Once Jane begins to acknowledge the wallpaper, her descriptions of it become more detailed. She describes it, â€Å"looked at in one way, each breadth stands alone; the bloated curves and flourishes- a kind of â€Å"debased Romanesque† with delirium tremens- go waddling up and down in isolated columns of fatuity† (Gilman 179). The words â€Å"delirium tremens† (Gilman 179) indicate how the wallpaper concurs with Jane’s worsening condition. Colors have often been known to manipulate a person’s mood. Following this belief, yellow is known to promote communication. This is an ironic symbol, considering John did not listen to Jane in the least. There are many times he overlooks her feelings or statements. At the beginning of the story Jane claims to feel something strange about the house. When she brings this to John’s attention he says what she â€Å"felt was a draught, and shut the window† (Gilman 174). Clearly John’s inability to listen to Jane discourages her to speak of anything at all to him. In â€Å"Consider Her W ays,† Kessler writes, â€Å"By refusing to accept definitions of traditional male and female roles, and instead of offering clear alternatives to such mainstream notions, Gilman forces readers to question boundaries defining behavior assumed acceptable on the basis of gender† (126). This statement supports the notion that Gilman believed that both men and women should share all household responsibilities, including working and raising children. The satirical symbolism at the end of â€Å"The Yellow Wallpaper† is astounding. It does a great job of surprising and shocking the audience. It leaves this image imprinted of a crazy lady taking a bite out of a bed and creeping around her husband. Once Jane believes she is the lady inside the wallpaper, she writes, â€Å"and I don’t want to have anybody in, till John comes. I want to astonish him† (Gilman 187). At this point her anger is apparent. The narrator is clearly pointing fingers at who is to blame for her current predicament. She is comparable to a child throwing a tantrum. It’s almost as if Jane is assuming the behaviors of a role she has been given, which is no different than what she does from the beginning of the story. She does what she is told. However, John often refers to her as everything but a woman. Naturally this mentality was bound to catch on. Jane also had no other means of escape from her world. John refused to allow her to go anywhere. It was almost as if she were a child being grounded. When children are forced to stay inside they use their imaginations as entertainment. To do this is human nature, and Jane is no exception. There is also attention to be paid to the bars described in the wallpaper. Jane writes, â€Å"at night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars!† (Gilman 182). The bars symbolize all the oppression felt by Jane. As the progression of Jane’s condition worsens, the appearance of the bars becomes more prominent. Once Jane discovers the bars, she notices the woman in the wallpaper, â€Å"The outside pattern, I mean, and the woman behind it is as plain as can be† (Gilman 182). This quote refers to the unawareness John and other men of the time displayed concerning women. Gilman is making a statement against how obvious it is that Jane knows what she needs more so than her husband. This scenario was common among many women during that time period. It is also an outcry against a woman’s inability to practice self-expression. Once Jane decides to try and help the woman escape from the wallpaper (and becomes the woman herself), she peels off all the paper so she cannot be put back. Once John gets into the room she says to him, â€Å"’I’ve got out at last,’ said I,† in spite of you and Jane! And I’ve pulled of most of the paper, so you can’t put me back!’† (Gilman 189). This statement could be interpreted as Gilman’s creative self being defiant against the rules set up by a patriarchal society. While this last scene can be understood as haunting and disturbing, it almost seems as if Jane is getting the last laugh in the end. Her husband who is â€Å"successfully† a physician has failed his own wife. Jane’s road to insanity was brought on by her husband’s â€Å"trusted† tactics. Shortly after the story was published, Weir Mitchell was forced to re-evaluate his tactics used on â€Å"mentally unstable† women. There were many patriarchal barriers facing women when â€Å"The Yellow Wallpaper† was written. Gilman does an extraordinary job of displaying the horrors that resulted from this complex and delicate subject. The image of a woman behind bars in yellow wallpaper could not be more appropriate to convey such an important message. This short story demonstrates the feeling of entrapment and misplacement many creative and intelligent women felt during Gilman’s time. The yellow wallpaper is a strong symbol of a declaration of independence, creativity, and self-expression in a society where such notions were much too often withheld from the female population.

The Malaysian Economy: Booming :: essays research papers

The Malaysian Economy: Booming The Economy: Following a period of severe and prolonged recession, the Malaysian economy has returned to growth aided by a relaxation of monetary and fiscal policies and by increased export demand, particularly in the electronics sector. While the world economic slowdown was more severe than expected and the unprecedented September 11 events in the United States had widespread implications for all economies, Malaysia was able to steer away from a major economic contraction and GDP growth for the year remained in positive territory. However, given the openness of its economy with trade accounting for about 200 percent of GDP, Malaysia was not spared from the negative effects of the United States economic slowdown. These effects came in the form of declining manufacturing production and negative export growth, particularly of electronics. Nevertheless, the government’s initiation of strong monetary and fiscal policies to stimulate economic growth through accelerating domestic economic activi ties and reducing the over-dependence on exports helped the nation to sustain a positive real GDP growth. Since 1998 the Government has relaxed the equity guidelines for investment in the manufacturing sector. Foreigners can now own 100% equity regardless of the level of exports and several incentives have also been introduced recently to promote the manufacturing-related services sector. Foreign Direct Investment has been the key to the country's remarkable success in recent years. Hundreds of international companies have so far established themselves in the country, attracted by the favorable investment environment has made Malaysia one of the world’s top locations for offshore manufacturing operations. Manufacturing is now the largest export sector of the economy (contributing around 34% of GDP and employing nearly 28% of the labor force in 2000). The electronics sector (radios and television) is the main export earner followed by processed foods, rubber, chemicals, timber, petroleum-refining and automobile manufacturing. In 2001, the impact of the slowdown in economic activity was also felt by the labor market, particularly in terms of unemployed workers in the manufacturing sector. However, given the flexibility accorded by the labor market, alternative measures that were adopted by employers (such as pay cuts and temporary layoffs) helped contain the number of workers unemployed. The Malaysian exchange rate remained pegged to the US dollar at the rate of RM3.80 per US dollar in 2001 (an arrangement that has been effective since 2 September 1998). The ‘Ringgit’ appreciated against all major currencies, including regional currencies in tandem with the strong U.

Carrie Chapter Six

‘Ewen, four years,' Grayle overrode him. ‘Graduation slated June seventy-nine; next month. Tested I.Q. of a hundred and forty. Eighty-three average. Nonetheless, I see she's been accepted at Oberlin. I'd guess someone – probably you, Mr Hargensen – has been yanking some pretty long strings. Seventy-four assigned detentions. Twenty of those have been for harassment of misfit pupils, I might add. Fifth wheels, I understand that Chris's clique calls them Mortimer Snurds. They find it all quite hilarious. She skipped out on fifty-one of those assigned detentions. At Chamberlain Junior High, one suspension for putting a firecracker in a girl's shoe †¦ the note on the card says that little prank almost cost a little girl named Irma Swope two toes. The Swope girl has a harelip, I understand. I'm talking about your daughter, Mr Hargensen. Does that tell you anything?' ‘Yes,' Hargensen said, rising. A thin flush had suffused his features, ‘It tells me I'll see you in court. And when I'm done with you, you'll be lucky to get a job selling encyclopedias door to door.' Grayle also rose, angrily, and the two men faced each other across the desk ‘Let it be court, then,' Grayle said. He noted a faint flick of surprise on Hargensen's face, crossed his fingers, and went in for what he hoped would be a knockout – or at least a TKO that would save Desjardin's job and take this silk-ass son of a bitch down a notch. ‘You apparently haven't realized all the implications of in loco parentis in this matter, Mr Hargensen. The same umbrella that covers your daughter also covers Carrie White. And the minute you file for damages on the grounds of physical and verbal abuse, we will cross-file against your daughter on those same grounds for Carrie White.' Hargensen's mouth dropped open, then closed, ‘You can't get away with a cheap gimmick like that, you-‘ ‘Shyster lawyer? Is that the phrase you were looking for?' Grayle smiled grimly. ‘I believe you know your way out, Mr Hargensen. The sanctions against your daughter stand. If you care to take the matter further, that is your right.' Hargensen crossed the room stiffly, paused as if to add something, then left, barely restraining himself from the satisfaction of a hard doorslam. Grayle blew out breath. It wasn't hard to see where Chris Hargensen came by her self-willed stubbornness. A. P. Morton entered a minute later. ‘How did it go?' ‘Time'll tell, Morty,' Grayle said. Grimacing, he looked at the twisted pile of paper clips. ‘He was good for seven clips, anyway. That's some kind of record.' ‘Is he going to make it a civil matter?' ‘Don't know. It rocked him when I said we'd counter sue. ‘I bet it did.' Morton glanced at the phone on Grayle's desk. ‘It's time we let the superintendent in on this bag of garbage, isn't it?' ‘Yes,' Grayle said, picking up the phone. ‘Thank God my unemployment insurance is paid up.' ‘Me too,' Morton said loyally. From The Shadow Exploded (appendix Ill): Carrie White passed in the following short verse as a poetry assignment in the seventh grade. Mr Edwin King, who had Carrie for grade seven English, says: ‘I don't know why I saved it. She certainly doesn't stick out in my mind as a superior pupil, and this isn't a superior verse. She was very quiet and I can't remember her ever raising her hand even once in class. But something in this seemed to cry out.' Jesus watches from the wall. But his face is cold as stone. And if he loves me – As she tells me Why do I feel so all alone? The border of the paper on which this little verse is written is decorated with a great many cruciform figures which almost seem to dance †¦ Tommy was at baseball practice Monday afternoon, and Sue went down to the Kelly Fruit Company in The Centre to wait for him. Kelly's was the closest thing to a high school hangout the loosely sprawled community of Chamberlain could boast since Sheriff Doyle had closed the rec centre following a large drug bust. It was run by a morose fat man named Hubert Kelly who dyed his hair black and complained constantly that his electronic pacemaker was on the verge of electrocuting him. The place was a combination grocery, soda fountain and gas station-there Was a rusted Jenny pump out front that Hubie had never bothered to change when the company merged. He also sold beer, cheap wine, dirty books, and a wide selection of obscure cigarettes such as Mirads, King Sano, and Marvel Straights. The soda fountain was a slab of real marble, and there were four or five booths for kids unlucky enough or friendless enough to have no place to go and get drunk or stoned. An ancient pinball machine that always tilted on the third ball stuttered lights on and off in the back beside the rack of dirty books. When Sue walked in she saw Chris Hargensen immediately. She was sitting in one of the back booths. Her current amour, Billy Nolan, was looking through the latest issue of Popular Mechanix at the magazine rack. Sue didn't know what a rich, Popular girl like Chris saw in Nolan, who was like some strange time traveller from the 1950s with his greased hair, zipper-bejewelled leather jacket, and manifold-bubbling Chevrolet road machine. ‘Sue!' Chris hailed, ‘come on over!' Sue nodded and raised a hand, although dislike rose in her throat like a paper snake. Looking at Chris was like looking through a slanted doorway to a place where Carrie White crouched with hands over her head. Predictably she found her own hypocrisy (inherent in the wave and the nod) incomprehensible and sickening. Why couldn't she just cut her dead? ‘A dime root beer,' she told Hubie. Hubie had genuine draft root beer, and he served it in huge, frosted 1890s mugs. She had been looking forward to tipping a long one while she read a paper novel and waited for Tommy – in spite of the havoc the root beers raised with her complexion, she was hooked. But she wasn't surprised to find she'd lost her taste for this one. ‘How's your heart, Hubie?' she asked. ‘You kids,' Hubie said, scraping the head off Sue's beer with a table knife and filling the mug the rest of the way. ‘You don't understand nothing. I plugged in my electric razor this morning and got a hundred a ten volts right through this pacemaker. You kids don't know what that's like, am I right?' ‘I guess not.' ‘No, Christ Jesus forbid you should ever have to find out. How long can my old ticket take it? You kids'll all find out when I buy the farm and those urban renewal poops turn this place into a parking lot. That's a dime.' She pushed her dime across the marble. ‘Fifty million volts right up the old tubes,' Hubie said darkly, and stared down at the small bulge in his breast pocket. Sue went over and slid carefully into the vacant side of Chris's booth. She was looking exceptionally pretty, her black hair held by a shamrock-green band and a tight basque blouse that accentuated her firm, upthrust breasts. ‘How are you, Chris?' ‘Bitchin' good,' Chris said a little too blithely. ‘You heard the latest? I'm out of the prom. I bet that cocksucker Grayle loses his job, though.' Sue had heard the latest. Along with everyone at Ewen. ‘Daddy's suing them,' Chris went on. Over her shoulder; ‘Billeee! Come over here and say hi to Sue.' He dropped his magazine and sauntered over, thumbs booked into his side-hitched garrison belt, fingers dangling limply toward the stuffed crotch of his pegged levis. Sue felt a wave of unreality surge over her and fought an urge to put her hands to her face and giggle madly. ‘Hi, Suze,' Billy said. He slid in beside Chris and immediately began to massage her shoulder. His face was utterly blank. He might have been testing a cut of beef. ‘I think we're going to crash the prom anyway,' Chris said. ‘As a protest or something.' ‘Is that right?' Sue was frankly startled. ‘No,' Chris replied, dismissing it, ‘I don't know.' Her face suddenly twisted into in expression of fury, as abrupt and surprising as a tornado funnel. ‘That goddamned Carrie White! I wish she'd taken her goddam holy joe routine and stuff it straight up her ass!' ‘You'll get over it,' Sue said. ‘If only the rest of you had walked out with me †¦ Jesus Sue, why didn't you? We could have had them by the balls. I never figured you for an establishment pawn.' Sue felt her face grow hot. ‘I don't know about anyone else, but I wasn't being anybody's pawn. I took the punishment because I thought I earned it. We did a suck-off thing. End of statement.' ‘Bullshit. That fucking Carrie runs around saying everyone but her and her gilt-edged momma are going to bell and you can stick up for her? We should have taken those rags and stuffed them down her throat.' ‘Sure. Yeah. See you around, Chris.' She pushed out of the booth. This time it was Chris who coloured the blood slammed to her face in a sudden rush, as if a red cloud had passed over some inner sun. ‘Aren't you getting to be the Joan of Arc around here! I seem to remember you were in there pitching with the rest of us.' ‘Yes,' Sue said trembling. ‘But I stopped.' ‘Oh, aren't you just it?' Chris marvelled. ‘Oh my yes. Take your root beer with you. I'm afraid I might touch it and turn to gold.' She didn't take her root beer. She turned and half-walked, half-stumbled out. The upset inside her was very great, too great yet for either tears or anger. She was a getalong girl, and it was the first fight she had been in, physical or verbal, since grade-school pigtail pulling. And it was the first time in her life that she had actively espoused a Principle. And of course Chris had hit her in just the right place, had hit her exactly where she was most vulnerable: She way being a hypocrite, there seemed no way to avoid that, and deeply, sheathed within her and hateful, was the knowledge that one of the reasons she had gone to Miss Desjardin's hour of calisthenics and sweating runs around the gym Floor had nothing to do with nobility. She wasn't going to miss her last Spring Ball for anything. Not for anything. Tommy was nowhere in sight. She began to walk back toward the school, her stomach churning unhappily, Little Miss Sorority, Suzy Creemcheese, The Nice Girl who only does It with the boy she plans to marry – with the proper Sunday supplement coverage, of course. Two kids. Beat the living shit out of them if they show any signs of honesty; screwing, fighting, or refusing to grin each time some mythic honcho yelled frog. Spring Ball. Blue gown. Corsage kept all the afternoon in the fridge. Tommy in a white dinner jacket, cummerbund, black pants, black shoes. Parents taking photos posed by the living-room sofa with Kodak Starflashes and Polaroid Big-Shots. Crepe masking the stark gymnasium girders. Two bands: one rock, one mellow. No fifth wheels need apply. Mortimer Snurd, please keep out. Aspiring country club members and future residents of Kleen Korners only. The tears finally came and she began to run. From The Shadow Exploded (p. 60): The following excerpt is from a letter to Donna Kellogg from Christine Hargensen. The Kellogg girl moved from Chamberlain to Providence, Rhode Island, in the fall of 1978. She was apparently one of Chris Hargensen's few close friends and a confidante. The letter is postmarked May 17,1979: ‘So I'm out of the Prom and my yellow-guts father says he won't give them what they deserve. But they're not going to get away with it. I don't know what exactly I'm going to do yet but I guarantee you everyone is going to get a big fucking surprise . . .' It was the seventeenth. May seventeenth. She crossed the, day off the calendar in her room as soon as she slipped into her long white nightgown. She crossed off each day as it passed with a heavy black felt pen, and she supposed it expressed a very bad attitude toward life. She didn't really care. The only thing she really cared about was knowing that Momma was going to make her go back to school tomorrow and she would have to face all of Them. She sat down in the small Boston rocker (bought and paid for with her own money) beside the window, closed her eyes, and swept Them and all the clutter of her conscious thoughts from her mind. It was like sweeping a floor. Lift the rug of your subconscious mind and sweep all the dirt under. Good-bye. She opened her eyes. She looked at the hairbrush on her bureau. Flex. She was lifting the hairbrush. It was heavy. It was like lifting a barbell with very weak arms. Oh. Grunt. The hairbrush slid to the edge of the bureau, slid out past the point where gravity should have toppled it, and then dangled, as if on an invisible string. Carrie's eyes had closed to slits. Veins pulsed in her temples. A doctor might have been interested in what her body was doing at that instant; it made no rational sence. Respiration had fallen to sixteen breaths per minute. Blood pressure up to 190/100. Heartbeat up to 140 – higher than astronauts under the heavy g-load of lift-off. Temperature down to 94.3. Her body was burning energy that seemed to be coming from nowhere and seemed to be going nowhere. An electroencephalogram would have shown alpha waves that were no longer waves at all, but great, jagged spikes. She let the hairbrush down carefully. Good. Last night she had dropped it. Lose all your points, go to jail. She closed her eyes again and rocked. Physical functions began to revert to the norm; her respiration speeded until she was nearly panting. The rocker had a slight squeak. Wasn't annoying, though. Was soothing. Rock, rock. Clear your mind. ‘Carrie?' Her mother's voice, slightly disturbed, floated up. (she's getting interference like the radio when you turn on the blender good good) ‘Have you said your prayers, Carrie?' ‘I'm saying them,' she called back. Yes. She was saying them, all right. She looked at her small studio bed. Flex. Tremendous weight. Huge. Unbearable. The bed trembled and then the end came up perhaps three inches. It dropped with a crash. She waited, a small smile playing about her lips, for Momma to call upstairs angrily. She didn't. So Carrie got up, went to her bed. and slid between the cool sheets. Her head ached and she felt giddy, as she always did after these exercise sessions. Her heart was pounding in a fierce, scary way. She reached over, turned off the light, and lay back. No pillow. Momma didn't allow her a pillow. She thought of imps and families and witches. (am i a witch momma the devil's whore) riding through the night, souring milk, overturning butter chums, blighting crops while They huddled inside their houses with hex signs scrawled on Their doors. She closed her eyes, slept, and dreamed of huge, living stones crashing through the night, seeking out Momma, seeking out Them. They were trying to run, trying to hide. But the rock would not hide them; the dead tree gave no shelter. From My Name is Susan Snell, by Susan Snell (New York: Simon & Schuster, 1986), pp. i-iv: There's one thing no one has understood about what happened in Chamberlain on Prom Night. The press hasn't understood it, the scientists at Duke University haven't understood it, David Congress hasn't understood it – although his The Shadow Exploded is probably the only half-decent book written on the subject – and certainly The White Commission, which used me as a handy scapegoat, did not understand it. This one thing is the most fundamental fact: We were kids. Carrie was seventeen, Chris Hargensen was seventeen, I was seventeen, Tommy Ross was eighteen, Billy Nolan (who spent a year repeating the ninth grade, presumably before he learned how to shoot his cuffs during examinations) was nineteen †¦ Older kids react in more socially acceptable ways than younger kids, but they still have a way of making bad decisions, of over-reacting, or underestimating. In the first section which follows this introduction I must show these tendencies in myself as well as I am able. Yet the matter which I am going to discuss is at the root of my involvement in Prom Night, and if I am to clear my name, I must begin by recalling scenes which I find particularly painful †¦ I have told this story before, most notoriously before The White Commission, which received it with incredulity. In the wake of two hundred deaths and the destruction of an entire town, it is so easy to forget one thing. We were kids. We were kids. We were kids trying to do our best †¦ ‘You must be crazy.' He blinked at her, not willing to believe that he had actually heard it. They were at his house, and the television was on but forgotten. His mother had gone over to visit Mrs Klein across the street His father was in the cellar workroom making a bird-house. Sue looked uncomfortable but determined. ‘Ifs the way I want it, Tommy.' ‘Well, it's not the way I want it. I think ifs the craziest goddam thing I ever heard. Like something you might do on a bet.' Her face tightened. ‘Oh? I thought you were the one doing the big speeches the other night. But when it comes to putting your money where your big fat mouth ‘Wait, whoa.' He was unoffended, grinning. I didn't say no, did I? Not yet, anyway.' ‘YOU ?C'

“Nowhere Man” by Pico Iyer Essay

â€Å"Nowhere Man† by Pico Iyer talks about how being a transit lounger has it’s ups and downs. Packing and waiting for your next plane as soon as you’re about ready to just sit down and rest. From sleeping in airports to eating almost all of your meals off of plastic plates. I could relate to Iyer to some level but fully. Being a visitor in your home is never a good feeling to experience but seeing the world through your eyes is such a blessing as well. I thought that nationalism was the only thing that created â€Å"monsters† but after reading this piece, I believe that both nationalism and internationalism create â€Å"monsters†. Themes that I picked up while reading this piece were – independence, nationalism, internationalism, lack for sense of home, family and comfort, discovery, self-discovery, exhaustion, loneliness, confusion. I really enjoyed a lot of the sentences that Iyer wrote but one that really caught my attention was, â€Å"We pass through countries as through revolving doors, resident aliens of the world, impermanent residents of nowhere†. This sentence really caught my attention because not only were these words put together very well but they also have a deeper meaning behind them. To me, this sentence means that they were always in a hurry to get from country to the other in time and all though they were always traveling, they never had the true meaning of a â€Å"home† but yet had a house wherever they traveled to. When Iyer said, â€Å"We are visitors in our home† – it really hit home because whenever I go over to my dads house, I feel like such a visitor although I’m suppose to feel like it’s my second home because it’s my dads house. I’m not sure what he felt when he wrote it but when I write it or talk about, I feel empty as though so mething is missing. Personally, I would have a love/hate relationship if I were a transit lounger, not knowing where home is. I would love it because I get to travel the world, discover new cities and meet new people but I would hate it because I would most likely constantly get asked where I live and I would hate to say â€Å"I don’t actually have a home but I’m going to Madrid next!†. If I didn’t have a home, I would probably lose my sense of family and comfort.  I wouldn’t know where I could go back to when I get tired of traveling, once I’m overwhelmed with seeing new cities and meeting new people. But it would also help me build a sense of independence and I would have an exciting lifestyle. Being a transit lounger sure does have it’s deep cons and pros. Two questions: – If he wasn’t a transit lounger, would he still be the same person he is today? Would he be as independent as he is today? – Did any of the other students relate to Iyer when he mentioned â€Å"†We are visitors even in our home†?