Lost in Adaptation

Milos Forman’s adaptation of Ken Kesey’s “One Flew Over The Cuckoo’s Nest”, contained many changes in the plot of the story, some small and some dramatic. Some of the larger changes in the film were the including of characters like Taber and Cheswick and the introduction of a new main character.

In the film, Mr. Taber is a constant character, as opposed to the occasional flashback mentioned by Bromden. Mr. Taber, played by Christopher Lloyd, is added into the film to provide a colourful character who provides endless humour, such as the incident where Harding’s cigarette lands in Taber’s pants. Taber not only makes the movie more enjoyable through laughter, but also advances the plot by encouraging Mcmurphy in his financial enterprises. When Mcmurphy looks for someone to place a bet, Taber is always volunteering to win his money back.

Another character that was kept on the screen longer than the book allowed, was Charles Cheswick. Cheswick was an avid supporter of Mcmurphy and his renegade ideas, until McMurphy’s emotional turnaround. When Cheswick was not supported by Mcmurphy about his desire to not have the cigarettes rationed, he decided to take his own life by jamming his fingers in the drain of the pool, drowning himself. In the film, Cheswick is present throughout the entire movie constantly supporting Randall at every turn. Milos Forman decided to keep Cheswick alive because the suicide of Cheswick would have changed the tone of the movie and he would no longer be able to encourage McMurphy. Cheswick was a strong factor in the drive of McMurphy’s rebellion by constantly endorsing McMurphy at every turn, such as the rally to watch the World Series.

The most significant, and most dependent change of the novel, was the change in focus from Chief Bromden to Randall Patrick Mcmurphy as the novel’s main character. This was done by Forman to make the film more interesting. For more than half the film, Bromden is silent. This would make it very hard for the audience to identify with, and later support, their hero. With no dialogue to inspire the audience, they are left with boredom and confusion, trying to figure out the character for themselves, often leading to misinterpretation. With McMurphy as the leading character, the audience is given a funny, sympathetic renegade who is idolized for his wit, charm, masculinity and bravado, all characteristics that Bromden lacks. Without a charming lead that can win over the attention of an audience, the film would lose most of it’s special quality, resulting in a yawn-fest.

Is "The Haunted House," by Washington Irving, a beautifully written story about nothing?

AN ESSAY*
BY
STEVE MASSEY

*ESSAY MAY ALSO BE USED TO SWAT FLIES, START FIRES OR BE USED AS AN ARTIFICIAL TRUMPET OR TELESCOPE.

In modern society, American literature is regarded as a strong sociological media form due to its intellectual stronghold on human nature. It’s ironic that Washington Irving’s "The Haunted House" was one of the first pieces of literature that started the whole journey. "The Haunted House" is a beautifully written story about nothing. The story contains a beautifully written language, but due to unfinished plot twists, which result in many unnecessary details, it becomes dull and uninspiring.

In order for something to be groundbreaking it must be overwhelming. Despite the dreary tempo of the story, it is beautifully written in a melodic language. Washington Irving’s use of consonants and alliteration reinforces certain themes into the reader’s mind, "Not that the whipster was really vicious; he was only full of fun and frolic. And had that daring, gamesome spirit which is extolled in a rich man’s child, but execrated in a poor man’s" (Irving, p129). These literary tools are garnished with Irving’s ability to paint a scene, no matter how formulaic or cliché. A strong example of this, is when Dolph Heyliger, the doctor and Peter de Groodt arrive at the haunted house,

".... and the doctor grappled still closer hold of Dolph’s arm, observing that the ground was very slippery and uneven. At one time they were nearly put to total rout by a bat, which came flitting about the lantern; and the notes of the insects from the trees, and the frogs from a
neighboring pond, formed a most drowsy and doleful concert. The front door of the mansion opened with a grating sound, that made the doctor turn pale." (Irving, p141)

This language, including the use of onamotopoeia, conveys a tone of suspense that is well suited to the scene and climatic proceedings.

Although "The Haunted House" is an attractive work of writing, it is a dull inconceivable mystery. Washington Irving made this a very lively story by inputting many different subplots to keep the reader intrigued. The only problem is that once he introduced these aspects of the story, he never returned to them. One such incident is Dolph’s encounter with the snakes on the cliff. The snakes are never major players in contributing to the plot or supporting Dolph’s development. Another open subplot in "The Haunted House" is the appearance of the ship at the harbour. Dolph never finds out about the importance or significance of the ship, whether it was in fact sent by the ghost, or a mere coincidence. The events of the ship after Dolph is swept overboard, are also left a mystery. The last known account of the ship, "She had hard work to weather a long promontory on the eastern shore, round which the river turned, and which completely shut her from Dolph’s view" (Irving p153), leaves us with not even a trace as to the ship’s resulting state.

These unended storylines result in one of the key elements that make this story about nothing: unnecessary detail. When a writer obsesses with aspects of the story that do not include the main plot, it leaves the storyline dull and lifeless. Since the story mainly evolves around a man who goes from a punk with nothing, to a rich, loved gentleman, there are a lot of paragraphs spent describing useless situations. The largest waste of paper is the story of "The Storm Ship." Washington Irving could have made the story progress and saved the reader a great deal of time by condensing his six pages into a few lines. From the entire story, the only relevant material is the information that the river is haunted. This may explain the relevance of the mystery ship, yet nothing is confirmed. Another display of useless writing is the presence of Frau Ilsé. The attention that is drawn to her about her gossiping nature and her constant companionship with Dr. Karl Ludovick Knipperhausen, is entirely irrelevant to the plot or to Dolph,. "Frau Ilsé had accompanied him in his various migrations from Germany to England, and from England to the province; managing his establishment and himself too: ruling him, it is true, with a gentle hand, but carrying a high hand with all the world beside" (Irving 133,134). These facts do not play a part at all in Dolph’s journey. Irving misled the reader’s interest into the housekeeper so far, as to even inform the reader of the correct pronunciation of her name, "...Frau Ilsy, as it was pronounced" (Irving p133).

This story contains a wonderfully composed dialect, but since many incidents are left unresolved, which result in wasted interest, it does not leave an impact on the reader. Washington Irving’s "The Haunted House" is a beautifully written story about nothing. Although it is one of America’s first and foremost literary works, which contains much beautiful detail, it undoubtedly remains dull.

Was Scarlet O'Hara a victim of circumstance or a thoroughly rotten person?

The most magnificent essay ever written would, naturally, have to be on Gone With the Wind. Due to its colourful cinematography, captivating plot and colourful characters, Gone With the Wind is one of the greatest films ever made. One of the characters that made this film so mesmerizing was Scarlet O’Hara. Scarlet’s fiery attitude and complex personality have made her one of cinemas’ most well known characters. She is a temperamental Southern belle who always gets what she wants, no matter what she does, or whom she hurts. This would lead one to believe that she was a thoroughly rotten person, but in fact Scarlet O’Hara was simply a victim of circumstance due to her genes and her desire to protect her way of life, which is persistently disrupted by untimely death. Incidentally, by coping with these issues Scarlet O’Hara becomes a better person, having prevailed through the worst, with an optimistic attitude.

Scarlet’s upbringing in the southern plantations of the mid 19th century greatly affected how her life would continue. Growing up as a child, Scarlet had a very eccentric lifestyle. She was spoiled by her parents with beautiful clothes, expensive jewellery and whatever else her heart desired. Scarlet also had the wonderful fortune to be waited on hand and foot by servants, such as the time Mammy brought her breakfast before the Twelve Oaks party. Scarlet was also waited on by every single gentleman in the surrounding area, who competed to be the lucky one to bring her a slice of pie. This luxurious way of life can leave a mark on a young impressionable mind. Once a person becomes accustomed to living in the lap of luxury, one would do anything to keep it.

Scarlet’s lifestyle also consisted of parties, balls and many social gatherings. After Charles Hamilton, her first husband, was killed, Scarlet was thrown into widowhood. This forced her to remain solemn and not attend any parties or festivals. She was not allowed to dance, or be merry. When Scarlet agreed to dance with Rhett Butler, she was not being rotten toward the late Mr. Hamilton, she was simply trying to continue living the fantasy life to which she had grown accustomed. Scarlet only tried to return her life to what she thought was pure and innocent, her childhood. Although, even if Scarlet had experienced a more mediocre childhood, she would not have been able to change her mentality.

Due to the genes Scarlet was born with, she would have never been able to change how she acted, she was helpless. Scarlet’s parents were a greater influence on her than most would care to admit. Her father, Gerald O’Hara, was an Irish immigrant and a loyal Confederate with a strong will. Along with his love for the land and a selfish nature, he passed on these qualities to Scarlet. Scarlet was very close to her father and, therefore, grew to emulate him. She also took after her mother, Ellen O’Hara. A descendant of the Robillard family, she gave Scarlet many qualities, such as her desire for refinement and her compassion. Scarlet also inherited Mrs. O’Hara’s strong, firm, judgement as well as Scarlet’s strongest aspect, her determination. Scarlet seems to have received the perfect balance from her parents, unlike her sisters who were extremely vain, selfish and uncompassionate. This is seen at the beginning of the film when the sisters are gathered at the bottom of the stairs the day before the Twelve Oaks party. Another example of Ellen O’Hara’s sense of refinement and Gerald O’Hara’s selfishness are found in Bonnie Sue Butler, Scarlet’s child. Bonnie displays many of her mother’s qualities. This is seen after Rhett and Bonnie return from London and Bonnie demands to see her pony. Although her parents have corrupted her mentality through genetics, Scarlet’s genes are all that she has left once they have passed on.

The greatest event that Scarlet encountered, which shaped her life, was the frequent exposure to death. Scarlet rides all night, back to Tara, after Atlanta is set ablaze by the Yankees. She then discovers her mother dead and her father, mad. Later, she kills a Yankee who breaks into the house. Scarlet also loses members of her own family, including her first two husbands Charles Hamilton and Frank Kennedy, and her daughter Bonnie Sue.

Bonnie Sue was more of a shock to Scarlet, since her death was identical to Scarlet’s father’s, and that Bonnie was Scarlet’s only child. This cannot only scar a normal person for life, but Scarlet also endured the death toll of the Civil War. Throughout her nursing duties, she encountered death everywhere, such as the endless fields of wounded soldiers in Atlanta or in the depot filled with sick beds. One of the most traumatic experiences, must have been witnessing the man’s leg being amputated without any form of a pain killer. After witnessing horrors such as these, one would believe that a person in Scarlet’s position should be entitled to a little greed.

Dealing with issues like these cannot only leave a person stronger mentally, but encourage them to look forward to the coming day. Scarlet O’Hara was one such person, who was prey to the events of her genetics, her love of the Old South, and the frequent appearance of tragic death. This has made Scarlet O’Hara one of the strongest characters to grace the silver screen. Thus making Gone With the Wind one of the greatest movies of all time,due to characters like Scarlet O’Hara, and its epic story. Gone With the Wind truly is the most magnificent picture ever made.

Socrates and Platos

Socrates and Plato are two of the greatest philosophers to ever walk the Earth. Socrates, who was born in 469 BC, was the tutor of Plato, who in turn was the tutor of Aristotle. Socrates began his education as a student of Archelaus. Socrates showed a great deal of interest in the scientific theories of Anaxagoras, but he later abandoned inquiries into the physical world for a dedicated study of the development of moral character. Having served with some honour and prominence as a soldier at Delium and Amphipolis during the Peloponnesian War, Socrates occasionally partook in the political turmoil that consumed Athens after the War, then retired from active life to work as a stonemason and to raise his children with his wife, Xanthippe. After he inherited a small fortune from his father, a sculptor Sophroniscus, Socrates used this as an opportunity to give full-time attention to inventing the practice of philosophical dialogue. Socrates' philosophical desires were of obtaining definitions for moral terms such as piety, virtue and justice. He believed that which really mattered, lay beyond the realm of the senses. Socrates among other philosophers, taught their beliefs through lectures. He on the other hand, was known to converse with his students rather than lecture them. He also refused to be paid for his teachings[1].

One of his students was Plato. Plato was born in 428 BC. Plato was born to an aristocratic family in Athens. His father, Ariston, was believed to have descended from the early kings of Athens. Perictione, his mother, was distantly related to the sixth century BC lawmaker Solon. When Plato was a child, his father died, and his mother married Pyrilampes, who was an associate of the statesman Pericles. When Plato was young, he had political ambitions but he became confused by the leadership in Athens. Eventually, he became a student of Socrates and accepted his basic philosophy: the pursuit of truth through question, answers then more questions. Plato observed Socrates' death in 399 BC from the hands of the Athenian democracy. He promptly left Athens for a short time and travelled to Italy, Sicily and Egypt, perhaps in fear of his own safety[2].

Plato founded the Academy in Athens in 387 BC. The Academy, which is often said to be the first European university, gave a comprehensive curriculum, including subjects like astronomy, biology, mathematics, political theory, and philosophy. Aristotle was the Academy=s most prominent student.

In 367 BC, Plato went to Sicily to tutor Dionysus the Younger, Syracuse's newest ruler, in the art of philosophical rule. This was an attempt made by Plato to combine philosophy and practical ethics. His attempt failed. He tried again in 361 BC but met little success. The remainder of Plato=s life was spent lecturing at the Academy and writing until he died in Athens c. 347 BC at the age of 80.

In Plato's writings we discover the philosophies of not only Plato, but Socrates. Historians are left guessing at which aspects and theories were Socrates' and which were Plato's. When one reads the writings of Plato, they can pick up on very subtle differences that help to determine which ideas were who=s. If one were to read works such as The Apology, The Phaedrus or The Phaedo, one would discover an articulate eloquence wrapped among the speeches of Socrates.
He is a very elaborate speaker and very persuasive with his attention to the virtual detail in everything.

By Hera, it is a fair retreat. This plane-tree is tall and spreading; and the agnus castus, high and shady and in full blossom, fills the place with fragrance; and the spring that flows beneath the plane-tree is delightfully cool to the feet. To judge from the little votive images, the place must be sacred to Achelous and the Nymphs. How lovely and how sweet the breeze is! Its summer shrillness answers back to the chorus of the grasshoppers. But best of all is the grass, sloping gently like a pillow for our heads. My dear Phaedrus, you have been an excellent guide[3].

Socrates is also known to become very animated on the subject virtue. During the closing remarks for his defence against the charges of corrupting the youth and interfering with the religion of the city, he mentioned that if his sons were to grow up and desire money or anything else than virtue, that they should be punished[4]. To Socrates, virtue was the ultimate philosophical goal. He wanted to know how to define it, how to achieve it and to investigate the aspects and fundamentals of it. Virtue, which means moral excellence or goodness, was one of Socrates' "Ideas." These "Ideas" were moral terms in search of a definition such as piety, justice and beauty. Socrates was very enthusiastic in the study of these "Ideas" as well as discussions on the mortality of the soul. Socrates was convinced that the soul was immortal. This played a great part in his view of death and the acceptance of his own. In Plato's Crito, Lucretius and Socrates debate on the mortality of the soul where Socrates mentions that the soul that can entertain abstract and eternal ideas, must be eternal; philosophy is indeed the gradual discovery of the real world that lies beyond what the senses reveal to us; the philosopher, be learning to rely on mind rather than on body, is always "rehearsing" that final separation of soul and body which we call death[5].

Plato's Crito is a very moving and emotional dialogue, whether this is due to his alternate identity of being a poet, or to the subject matter that is beautifully presented, it is a vital piece that describes Socrates when he is perhaps, is deepest. Plato was an exceptional philosopher as well.

Plato's philosophical views were based on the theory of Forms and his theory that knowledge was attainable, which was greatly influenced by Socrates. He believed that knowledge contained two vital pieces. Firstly, knowledge must be certain and infallible and second, knowledge must have as its object that which in genuinely real, be fixed, permanent, and unchanging[6]. One side-effect of his views were that Plato rejected empiricism, the fact that knowledge is from an experience of the senses. He did not rule out propositions of such experiences but did not encourage them for, the objects of sense experience are changeable phenomena of the physical world. Therefore, experiences of the senses are not real objects. Plato's own theory of knowledge is found in the Republic, especially in his explanation of the image of the divided line and the myth of the cave. Plato uses the divided line to distinguish two levels of awareness: opinion and knowledge. Notions of the physical world, including scientific and common observations are opinions only. Some are believable and some are not, but none of them are genuine knowledge. Awareness is the higher level of knowledge for rather than sense experience, reason is used. Intellectual insights result when reason is properly used, that is certain and the objects or end results are the universal constants, the eternal Forms or things that make-up the real world[7].

The myth of the cave describes the difference between the real world and the physical world of appearances. In the cave the only visible are shadows of models, animals and objects that pass before a blazing fire. The cave contains people who are chained in the dark far-most regions of the cave. One day, one person breaks and finally stumbles onto the light of day. That person sees the real world for the first time and returns to the cave to tell the others that all what they have seen are but shadows and appearances and that the real world awaits them if they are willing to break free of their bonds[8]. The dark cave symbolizes the physical world of appearances and the outside represents the transition to the real world. This real world is full of full and perfect being, the world of Forms, which is the correct object of knowledge.

These philosophers were considered two different entities due to their difference of opinions. These "opinions" were often controversial and sometimes similar, which would be expected between a teacher and student. Socrates believed, "wisdom is knowledge, and knowing, that you know nothing"[9]. Plato believed knowledge was an infinite amount of information that was presented in the real physical world, not the real world full of experience of sensations. Socrates also believed that knowledge existed beyond the realm of the senses, just as Plato did. Plato attained his knowledge through definitions of the world, as opposed to Socrates definitions of moral terms.

These two philosophers were the tag-team champions of the world philosophising federation. They began it all with Socrates inquiring into the mind and Plato inquiring into our world. Socrates began the study of philosophy and Plato made sure that it lived on for all of history to marvel at. Along the way he also left his mark on western philosophy and taught philosophy to Aristotle, among others. Their works are immortal and are still evident in works of today. For instance, the major motion picture, The Matrix, was not just an action flick. Aside from subtle references to Christianity, Genesis and Greek Mythology, the plot is intertwined with that of Plato's, myth of the cave. Neo, Keanu Reeves character, breaks free from the bonds of a dark enslavement of mind-controlling machines to discover a "real" world, outside of the one that he had trusted and accepted as his own. The matrix represents the physical world of appearances and the "real" world, uncontrolled by the machines, represents the outside of the cave, containing the light of day.

The philosophies of Plato and Socrates are the starting point for any philosopher, who wishes to understand oneself or the world they live in. Whether they are interested in the aspect of justice in the Republic or the immortality of the soul from the Phaedo, Plato's works are the manual for intellectual thought. Their views have stood the test of time and are sure to influence our way of life for centuries to come.

[1] "Socrates." 13 Jan. 2003
[2]"Plato=s LIfe." 13 Jan. 2003.
[3]Howe Herbert M., MacKendrick Paul, AClassics in Translation: The Apology@. University of Wisconsin Press: Madison, 1980. Pp.321
[4]Ibid. Pp. 324
[5]Howe Herbert M., MacKendrick Paul, AClassics in Translation@. University of Wisconsin Press: Madison, 1980. Pp. 326
[6]"Plato=s Life." 13 Jan. 2003
[7]Howe Herbert M., MacKendrick Paul, AClassics in Translation@. University of Wisconsin Press: Madison, 1980.
[8]Howe Herbert M., MacKendrick Paul, AClassics in Translation@. University of Wisconsin Press: Madison, 1980
[9]Bill and Ted=s Excellent Adventure. Dir. Stephen Herek. Neilson Entertainment, 1989.

English Skit on One Flew Over The Cuckoo's Nest

The following was written 3 years ago for my grade 12 english class. For me, it was an excuse to yell as loud as I wanted and say "saucer people" without getting funny looks.

Bill: Straight Guy (Frank)
Richie: Police Officer
Steve: Crazed Friend of Straight Guy (Reggie)

Frank stands on the street, waiting for a bus. He checks his watch and takes a deep breath. His bus is late.

Frank: (looks up as if praying) Where is the bus?

Frank looks around and has his back to Reggie who comes running in. Reggie looks paranoid and is looking all around. He grabs Frank’s arm and spins him around.

Reggie: (frantically) Oh My God, Frank! Did you hear about the Indian who escaped from the looney bin last week?

Frank: What? What the hell are you talking about?

Reggie: The 10 foot tall Indian who broke out of the looney bin. He’s already killed 10 people and he kidnapped a polar bear!

Frank: (straight faced) That’s a terrible joke!

Reggie: No, I’m serious! I read it in the newspaper yesterday. It was front page news!

Frank: What newspaper?

Reggie: The World Newsly.

Frank: (laughing) The tabloid!?! That explains it. I thought you’d lost it for a second there.

Reggie: (upset) It’s not a tabloid. It’s a well written newspaper by top notch journalists who have documented evidence for every investigative report.

Frank: Did you memorize that from the cover? You need to get out more. Smell the air! (breaths in, exhales)

Reggie: Look, its all true! If you read the article too, you’d be worried just like me?

Frank: (sarcastically shocked) Worried? Oh my! (hands go to face) What did the article say Reggie? What did it say?

Reggie: It said that a 10 foot tall Indian, burst through the wall of the asylum. Just like the incredible hulk. Then he ran a truck off the road, killed the Mexican driver and sped off in the stolen car.

Frank: So, it’s just another escapee. Nobody bothers coming after an AWOL.

(Reggie shakes his head)

Frank: Besides he was probably one of those dumb ones. Can only walk around if you feed him.

(Reggie shakes his head)

Frank: (out of patience) Well It’s not like he killed anyone.

Reggie: (shouts) But he did! Killed 10 men! Killed a guy in the hospital to get out! Killed the Mexican! Then he killed 8 more people in the city! Painted the word Combine on the wall with their blood! (gross look on his face, paints words with his hand) It was totally gruesome and they said, he’s still on the rampage!

Frank: How come the police haven’t nabbed him yet? Wouldn’t they have tracked him down by know?

Reggie: If you read the article, Mr. Literary Masterpieces, you would have read that he’s been getting help.

Frank: Getting help?

(Reggie Nods)

Frank: From Who?

(Reggie looks around then leans in)

Reggie: (whispers) The Saucer People!

(Frank breaks out laughing. As he makes fun of Reggie, who looks deeply hurt, a policeman walks by)

Frank: Saucer People!?! OK. That’s all I need to hear! You’ve lost it!

(Frank sees the policeman)

Frank: Officer! Officer!

Cop: Why, Yes!

Frank: Have you heard anything about this escaped Indian?

Cop: Actually I have. I’ve been following the case closely.

Frank: Would you please set my friend straight? He read an article about it and now he’s gone nuts.

Cop: Well It’d be my pleasure. Well, son what did you read in the paper?

(Reggie takes a deep breath)

Reggie: (nervously yells out story as fast as he can) Well there was a giant 10 foot Indian and he burst through the wall like the hulk. ERRR! (does a Hulk pose) And then he picked this car up and threw it off the road, and then he killed the driver, and stole the car. But before he broke out he killed this guy stuffing a pillow down his throat with (slows to pronounce more clearly, while raising...) ONE FINGER so then he got to the city and he killed these 8 people with a hydro panel (makes a crushing motion with each number) 1-2-3-4-5-6-7-8 and then he took their blood and he wrote the word Combine on the wall and then he went to the zoo and let all the geese out. Nobody knows why he did what he did but he did what he did and the cops cant find him cause he’s getting help from the saucer people and he’s still out there!

During speech Frank checks his watch, rolls his eyes. The policeman is motionless. The Policeman remains silent for a moment to let it all sink in.

Cop: Hmmm. Saucer people? Killed with a hydro panel? Of course.

Reggie: SEE!

Frank: What?

Cop: Oh it’s true all right! Every word!

Frank: Really?

Cop: No! You’re friends a nutcase and he’s coming with me!

Reggie’s mouth drops, eyes wide open! He points at the cop!

Reggie: (In a low voice) Saucer Person!

The cop drags Reggie away as he pleads to Frank.

Reggie: Frank NO! ITS A SAUCER PERSON! HELP ME HELP ME!

Frank remains motionless.

Once the cop and Reggie are gone, Frank looks at his watch and says,

Frank: Where’s this damn bus!?!

THE END

The Decline of Western Civilization

Western civilization is no longer the bright, new world it once was, but a deteriorating way of life. As the western world crumbles, people will scramble trying to save every penny. Companies will fight for themselves and try to reap every dollar they can, doing whatever they can to do it. Western civilization is in a period of decline due to inflation, commercialism and censorship, which in turn, will result in a lower way of life.

Inflation is corrupting the western world by slowly draining countries of their primary resources. As a country's economic stability waivers, it is forced to export more and more of it's natural resources, resulting in a greater number of imports. ACanada=s inflation has risen 7% in the last five years. As the price of Canada's goods increase, the US, which has also had an inflation of 11%, is looking elsewhere to find its products[1]." Since Canada's imports are sold to fund the production of it's exports, high-priced imports take money away from making large amounts of quality merchandise. This results in resorting to heavy production of low-maintenance merchandise such as lumber, steel, crops and other primary resources. These primary resources are, in turn, sold to foreign countries, to maintain a steady import of high-quality products. These products must be bought in order to complete this cycle. This forces companies to heavily rely on advertisements to sell their products whenever they can.

Advertisements litter the cities of the western world and commercials pollute the airwaves and television channels. With so many advertisements out there, advertisers are beginning to push the limits of commercialism to poor taste. Today, one can find ads on cars, buildings, clothing and in the media but now, the media is being manipulated to accommodate more and more commercials. On the ever popular "Hockey Night in Canada", advertisements appear during the intros, interviews, statistic overviews and especially during the game. The shocking fact is that if somebody was to walk to that particular stadium, they would discover blank features in place of previously occupied advertisements. That is because there are certain surfaces of the building that cannot physically allow advertisements to be placed on them. Television producers have taken the liberty to digitally impose ads, posters and logos along the ice surface, and off the ice, wherever they can fit them. These ads have been known to change according to which channel is airing the program, in order to target the ads' desired demographic. As advertisers continue to target specific demographics; specific locations will be targeted. One company, which has capitalized on the system of targeted locations, is Famous Players, who have installed video screens, with non-stop digital commercials, at eye-level height above urinals and on the backs of toilet doors. If we continue on this path, advertisers are going to have to resort to desperate measures.

In the future science and marketing could be combined to create vivid, visual advertisements which could contain retinal scanners. As a person walks by, the advertisement would be able to scan the patron's eyes, which would then refer to a database of "retinal fingerprints", then give a personal product pitch; including the person's name and possibly even their last purchases at that specific place of business[2]. If advertisers continue on the path that they are, it will not only destroy the current way of life by distracting a person at their every spare moment, but it will also turn civilization into a glowing neon sign. If our cities are constantly being lit by flashy lights, covered in posters and flyers, and cluttered with useless trinkets, the lights will draw huge power from our hydro plants, trees will be cut down to create these flyers and garbage dumps will be filled with useless garbage. Once the limits of advertising have been pushed, the world will begin to deteriorate. The only control over this, is limiting the limits.

Society is a fragile environment that should be dealt with carefully. Certain things should be allowed and certain things should be kept out. Censorship is an essential tool in the longevity of society as the protection from dangerous or offensive material, but if censorship is pushed too far, it questions the aspect of free speech and the right to express oneself. In the small city of Lombardy, located in eastern Ontario, a recent uproar emerged when the word "gun" was banned from a Grade 1 spelling test. The parents, whom are pacifists, said the word was "synonymous with death[3]." If censorship, such as this, is allowed to run ramped among the west, it will not only inhibit the growth of intellectual thought, and therefore, disable human kind from evolving, but it will dampen the future by creating a past with so many censored patches, that history could become sceptical. Censorship would prohibit all the forms of entertainment, scientific discovery and mathematical ingenuity, by allowing the world to with go the dangerous material that could possibly be a miraculous breakthrough, or masterpiece of art.

Western civilization is in a period of decline due to inflation, commercialism and censorship, which in turn, will result in a lower way of life. As the West develops a lower way of life, it will either strengthen the other countries around it or poison the rest of the world by foul trade and poor craftsmanship. Once the world has been poisoned by a faltering western world, it will slowly disappear into another age of darkness.

BIBLIOGRAPHY
1. Saxty, Phil. ACanadian GDP.@ Online Essays. 2 Feb. 2003. Student Essays. 12 Feb. 2003.

2. Minority Report. Dir. Steven Spielberg. Perf. Tom Cruise, Colin Farrell and Max Von Sydow. Dreamworks, 2002.
3. Avery, Roberta. ASchool=s Ban On Word >Gun= Causes Uproar.@ The Toronto Star 13 Feb 2003: 4
[1]Phil, Saxty. ACanadian GDP.@ Online Essays. 2 Feb. 2003. Student Essays. 12 Feb. 2003.
[2]Minority Report. Dir. Steven Spielberg. Perf. Tom Cruise, Colin Farrell and Max Von Sydow. Dreamworks, 2002.
[3]Roberta Avery. ASchool=s Ban On Word >Gun= Causes Uproar.@ The Toronto Star 13 Feb 2003: 4

The Beauty of Youth in The Yearling

At one point or another in every person’s life, they look back at their childhood, and wish that they were young again. Although, it is not possible, there are ways to recreate that childhood to fill one’s desire. The Yearling has stood the test of time as a classic novel, and a gateway to the child inside. Marjorie Kinnan Rawlings has painted such a vivid tapestry of characters and emotions, that the reader becomes lost in the Florida Scrub during the late 19th century. The Yearling truly is, a book for all ages.

Although The Yearling can touch the heart of any person, the person must first be able to read the novel. The biggest drawback of the novel is the authentic slang spoken by each character. Although each character is presented in an appealing and believable manner, the act of reading a wonderful novel, turns into deciphering enemy code. Marjorie Kinnan Rawlings was very thorough in her portrayal of Cross Creek’s inhabitants1. Throughout the novel, the reader is challenged to understand the complex grammar, spoken by the characters. One such example of poor grammatical structure occurs when Penny asks Jody, "Son, how come that water to feel so good to you?"2 Even though this sentence is comprehendible, it is poorly put together.

Another occasion where the language fails to correct itself, is when Jody is asked to do his grammar schoolwork. Once Jody is asked where is speller is, he replies, "Mebbe the roaches has ate it.3" To which Ma replies, "‘You best study your grammar, too,’ she said. ‘You’d ought to say, ‘The roaches has eat it.’4" To further the struggle of communication in this novel, Rawlings decided to implement authentic accents to each character. This results in the creation of words such as "ary" instead of any, "whop" instead of whoop and "creetur" instead of creature. This not only makes it difficult to understand the characters, but also slows down the reader’s pace. The narrator, on the other hand, is written in grammatically correct English. This not only aids in the description of certain objects, which help decipher certain slang, but also enforces the beauty of the novel. From cover to cover, the reader will not only find beautiful phrases but words of wisdom.

Contained in The Yearling are many beautiful speeches and lines that clearly set the mood of the Florida scrub and it’s inhabitants. A wonderful example of the beauty that Rawlings creates, occurs when Jody observes Baxter Island during dusk and states that "The world was shadow, melting into shadow.5"

Although simple, this sentence capture the mind. Also, incidents occur where attention is drawn to the simple analogies mentioned by the characters or narrator. Once such analogy is said by the community’s doctor who comments on man’s willing nature to return home. He states, "That’s man-nature, Ma’am. Three things bring a man home– his bed, his woman and his dinner."6

Rawlings novel is a shining example of environmental literature. Throughout the book, Rawlings makes reference after reference to nature, through direct relation or by using similes, metaphors and personification. By connecting the characters with their surroundings, the reader is given the sense that everything is intertwined; ""his curiosity bubbled like a spring."7 Another example of Rawlings feeling of universality is through the character’s actual names. By looking at the characters that "surround" the Baxter family, we find the Forresters, their closest neighbours. The Forresters are a large family of "mountainous men8" that are all excellent hunters and gatherers. The family consists of the eldest Ma and Pa Forrester, followed by the sons. Out of this family, the key characters, with whom the Baxters’ interact, are Buck, Mill-Wheel, Lem, short for Lemming, and Fodder-wing. Fodder-wing is a small crippled boy, who tried to fly with wings made of fodder, but fell, like Icarus, to the ground.

These examples help build the author’s sense of a co-existence between Man and Nature, as opposed to the recurring theme of Man versus Nature. Rawlings even paralleled these two worlds through key images found throughout the novel. At one point in the novel, Buck Forrester leaves Baxter Island and Jody is forced to take over most of the work. As Jody heads off to get some water from the sink hole, Penny says, "Don’t try to tote ‘em plumb full. A yearling ain’t got a buck’s strength."9 This quote is not only brilliant in it’s ironic reference to the title, but also in it’s play on Buck Forrester’s name. Through first person narration, the reader is given, not only a look into the mind of each character, but also a look into the thriving environment. This, in return, becomes Rawlings most interesting aspect of the novel. From the very beginning, the reader is taken on a small trip with Jody as he wanders throughout the scrub. It is here that the reader is given a clear sign of foreshadowing, as to the level of interaction between Man and Nature for the rest of the novel.

"The dusky glen laid cool hands on him. He rolled up the hems of his blue denim breeches and stepped with bare dirty feet into the shallow spring. His toes sunk into the sand. It oozed
softly between them and over his bony ankles. The water was so cold that for a moment it burned his skin. Then it made a rippling sound, flowing past his pipe-stem legs, and was entirely delicious."10

Through passages such as this, Rawlings is able to capture the reader through pure realism, by detailing her work with simple yet relevant descriptions. This makes it easier for the reader to place themselves in the novel. Rawlings also creates a romantic environments by vividly describing the wild. Penny and Jody’s discovery of the flock of whooping cranes dancing and singing, is a wonderful example.

"The rhythm was irregular, like the dance. The other birds were in a circle. In the heart of the circle, several moved counter-clock-wise. The musicians made their music. The dancers raised their wings and lifted their feet, first one and then the other. They sunk again. They moved
soundlessly, part awkwardness, part grace. The dance was solemn. Wings fluttered, rising and falling like out-stretched arms."11

Events like these, reinforce the theme of balance and co-existence between Man and Nature, and their daily interactions. In The Yearling, however, these motifs are used to accentuate the main theme of maturation. The novel follows the slow growth of Jody. This development is also paralleled with the growth of his adopted fawn, named Flag. As the novel progresses, the reader is shown the general progression of Jody and Flag’s transition from childhood to adulthood. One specific image in the novel, "the boy’s eyes were as bright as the fawn’s."12, clearly establish their bond from the beginning of their maturation. As the novel progresses, the reader finds that the direction of detail begins to change. In the beginning of the novel, certain emphasis is placed on Jody’s desire to wander, his curiosity for the world and his innocence. As Jody matures, Rawlings begins to focus on the harsher, more delicate matters of life, such as death, work and pain. A prime example of Jody’s advancement, is his confrontation with death. While hunting, Jody is scared stiff at the sight of Old Slewfoot and Old Julia fighting. He later begins to transfix himself with thoughts of death as they prepare to store away food for winter: "Again Jody marveled at the metamorphosis of live creatures in whom he had felt interest and sympathy, into cold flesh that made acceptable food."13 Through, certain motifs and images, Marjorie Kinnan Rawlings is able to paint a clear picture of a child’s innocence, which teaches the reader how important it is to live their childhood to it’s fullest.

This novel was a silver lining in the dark cloud that hung over the world during 1938.While war was breaking out in Europe, with the devastation brought on by "Crystal Night" in Berlin, the Depression was still being felt throughout the rest of the world. In 1938, there were eight million jobless people in the United States.14 "The Yearling," however, struck a chord with the disenchanted, with it’s tale of a young boy and the hardships he endured. Marjorie Kinnan Rawlings was awarded the Pulitzer Prize in 1939, the same year that the world began to "follow the yellow-brick road."15 Rawlings book was adored by the public, and was kept as a children’s classic for years to come, even spawning a motion picture in 1946, which won an Academy Award for Cinematography, Art Direction and an Honourary Oscar for newcomer Claude Jarman, Jr. Now, however, The Yearling has turned from Pulitzer Prize winner, to shelf-filler. With other animal-oriented, children’s tales such as Fred Gipson’s Old Yeller and Anne Sewell’s Black Beauty, The Yearling became hidden amongst the scrub. In the year that Orson Welles shocked the world with his infamous, radio broadcast, the literary world found that people like stories about kids with pets. Still, The Yearling remains one of the trailblazers, for abominations such as "Air Bud", "Monkey Trouble" and "Free Willy".

Marjorie Kinnan Rawlings wrote an eerily authentic tale of the Florida scrub during the late 19th century. It is evident that after two novels and fifteen short stories, Rawlings had developed a passion for writing. We see this passion through her detailed descriptions of the locals, who are portrayed as certifiable "hicks", and their habits. One darling quote describing their "hick" nature regards Ma Forrester, where Buck says "...bear cracklin’s and sweet pertaters rests so easy on her gums. Why, them four teeth o’ hers could chomp on ‘em all day."16

The reader sees that during the 19th century, America was a very calm, social place. It seems that the farming life consisted of work, food, telling tales, and more food. An excellent example of the atmosphere of the Florida scrub is found when Jody and Penny visit the Forresters. In the middle of the night, all of the Forrester men run into Jody’s room naked to hide, and eventually begin to have a jamboree until sunrise. This was not a big deal since people in the scrub were closer to their neighbours, as compared to city neighbours. Grandma Hutto explains this phenomenon to the reader when she says, "Well, folks that seems like kin-folks, is kin-folks."17 America consisted of communities where everybody knew everybody else. One instance, which also displays the locals’ uncanny desire to tell stories, is when Penny tells the Forresters a story about their father, Trouble Forrester, and how he "raised pure hell with a feather bed."18 Penny is also found telling tales to Jody during the hurricane about his very first dog that could outsmart foxes.

Throughout the novel, the reader is also hit with the current financial state of the working man. Penny, accordingly, has barely any money. They must forge, and scrape by to make ends meat. By using every resource possible they can to continue. When the Baxters are forced to kill most of their hogs, for fear of more bear attacks, Rawlings explains how every part of the body is used.

"Nothing was wasted, not even the entrails. The meat itself was dressed out into hams and shoulders, side-meat and belly-bacon ....there remained the hocks and fee, which would be pickled in brine; the ribs and backbones would be fried and put down in crocks under a protective layer of lard; the heads and livers and kidneys and hearts which would be
made into head-cheese.....trimmings of lean meat would be ground into sausage.....fat would be tried out in washpot....lard ...for shortening in cornbread....stomachs and intestines would be....used for casings in which the sausage meat would be stuffed...only one part, like a windpipe, seemed without use and was tossed away."19

By peering into the past, the reader is shown that life was much simpler and consisted of a more sound lifestyle. Waking early, eating hearty meals, walking everywhere, becoming one with nature and one’s neighbours, will lead a person to peace of mind, which is lost, too often enough, through one’s own maturation.

"Enchantment lies in different things for each of us. For me, it is in this: to step out of the bright sunlight into the shade of oranges trees; to walk under the arched canopy of their jadelike
leaves; to see the long aisles of lichened trunks stretch ahead in a geometric rhythm; to feel the mystery of a seclusion that yet has shafts of light striking through it. This is the essence of an ancient and secret magic."20
- Marjorie Kinnan Rawlings

The Lorenz Experiment: Chaos In All It's Glory

In Chaos: Making A New Science, James Gleick outlines the evolution of the chaos theory. By reviewing specific experiments, from numerous fields, the reader is given a comprehensive introduction to the fundamentals of chaos. These experiments are introduced with a brief overview of the scientist who conducted the experiment, and relates their discoveries to prior breakthroughs. The novel starts out with the beginning of the chaos theory with Edward Lorenz and his Lorenz Attractor, and then continues with other chaotic developments such as: Smale’s horseshoe, fractals and bifurcations. Gleick also details the progression of disorder in chemistry, biology, ecology, astronomy, meteorology and geometry.

One of the most fundamental experiments in Chaos is Lorenz’s waterwheel. To prove that chaotic systems were rooted on a specific pattern, Lorenz constructed a wheel consisting of eight buckets, each with a small hole. Water was fed into the system at the top, through a constant drip. Lorenz figured that if the source of water remained unvaried, a steady rotation and pattern would develop. This pattern would either consist of a steady rotation in one direction, or a repeated oscillation. He predicted that if the water flow was too slow, the bucket would never fill fast enough, to lower and rotate the wheel. If the flow was too fast, the wheel would rotate too quickly. This would not allow enough time for the empty buckets to fill, and result in the heavier buckets gathering enough speed to rotate further. This imbalance of buckets would cause the wheel to reverse direction, and if the water was pumped at the correct rate, the wheel would rotate at a constant speed. Lorenz observed through many tests, that if the rate of water was increased, and fixed, the wheel would reverse itself but never fit into a repeating pattern.

This observation strayed from the knowledge of simple Newtonian physics, and led Lorenz to develop three equations, with three variables, that outlined his experiment. The results of these equations were used as co-ordinates to plot a three-dimensional graph. These numbers created a sequential, infinitely complex line, which is now known as the “Lorenz Attractor” (p.29). This concept outlined the basic theory of chaos. Since the line never overlaps itself, the system never has an exact moment recur. The Lorenz Attractor is also known as The Butterfly Effect, due to the double loop image that is produced.
This infinitely complex line proved that chaos was present in a predictable system. Since the line never returns to it origin, a cycle is never completed. Without a period for the cycle to repeat in, predictions can never be made. This proved that while a system may contain some order, it is not enough to base any assumptions. The Lorenz waterwheel was an experiment that proved the fundamental properties of instability.

Marxist Criticism

In the cyclical evolution of man, art prevails as one of the most insightful tools of reviewing history. Marxist criticism allows us to analyze this art in a more specific and causal method, looking at, not only the work, but the ideological world’s literary influence. In Terry Eagleton’s “Marxist Criticism,” we are shown a specific process of literary analysis. To understand this complex process, it is vital to grasp the basic principles of Marxist theory.

In its simplest forms, Marxist criticism is concerned with not only the text of an article, but the ideology surrounding it. Critics tend to focus on the method of publication, the form, style and meaning, as well as the exposure of the lower class. It is here that the true nature of Marxism begins to reveal itself. The process begins here, with the framework of mankind, or man, in specific.

The creation of ideas, concepts and consciousness are all intertwined with the material intercourse, or physical interaction, of man. These interactions, or relations, are void of any connection to mind or spirit. By looking at what men conceive and imagine, or through descriptions of their thought process, it is impossible to arrive at a model of the “corporeal” man. This model must be obtained strictly from material interactions. Once this model is obtained, it is then possible to determine man’s thoughts, imagination and visualizations. “Consciousness does not determine life; life determines consciousness.” (Marx, Engels. The German Ideology.)

Once the model of man has been created, it is then necessary, to observe his actions in society. According to Marxist theory, the relations of men are natural, fixed and independent of man’s will. These interactions relate to a certain stage of development in their naturalistic influences, or forces. In other words, man is subjected to necessary, predetermined actions that shape his consciousness. It is these “relations of production” that form the economic structure of society, or the economic “base.” From here the “superstructure” is built, which sociological aspects consist of the legal, political, religious, aesthetic, and so forth.

It is also important to acknowledge the process of how these actions are performed. The conditions of their material lives shape their political, intellectual and social processes. This reinforces the earlier idea, by stating; their being determines their consciousness (Marx. A Contribution to the Critique of Political Economy.). This means that their actions produce their interactions with the rest of society. An example of the constant rebuilding of relations is evident through the different ideologies of history. During the middle ages, the feudal system was developed as one of the prominent ideals, where serfs were given land in exchange for their labour. For new developments to arise, the previous developments must be taken into account. This resulted in the production of the capital system, where the aristocratic owned the means of production, and paid the proletariats in funds, instead of land. These are prime examples of the forces of man. It is these forces, and relations, between classes, that form the base. This base gives root to a new superstructure and new ideals, which in turn, works towards another force, and consequently, a new society.

It is in this superstructure that Marxist theory is relevant. Critics of Marxism are concerned with not only the elements of this superstructure, but the exact combination. This combination leads to a particular ideology, which not only delegates the power of the ruling class, but can create conflict within society, leading to new forces.

One of these elements is aesthetics, or art. As a staple in the complex structure of society and the social perception of society, it can shed light on the ruling of one class over another, or it can deny it. Whether they support or deflate the ideology of the time, they are relevant to the dominant perception, or social mentality. This is where art breaks free from the rest of the group, for only art can depict a society free of boundaries. Politics and law can describe a certain time, but art allows us to experience that point in history without any restraints. Religious documents must abide by the church’s ordain or else they won’t be accepted by the clergy. Political documents tend to mimic the current ideals, and legal documents simply support the ideas of the time.

Marx stated that art was one of the few elements that could develop, independent, of the others, including the base. He noted, that at certain times, the production of art was not relative to the production of society, and that certain “highlights” in artistic history were only possible at certain historical points. For this theory, he chose the Greeks as his example. For an undeveloped society, they were able to produce some of the most important pieces of aesthetic history. He believed that to understand this anomaly, one must research more than the art itself, but the ideology of the time.

In Marx’s Grundrisse, he stated that man is fascinated with historical art not because they were able to produce such art in a primitive society, but that their society was the cause. Marx’s Grundrisse was written between The Communist Manifesto and the first volume of Capital. Before the influences of labour driven ideology’s, such as capitalism, feudalism and socialism, Greek society was more concerned with quality as opposed to quantity. These ideal conditions are also what lend to the appreciation of such art. Since these conditions are in the past, it is impossible to revisit them. This led Marx to believe that mankind’s love for ancient art was simply nostalgic. Critics were only interested in historic works, because it paralleled a return to humanity's childhood. This theory was, needless to say, severely criticized by many. Yet, it does hold realistic principles. These works were necessary in the production of mankind’s present development. Every work that is examined has evident roots in some prior text. Many revolutionary works are based on prior works. Virginia Woolf’s To The Lighthouse, was based on Homer’s Odyssey, but focused on the idea of a mother as the hero in a battle. Marx, himself, was inspired by the works of Georg Wilhelm Friedrich Hegel, which eventually led him to collaborate with Friedrich Engels. Also, while Terry Eagleton was studying at Cambridge, he became a student of Raymond Williams, who was a Marxist literary critic. The two bonded through their rural working-class upbringing, and after reading Williams articles, Eagleton too became a Marxist critic.

By examining the past, Marxist critics began to apply the analysis of history into their analysis of current media. This is the basis of Eagleton’s method of analysis, where the material’s symbols, meaning, form, style and structure, are compared with such elements as: the author’s class position, the ideological forms, spirituality, philosophy, techniques of literary production and aesthetic theory. While all of these points are necessary, Eagleton emphasizes that the link between text and ideology is a crucial factor. One example used in Marxist Criticism, was T.S. Eliot’s The Waste Land. Eagleton stated that to say The Waste Land was about the spiritual emptiness of the middle class after the First World War is not enough. To truly understand T.S. Eliot’s poem, in the Marxist literary sense, it is necessary to take into account: Eliot as an American aristocrat in England, the fact that he was an avant-garde poet, his beliefs in Buddhism and Christianity, and a long list of other variables.

Marxists consider the term ideology to signify “the way men live out their roles in class-society, the values, ideas and images which tie them to their social functions and so prevent them from a true knowledge of society as a whole.” (Eagleton, Marxist Criticism.) Eagleton mentions that there are two, extreme ways to relate art to ideology.
The dominant ideals can either be reflected in the art, or challenged. If it is challenged, it gives the work a sense of eternal meaning, as future readers can reflect on the conflicts. One such example occurred during the mid 19th century, when romanticism began to offend certain artists, and eventually led to the dawn of the realist movement. These two poles lead the critic to assume a middle ground where we turn to ideology for scientific, or conceptual knowledge, and to art for experience, as we feel the nature of the work.

This unique method of analysis enables critics to perceive art with more accuracy, involving the sociological and historical causes. Once these agents are understood, the work can be analyzed through literary means, to achieve a fuller understanding and appreciation for the work, and all of the contributing factors.

The Importance of Chapter Seven In Chinua Achebe’s Things Fall Apart

The colonization of Nigeria by the British during the late nineteenth century brought an end to the cultural freedom of Igbo people. The invasion of the white man in Africa destroyed most of the cultural history of Nigeria. Chinua Achebe tries to reconstruct this culture for the post-colonial Nigerians with his novel Things Fall Apart. Chapter seven is significant to the themes of the novel as it examines the Igbo concept of masculinity and the father-son relationship, while also furthering the plot with key foreshadowing scenes. By examining the key points in this particular chapter, the reader will obtain a greater understanding of the novel, and how Achebe constructs his narrative.

In Chinua Achebe’s Things Fall Apart, one of the most important themes in the novel is the Igbo depiction of masculinity. The Igbo believe a strong man to be a great man. Okonkwo deeply respects the traditions and customs of his tribe, and ensures that he is observed to be a strong, confident individual. He also wishes his son, Nwoye, to be “a tough young man capable of ruling his father’s household when he [is] dead…” (37). Chapter seven helps convey this theme through the use of proverbs as well as character development. Nwoye begins to display the masculine traits that his father pursues, by yearning to prove himself with the acceptance of traditionally masculine jobs like cutting wood. He also begins to disapprove of women and the childish tales they tell. This is relevant because it shows that Nwoye is finding his masculinity by oppressing those who are weaker than him, much like the white man exerts power over the Igbo people, and how his father controls those around him. Okonkwo believes that his son has finally proved himself, but once Nwoye realizes Ikemufuna is dead, he bursts into tears. Okonkwo is disgusted with this display of weakness and beats him. He sees crying as a feminine quality, and considers men to be above women. “No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man” (37). Okonkwo’s thoughts about the role of women are a powerful image that reinforces his desire for prestige, power and respect, which he chooses to obtain through his masculinity.

The relationship between father and son is a significant aspect to the novel’s overall development. Okonkwo’s fear of turning into Unoka plays a major role in his upbringing of Nwoye, and his influence on Ikemufuna. Chapter seven is a turning point for the interaction of these three characters. In this chapter, Okonkwo begins to show pride in Nwoye as he starts to take a more masculine role in the compound. This is mostly due to the guidance of Ikemufuna, and the great bond these two sons have created. Ikemufuna’s compassion towards others allows him to become the paternal figure that Nwoye has never had, and Okonkwo cannot be. Okonkwo recognizes Ikemufuna’s influence on Nwoye, and invites both of them to eat in his obi, which is a great privilege. This action of allowing the two young men to eat with him, not only shows Okonkwo’s approval of his son, but it also expresses Okonkwo’s acceptance of Ikemufuna as a son. Ikemufuna also realizes this bond with Okonkwo, as he is walking through the forest. “He could hardly imagine that Okonkwo was not his real father” (42). The fact that the impostance of their relationship is stated explicitly Ikemufuna enhances the gravity of Okonkwo’s actions. After Ikemufuna is struck by the first blow, he runs to Okonkwo begging for help, calling him “father.” Okonkwo delivers the fatal blow, killing Ikemufuna, so as not to appear weak in front of the other men. Once Nwoye realizes that Ikemufuna has been killed, he no longer trusts his father. This causes a rift between the two men and forces Nwoye to question his father and his excessive masculinity. This rejection of Okonkwo’s way of life creates an ironic parallel to Okonkwo’s rejection of his father, Unoka, as it shows that Okonkwo has inadvertently completed his goal. He has raised his son to be just like his father, as they both reject their fathers’ way of life.

Things Fall Apart is a well-crafted book that guides the reader to certain expectations and emotions. This is done as Achebe constructs certain plot elements that foreshadow later climaxes. Chapter seven contains two key events that contribute to many integral scenes in the latter part of the book. As Okonkwo, Nwoye and Ikemufuna are repairing the outer wall of the compound, the locusts arrive in Umuofia. In Igbo culture the locusts are not perceived as a bad omen, but as a tasty gift that arrives only once every generation. The locusts first come in a small group, and then a large swarm invades Umuofia. The swarm of locusts represents the later arrival of the white man, who first sent a messenger, and was followed by a larger group. This is confirmed in the second part of the novel: “… white men were on their way. They were locusts, it said, that first man was their harbinger sent to explore the terrain” (98). By the direct use of the word locust this is a clear link to the scene in chapter seven. The other major event in chapter seven that leads into future conflicts is the death of Ikemufuna. Once Nwoye has learned of Ikemufuna’s death he is reminded of when he overheard a baby crying from the Evil woods. These two instances force Nwoye to question his culture and its customs. Nwoye later refuses the Igbo and joins the Christian missionaries. The death of Ikemufuna also affects Okonkwo and the rest of the tribe. Okonkwo’s fatal blow delivered after he has called him “father,” displays Okonkwo’s ability to severe a paternal connection in order to maintain his self image. This resonates in his disowning of Nwoye after he joins the Christians and changes his name to Isaac. Okonkwo also creates a rift between himself and the clan after he disobeys advice given to him by Ogbeufi. He states it would be wrong for Okonkwo to go against traditions and play a hand in the death of Ikemufuna since, “He calls you father” (41). Okonkwo has already disobeyed a clan tradition by beating Ojiugo during the Week of Peace. This brutal act is a stepping stone in Okonkwo’s inevitable expulsion from the tribe. This death also hints at Nwoye’s later choice to join the missionaries as Ikemefuna is sacrificed for the good of the clan, and to prevent a future war between the two tribes.


Once the reader has fully grasped the concepts outlined in chapter seven, they will be able to analyze Chinua Achebe’s Things Fall Apart, with greater depth. The seventh chapter contains pertinent information to the development of the plot leading up to the climax in the latter part of the novel, as well as clearly displaying strong examples of masculinity and the paternal figure, as central themes in the novel. Chapter seven plays a pivotal role in the overall narrative of the novel, which displays the Igbo way of life, and how it was destroyed by the invasion of the white man.

title of the day

In Chaos: Making A New Science, James Gleick outlines the evolution of the chaos theory. By reviewing specific experiments, from numerous fields, the reader is given a comprehensive introduction to the fundamentals of chaos. These experiments are introduced with a brief overview of the scientist who conducted the experiment, and relates their discoveries to prior breakthroughs. The novel starts out with the beginning of the chaos theory with Edward Lorenz and his Lorenz Attractor, and then continues with other chaotic developments such as: Smale’s horseshoe, fractals and bifurcations. Gleick also details the progression of disorder in chemistry, biology, ecology, astronomy, meteorology and geometry.

One of the most fundamental experiments in Chaos is Lorenz’s waterwheel. To prove that chaotic systems were rooted on a specific pattern, Lorenz constructed a wheel consisting of eight buckets, each with a small hole. Water was fed into the system at the top, through a constant drip. Lorenz figured that if the source of water remained unvaried, a steady rotation and pattern would develop. This pattern would either consist of a steady rotation in one direction, or a repeated oscillation. He predicted that if the water flow was too slow, the bucket would never fill fast enough, to lower and rotate the wheel. If the flow was too fast, the wheel would rotate too quickly. This would not allow enough time for the empty buckets to fill, and result in the heavier buckets gathering enough speed to rotate further. This imbalance of buckets would cause the wheel to reverse direction, and if the water was pumped at the correct rate, the wheel would rotate at a constant speed. Lorenz observed through many tests, that if the rate of water was increased, and fixed, the wheel would reverse itself but never fit into a repeating pattern.

This observation strayed from the knowledge of simple Newtonian physics, and led Lorenz to develop three equations, with three variables, that outlined his experiment. The results of these equations were used as co-ordinates to plot a three-dimensional graph. These numbers created a sequential, infinitely complex line, which is now known as the “Lorenz Attractor” (p.29). This concept outlined the basic theory of chaos. Since the line never overlaps itself, the system never has an exact moment recur. The Lorenz Attractor is also known as The Butterfly Effect, due to the double loop image that is produced.

This infinitely complex line proved that chaos was present in a predictable system. Since the line never returns to it origin, a cycle is never completed. Without a period for the cycle to repeat in, predictions can never be made. This proved that while a system may contain some order, it is not enough to base any assumptions. The Lorenz waterwheel was an experiment that proved the fundamental properties of instability.