American Psycho vs American So essays

American Psycho versus American So expositions American Psycho versus American culture Executive Mary Harrons American Psycho, depicts a man who shows up socially, monetarily, and socially effective to the outside world. Be that as it may, a similar culture that he endeavors to vanquish appears to lead him to loathsome demonstrations of brutality. The negligible thought of submitting the demonstrations of viciousness shows the defeats of our present society. A portion of these defeats might be loss of regard for other people, and a cash driven mindset. Driven by Greed, Harrons Patrick Bateman is persistently taking a stab at enhancements in his physical appearance, money related/economic wellbeing, and manliness. This persistent requirement for development and want for flawlessness by Patrick reflects our American hard working attitude. American Psychos Patrick delineates how his financial and social height can cover his sequential executioner mindset. In a scene where he talks about film audits with his secretary while holding a nailgun to the rear of her head. She has no clue about the pneumatic nailer and thinks he is an ordinary, normal individual in view of his high economic wellbeing. As he draws ladies back to his extravagant loft, he is utilizing his cash and pleasant things as an apparatus to submit these demonstrations of brutality. This amusing bit of a keeps an eye on attitude identifies with how what Newitz alludes to as financial execution uneasiness could drive somebody to do abnormal things because of a dread of flaw. The enthusiasm of viewing the film of sequential homicides may identify with a madness brought about by our own way of life. Our entrepreneur society, in spite of the fact that prompts some monetarily fruitful individuals, may have profound enthusiastic disadvantages to those that decide to take an interest in its workforce. The book Mythologies of Violence in Postmodern Media, altered by Christopher Sharrett talks about a longing to expend boundlessly that is available in our current financial societys mind. This requirement for things, for example, costly vehicles, and decent houses intelligently lea... <!

Explain what you believe is Orwells opinion of communism. essays

Clarify what you accept is Orwells assessment of socialism. expositions The tale Animal Farm, composed by George Orwell, is a parody of the Russian insurgency and is composed as a tale. Orwell utilizes genuine characters and occasions of the unrest to base the story and its characters on. The epic depicts Orwells assessment of socialism through the moves and occasions that make place on a ranch and their results. He likewise shows how effectively private enterprise can self-destruct. He shows that neither free enterprise nor socialism can ever work for everybody and a few people will consistently endure. Orwell outlines how, since socialism can never work, Stalin came to control. He shows that individuals will consistently be normally ravenous and exploit places of intensity. Animal homestead is composed with images to speak to different gatherings and people who had an influence in the Russian upset. This makes it straightforward for all ages, however is as yet complex enough to keep all ages intrigued. The primary sections of Animal Farm are proposed to show Orwells assessment on private enterprise. It is implied that Manor Farm was once run and the sum total of what animals had been dealt with conventionally by Mr Jones. As of late the ranch has fallen upon harder occasions and a large number of the yields are coming up short. The first to endure the outcomes are the creatures. This is an immediate portrayal of the incredible melancholy of the 1930s. Orwell makes his sentiments on the Czar, spoke to in the book by man, extremely clear through Old Majors discourse; Man is the main animal that expends without creating. He doesn't give milk, he doesn't lay eggs, he is too feeble to even consider pulling the furrow, he can't run quick enough to get bunnies. However he is ruler of the considerable number of creatures. He sets them to work, he offers back to them the absolute minimum that will keep them from starving and the rest he saves for himself. In Animal Farm Jones has taken up v ery substantial drinking and no longer appears to truly think about the homestead. This shows Orwel... <!

The Fantasy Worldbuilding Checklist Bring Your Literary Universe to Life

The Fantasy Worldbuilding Checklist Bring Your Literary Universe to Life Whether youre into the intricately complex high fantasy of The Lord of the Rings or you prefer just a dash of fantasy in your urban story setting, the possibilities and options of creating a stellar story that whisks your readers away to another time, realm, dimension, or universe are, truly, endless.However, there are rules. Meh, nix rules per se, although Im certain there are plenty of dedicated, well-read readers and writers of fantasy who would argue that there are, indeed, ironclad laws that accompany any good fantasy story. There are storytelling and worldbuilding elements your reader will expect, either based on their previous readings of fantasy or simply an unconscious expectation of the basic elements of storytelling, just with a fantasy spin.Here, Ill detail for you some of the top elements to consider when youre building your fantasy worldâ€"or realm, dominion, universe, planet, or ecosphereâ€"to life.DescriptionI know. The dreaded D word most writers fear, simply because it can be downright daunting and tiresome, but arguably the most important part of world-building, and thats why Im starting with it. A lot of writers struggle with description because theres a delicate balance that must be achieved, that perfect midway point between not nearly enough and entirely too much. Though most can agree that the aforementioned Lord of the Rings by J.R.R. Tolkien is a fantasy genre cornerstone, it gets as much flak for its lengthy descriptions as it does recognition for its compelling characters and richness of Middle Earth.Perhaps your reader doesnt need to know the species of the trees that dot your plains, or how sewage systems run in your world. They may not need to know that the enormous tapestry hanging in the great hall of your realm was stitched together by ninety-nine tiny, needle-bearing fairiesâ€"then again, if its important to the storyline and to your main characters journey, maybe they do. Maybe that tapestry is an important key to your hero w inning the day, and the secrets they need are kept by those fairies.If (and only if) its important to the storyline, include detailed description. Photo by Marko Blaževic on UnsplashPaint vivid pictures about the world your hero touches because its a world your reader has never visited before. But dont bog down the story and your readers imagination backpack with items they dont need and will only weigh them down on the climb up the mountainside of your story to the climax. Ever read a book that spends a great deal of time on a certain character, place, or item, and then you never read about it again? That would be considered too much unnecessary detail, and chances are, it confused or maybe even frustrated you. Both thingsâ€"confusion and frustrationâ€"are things you want to avoid making your reader feel at all costs. But if you describe a certain character, place, or item and it reappears to play a pivotal part in your heros journey, well done!CharactersVying for the number-one t he most important component of your story are the characters in it. Whos your hero? From where do they hail? Are they rich or poor? Commoner or noble? Do they have powers and/or magic? If so, how does that affect them? What do they look like and how do they dress?Just as important is the supporting cast. Who are your heros friends? Are they human? What other races of creatures and beings live in this world?Whos the villain? Is it an invading force from another realm? Another dimension? An evil, spiritual force? Dont make your villain just a cliché mustache-twirler. Give your villain some depth. Consider what your villain is fighting for as well, and why. Give them as much agency to do their Big Baddie thing as youre giving your hero to save the kingdom, the world, or even just the day.MagicSpeaking of magic, this is a huge aspect of fantasy. Its what sets fantasyâ€"low, high, urbanâ€"apart from other genres of fiction. Magic is, well, magical, but it comes in many different forms. Elemental magic, black magic, white magic. Consider what this might look like in your world.You should always consider what magic might look like in your world. Photo by Rhii Photography on UnsplashConsider also the rules of this magic. Every type of magic has a cost. Perhaps thats a physical deficit to your hero or a mental one. Perhaps every time they shoot a fireball from their hands, a tiny troll explodes. Balance applies to magic in a big way, and it makes the story more interesting. If your hero can lift waggle their finger and decimate their enemy in ten seconds without breaking a sweat, whats the point of the epic journey?Social statusAll societies have a social structure and class of some sortâ€"unless its total anarchy! Where does your world lie, specifically the one your hero is in? Is it a fair society where the classes are about equal, or is it a kingdom, with nobility and royalty? Consider where your hero would best be placed inside the frame of their journey. Class do es matter here, as it will directly influence your heros resources.LawsConsider the laws that govern your story. Similar to magic having rules and a cost, the world your hero lives in should have both, as well. How is the hero being oppressed in their society, or what outside force is oppressing the society they must save? If the oppression is occurring within the society, what are the laws that are holding the hero down or back? How does it affect everyday life?GeographyWhere does your hero live? Where does the story take place? Whats the climate like there? It could be as small as a palace, or as big as an entire world. However, keep in mind that if the story is set in one kingdom inside a large world, and only that one kingdom, describing the rest of the world doesnt really serve the story if it doesnt influence the heros journey. Remember that metaphor from earlier about not weighing down your readers imagination backpack during their trek up the mountainside of your story? Sure , it might be interesting for the reader to know that theres a land of ice to the north, a desert to the south, and water on both sides, but unless those are places your character will visit as part of their journey, its probably okay not to spend more than a few sentences at most mentioning them.If your character will be visiting specific geography, its okay to explain that geography in detail. Photo by Sebastian Herrmann on UnsplashThe opposite is true, as well. If your character is going to embark on an epic journey across the entire land to accomplish their goal, describe each place in rich detail as long as it keeps the plot moving forward. How does the world youve created differ depending on where you are? Is the whole world hot and sandy, or are there varying climates? Let your reader smell the smells, see the sights, feel the tactile elements.WeaponryWhats an epic fantasy story without some epic battles? Might still be a good story, but it could be a great story if you add s ome of those where they work and where they propel the narrative forward. How are battles fought? With magic, weapons, or both? What do those weapons look like? History is a great way to design your weapons. You can take directly from history, or you can use weapons like swords, maces, clubs, battering rams, to expand upon and tweak until youve created something totally unique.ReligionIt is entirely possible that your hero may live in an atheistic society, but most societies have a higher power they believe in. Is your society monotheistic or polytheistic? What kinds of gods or god does the religion have? Is it more spiritual, or are there rituals that need to be observed? What are church services like?Most importantly, how does or doesnt religion influence your hero? Do they struggle with fighting battles because killing is against their beliefs, or do they revel in it, knowing their god has promised glory of some sort? Maybe your story is about your hero finding their relationship with a god or gods. While you dont need to try to model descriptions of your storys religion on the book of Genesis, its probably a good idea to decide up front how much or how little youd like it to influence your world, and go from there.HistoryHistory influences how a society, kingdom, or world perseveres or fails. History precedes the start of every story unless youre writing about the creation of a certain world. But most fantasy stories take place in lands that have long been established. So what happened before the story opens? This, like every other aspect of world-building, needs to be handled with care and balance. Consider your heros journey, and their ultimate goal (which they may not be aware of at the very start of the story). Consider their starting place. How has or how could history influence this journey? How does it affect other aspects of the story? You should avoid a long, drawn-out history lesson at all costs, but pepper in aspects and nuggets of history where they fit and where theyre appropriate.

Eating Animals By Eric Schlosser Essay - 1697 Words

Today, the food industry has not just altered the American diet, but it has also had a negative effect within the labor sector as well as the animals meant for consumption and the lack of government oversight. Eric Schlosser in Fast Food Nation, and Jonathan Foer in Eating Animals, illustrate the mistreatment of labor workers as well as the animal abuse that goes unseen within the food industry. Foer gives such examples of employees who work in slaughterhouses giving accounts of what goes on in the kill floors, and stories of employees who have witnessed thousands and thousands of cows going through the slaughter process alive (231). Eating meat does not have to be so inhumane for example, Foer quotes Frank Reese, who does not permit inhumane practices on his ranch that are cruel, and Reese believes that there are other ways of having a sustainable humane animal agriculture instead of the methods of the large corporate meat industry (238). Namit Arora in the article â€Å"On Eating Animals†, as well as Michael Pollan in his book The Omnivore’s Dilemma, address some of the issues that animals face once they hit the kill floor. The food industry has transformed not only what people eat, but how the government has neglected the issues of the wellbeing of labor workers and the animals that are processed for consumption. Conditions at America’s meatpacking plants have become more dangerous in part due to the federal government lack of enforcing health and safety laws. During theShow MoreRelatedEric Schlossers Fast Food Nation: Fast Foods Impact on Society1592 Words   |  7 Pagesâ€Å"Fast food is popular because its convenient, its cheap, and it tastes good. But the real cost of eating fast food never appears on the menu.† – Eric Schlosser -- Eric Schlossers book Fast Food Nation is not only an expose of the fast food industry but also shows how the fast food industry has shaped and defined society in America and other nations as the fast food culture spreads globally. He connects the social order of society to the kind of food it eats and the way it eats that food, andRead MoreFast Food Nation: The Inconvenient Truth of Fast Food Essay572 Words   |  3 Pages‘Fast Food Nation’ by Eric Schlosser traces the history of fast food industry from old hot dog stands to the billion dollar franchise companies established as America spread its influence of quick, easy and greasy cuisine around the globe. It is a brilliant piece of investigative journalism that looks deep into the industries that have profited from the American agriculture business, while engaging in labor practices that are often shameful. In Fast Food Nation, Schlosser goes beyond the facts thatRead MoreFast Food Nation Research Paper1442 Words   |  6 Pagestheir food is prepared. In the novel, â€Å"Fast Food Nation: The Dark Side of the All-American Meal†(2002), by Eric Schlosser, he makes compelling points in his position against the fast food industry. In â€Å"Fast Food Nation: The Dark Side of the All-American Meal† (2002), Eric Schlosser argues that â€Å"†¦ Fast food is solely responsible for every social problem now haunting the United States†(9). Schlosser analyzes this conflict by setting side by side the positive and negative affects and outcomes of the industryRead MoreEric Schlossers Fast Food Nation: Undermining American Values1347 Words   |  6 PagesAndrew F. Smith once said, â€Å"Eating at fast food outlets and other restaurants is simply a manifestation of the commodification of time coupled with the relatively low value many Americans have placed on the food they eat†. 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The manner in which food is produced and consumed has changed more rapidly in the past fifty years than it has in the previous ten thousand years (Pollan and Schlosser, 2008). With this swift transformation, various ethical issues came to the fore. FoodRead MoreObesity and Fast Food Essay887 Words   |  4 Pages   Ã‚  Ã‚  Ã‚  Ã‚   In the book Fast Food Nation, Eric Schlosser writes about the fast food industry. Schlosser tells the story of J.R. Simplot, the man behind McDonald’s source for potatoes. He started his own business right out of the eighth grade, after dropping out. He started out small but eventually became one of the riches men in America. He owned then 160 acres of land to start off this business. He sold his potatoes to companies at first all natural. But he soon discovered that if you dry out theRead MoreFast Food Nation: Death in the Fast Food Lane Essay1121 Words   |  5 PagesFast Food Nation, by Eric Schlosser, is a stark and unrelenting look into the fast food industry that has ingrained itself in not only American culture, but in many cultures around the world. There is almost no place on earth that the golden arches has not entered. Aside from Antarctica, there is a McDonalds on every continent, and the number of countries that have fast food restaurants i s growing on a daily basis. Schlosser describes in detail what happens behind the scenes, before the hamburgerRead MoreFast Foods And Fast Food1649 Words   |  7 PagesFast food is popular because it s convenient, it s cheap, and it tastes good. But the real cost of eating fast food never appears on the menu, was said by Eric Schlosser. Several people in America have become dependent on fast foods. How many of the people who eat this food actually know what is really in the food or how it was made? Others don t think about it, because within ordering, three minutes later a customer can pull up to the window, pay, and get food. It is quick and cheap. The United

Flannery O Connor s Life You Save May Be Your Own And...

Flannery O’Connor was a short story author from Savannah, Georgia. She has produced many critically acclaimed pieces and has won several awards for them. Two distinct pieces she wrote are titled The Life You Save May Be Your Own and Good Country People. While both of her stories are unique, the underlying storyboard and character creation process that O’Connor used is the same throughout her stories. Her stories usually involve one or more self-centered woman, a younger person who become the victim of egregious crime, and a conniving male driven by his own motives. Good Country People and The Life You Save May Be Your Own do not stray from this rule. In either story, the narrative is driven around a shocking tragedy that is very unexpected. Even though in the tragedies committed in the book always have a belligerent and a victim, it is not easy to discern who amongst the two are the antagonist and the protagonist. In either of these narratives, the tragedy that occurred within the stories blurs the line between antagonist and protagonist. In Good Country People, the characters that experienced the tragedy can easily fit within either the protagonist or the antagonist box. In the story, the three main characters within the tragic event are a kind old mother, an arrogant disable college grad, and a seemingly simple bible salesman. After O’Connor gives the initial description of the characters, the characteristics that are usually associated with protagonist and antagonist.Show MoreRelatedThe Life You Save May Be Your Own1506 Words   |  7 PagesEvery writer has their own story and because of said story, it has an impact on who they are and how they think. In turn, this leads the writer into unraveling their writing style and, in an artistic way, write out their feelings in the form of a poem or story. We see this in the case of almost every writer, but as of now we re only going to look at Mary Flannery O - Connor. A major theme that reoccu rs in much of Flannery O Connors work is her strong dis- like for the worlds current state, asRead More Inhumanity in Flannery O’Connor’s A Good Man is Hard to Find and Shirley Jacksons The Lottery1133 Words   |  5 Pages In Flannery O’Connor’s, â€Å"A Good Man is Hard to Find,† and Shirley Jacksons, â€Å"The Lottery,† both short stories deal with man’s inhumanity in different situations, and ending with a similar consequence. Jackson and OConnor both use two characters to depict man having the power to manipulate truth and objection into something people accept. In O’Connor’s’ A Good Man is Hard to Find, the Misfit is a character in need of desired assistance, troubled and confused he wanders savagely murdering strangersRead MoreA Good Man Is Hard And Good Country People By Flannery O Connor Essay2090 Words   |  9 Pagesâ€Å"When you judge others, you do not define them, you define yourself.† This is a common thing that many people do throughout their lifetime. People might judge others to feel secure or to create an identity for themselves. Judging others by their appearance or by the things they own should not be a reason to dislike them. While it may be a common thing to do since we are all humans, it does come with some consequences. In Flannery O Connor s short stories â€Å"A Good Man is Hard to Find† and â€Å"Good Country

The Hunters Moonsong Chapter Twenty Free Essays

This is way worse than the obstacle course, thought Matt. And building a house out of newspaper. And the firewalk. We will write a custom essay sample on The Hunters: Moonsong Chapter Twenty or any similar topic only for you Order Now This is definitely the worst pledge event yet. He twisted the toothbrush in his hand to real y get into the little niche running along the bottom of the paneling on the Vitale Society’s pledge room wal s. The toothbrush came out black with ancient dirt and dangling cobwebs, and Matt grimaced in disgust. His back was already sore from hunching over. â€Å"How’s it going, soldier?† Chloe asked, squatting down next to him, a dripping sponge in one hand. â€Å"Honestly, I’m not sure how scrubbing out this room is going to help us develop honor and leadership and al the stuff Ethan keeps talking about,† Matt said. â€Å"I think this might just be a way to save a couple of bucks on a cleaning service.† â€Å"Well, they say cleanliness is next to godliness,† she reminded him. Chloe laughed. He real y liked her laugh. It was sort of bubbly and silvery. Internal y, he gave himself a little eye rol . Bubbly and silvery. She had a nice laugh, was al he meant. They’d been spending a lot of time together since Christopher’s death. Matt had felt like nothing could be as bad as living with al of Christopher’s stuff when Christopher himself was gone, but then Chris’s parents came and packed it up, gently patting Matt on the back as if he deserved some kind of sympathy when they had lost their only son. And with just empty space where Christopher’s things had been, everything was a mil ion times worse. Meredith, Bonnie, and Elena had tried to comfort him. They wanted so badly for him to be okay again that he’d felt guilty he wasn’t, making it harder for him to be around them. Chloe had taken to coming by the room, hanging out with him or getting him to come to the cafeteria or wherever with her, keeping him in touch with the world when he felt like locking himself away. There was something so easy about her. Elena, the only girl he’d ever loved – before now, part of him whispered – was much more work to be around. Inside, he flinched at his own disloyalty to Elena, but it was true. Now he was starting to wake up and take an interest in things again. And he kept noticing with fresh surprise the cute dimple Chloe had in her right cheek, or how shiny her curly dark hair was, or how graceful and pretty her hands were despite the fact that they were often stained with paint. So far, though, they were just friends. Maybe †¦ maybe it was time to change that. Chloe snapped her fingers in front of his face, and Matt realized he had been staring at her. â€Å"You al right, buddy?† she asked, a little frown wrinkling her forehead, and Matt had to restrain himself from kissing her right then. â€Å"Yeah, just spacing out,† he said, feeling a flush creep over his cheeks. He was smiling like a goof, he knew. â€Å"Want to help with these wal s?† â€Å"Sure, why not?† Chloe answered. â€Å"I’l soap down the wal part, and you keep doing whatever you’re doing there with that little toothbrush.† They worked companionably together for a while, Chloe now and then accidental y-on-purpose dripping soapy water onto the top of Matt’s head. As they worked further along the paneling, the niche under the baseboard got deeper, until it was not so much a niche as a gap. Matt slid the toothbrush underneath to scrub – man, but it got grimy down there – and felt something shift. â€Å"There’s something under here,† he told Chloe, pressing his hand flat against the floor and working his fingers into the gap. He slid his hands and the toothbrush around, trying to shimmy whatever was down there toward them, but he couldn’t quite get a grip on it. â€Å"Look,† said Chloe after a moment, â€Å"I think the paneling might slide up here.† She wiggled the section of wood until it gave a raucous screech and she was able to work it up. â€Å"Huh,† she said, puzzled. â€Å"Wow, it’s like a secret compartment. Seems like it hasn’t been opened for a while, though.† Once she managed to ease the paneling up, they could see the space behind it was smal , only a foot or so in height and width and a few inches deep. It was ful of cobwebs. Inside was something rectangular, wrapped in a cloth that had probably once been white but was now gray with dust. â€Å"It’s a book,† Matt said, picking it up. The grime on the outside of the cloth was thick and soft and came away on his hands. Unwrapping it, he found the book inside was clean. â€Å"Wow,† Chloe said softly. It looked old, real y old. The cover was flaking dark leather, and the edges of the pages were rough as if they’d been hand cut instead of by a machine. Tilting the book a little, Matt could see the remains of gilt that must have once been the title, but it was worn away now. Matt opened it to the middle. Inside, it was handwritten, black ink inscribing neat strong strokes. And total y indecipherable. â€Å"I think it’s Latin. Maybe?† said Matt. â€Å"Do you know Latin at al ?† Chloe shook her head. Matt flipped back to the first page, and one word popped out at him. Vitale. â€Å"Maybe it’s a history of the Vitale Society,† Chloe said. â€Å"Or ancient secrets of the founders. Cool! We should give it to Ethan.† â€Å"Yeah, sure,† Matt said, distracted. He turned a few more pages, and the ink changed from black to a dark brown. It looks like dried blood, he thought, and shuddered, then pushed the image away. It was just some kind of old ink, faded brown with time. One word he recognized, written three – no, four – times on the page: Mort. That meant death, didn’t it? Matt traced the word with his finger, frowning. Creepy. â€Å"I’l show it to Ethan,† Chloe said, jumping up and taking the book from him. She crossed the room and interrupted Ethan’s conversation with another girl. From the other side of the room, Matt watched Ethan’s face break into a slow smile as he took the book. After a few minutes, Chloe returned, grinning. â€Å"Ethan was real y excited,† she said. â€Å"He said he’l tel us al about it after he gets someone to translate the book.† Matt nodded. â€Å"That’s terrific,† he said, pushing the last of his unease away. This was Chloe, lively, laughing Chloe, and he would try not to think about death or blood or anything morbid around her. â€Å"Hey,† he said, pushing away the dark thoughts, focusing on the golden highlights in her dark hair. â€Å"Are you going to the party at McAl ister House tonight?† Maybe not pulled back, Elena thought, looking critical y at herself in the mirror. She tugged the barrette out of her hair and let her golden locks tumble, sleek and flat-ironed, down around her shoulders. Much better. She looked good, she noted, running her eyes dispassionately over her reflection. Her strappy short black dress accentuated her rose-petal skin and pale hair, and her dark blue eyes seemed huge. Without Stefan, though, what did it matter how she looked? She watched her own mouth tighten in the mirror as she pushed the thought away. However much she missed the feeling of Stefan’s hand in hers, his lips on hers, however much she wanted to be with him, it was impossible for now. She couldn’t be Katherine. And her pride wouldn’t let her just mope around, either. It’s not forever, she told herself grimly. Bonnie came up and threw her arm around Elena’s shoulders, regarding them both in the mirror. â€Å"We clean up nice, don’t we?† she asked cheerful y. â€Å"Ready to go?† â€Å"You do look amazing,† Elena said, looking at Bonnie with affection. The shorter girl was practical y glowing with excitement – eyes sparkling, smile bright, cheeks flushed, mane of red hair flying out seemingly with a life of its own – and her short blue dress and strappy high-heeled shoes were adorable. Bonnie’s smile got bigger. â€Å"Let’s get going,† Meredith said, al business. She was sleek and practical in jeans and a soft fitted gray shirt that matched her eyes. It was hard to know what Meredith was thinking, but Elena had overheard her murmuring to Alaric on the phone late at night. She figured that Meredith, at heart, might not be into the party either. Outside, people walked quickly in large, silent groups, glancing around nervously as they went. No one lingered, no one was alone. Meredith stopped midstride and stiffened, suddenly aware of a potential threat. Elena fol owed her gaze. She was wrong: one person lingered alone. Damon was sitting on a bench outside their dorm, his face tipped toward the sky as if he was basking in the sun despite the darkness of the evening. â€Å"What do you want, Damon?† Meredith said, warily. Her voice wasn’t actual y rude – they’d gotten past that, working together this summer – but it wasn’t friendly, and Elena could feel her bristling beside her. â€Å"Elena, of course,† Damon said lazily, rising and smoothly taking Elena’s arm. Bonnie looked back and forth between them, puzzled. â€Å"I thought you weren’t going to spend time with either of them for a while,† she said to Elena. Damon spoke quietly into Elena’s ear. â€Å"It’s about the Vitale Society. I’ve got a lead.† Elena hesitated. She hadn’t told her friends about the hints she and Damon had found that the Vitale Society might be more than a myth, or that they might be connected to her parents in some way. There wasn’t real y anything much to go on yet, and she didn’t feel quite ready to talk about the possibility that her parents might have been mixed up in some kind of dark secret or how she felt, seeing the images of them when they were young. Making up her mind, she turned to Meredith and Bonnie. â€Å"I’ve got to go with Damon for a minute. It’s important. I’l explain it to you guys later. See you at the party in a little bit.† Meredith frowned but nodded, and she steered Bonnie toward McAl ister House. As they went, Elena could hear Bonnie saying, â€Å"But wasn’t the whole point†¦Ã¢â‚¬  Keeping his hand tucked firmly under Elena’s arm, Damon led her in the opposite direction. â€Å"Where are we going?† she asked, feeling too aware of the softness of Damon’s skin and the strength of his grip. â€Å"I saw a girl wearing one of those pins from the photo,† Damon answered. â€Å"I fol owed her to the library, but once she got inside, she just disappeared. I looked everywhere for her. Then, an hour later, she came out the library doors again. Remember when I said we needed to look for answers somewhere other than the library?† He smiled. â€Å"I was wrong. There’s something going on in there.† â€Å"Maybe you just didn’t see her?† Elena wondered aloud. â€Å"It’s a big library, she could have been tucked away in a study carrel or something.† â€Å"I would have found her,† Damon said briefly. â€Å"I’m good at finding people.† His teeth shone white for a moment under the streetlights. The problem was that the library was so normal. Once they were inside, Elena looked around at the gray-carpeted floors, the beige chairs, the rows and rows of bookshelves, the buzzing fluorescent lights. It was a place to study. It didn’t look like any secrets were hidden here. â€Å"Upstairs?† she suggested. They took the stairs rather than the elevator and worked their way down from the top floor. Going from floor to floor, they found †¦ nothing. People reading and taking notes. Books, books, and more books. In the basement, there was a room of vending machines and smal tables for study breaks. Nothing unexpected. Elena paused in a hal way of administrative offices near the vending machine. â€Å"We’re not going to find anything,† she told Damon. His face twisted in frustration, and she added, â€Å"I believe you that there’s something going on here, I do, but without any leads, we don’t even know what we’re looking for yet.† The door behind her, marked Research Office, opened, and Matt came out. He looked tired, and Elena felt a quick flash of guilt. After Christopher’s death, she and Meredith and Bonnie had meant to stick close to Matt. But he was always busy with footbal or class and didn’t seem to want them around. She realized with a shock that she hadn’t talked to him in days. â€Å"Oh, hey, Elena,† Matt said, looking startled. â€Å"Are you going to the party tonight?† He greeted Damon with an awkward nod. â€Å"Mutt,† Damon acknowledged, giving a half smile, and Matt rol ed his eyes. As they chatted about the party and classes and Bonnie’s new semiboyfriend, Elena cataloged her impressions of Matt. Tired, yes – his eyes were a little bloodshot, and there was grimness to his lips that hadn’t been there a few weeks ago. But why did he smel so strongly of soap? It wasn’t like he was particularly clean, she thought, inspecting a grubby trail tracing down Matt’s cheek to his neck. It looked like something had been dripped on his head. It was almost like he had been cleaning something. Something real y dirty. Struck by a new thought, she glanced at his chest. Surely he wouldn’t be wearing one of the V pins? As if aware of what she was wondering, Matt pul ed his jacket more tightly around him. â€Å"What were you doing in that office?† she asked him abruptly. â€Å"Uh.† Matt’s face was blank for half a second, and then he glanced up at the door, at the sign saying Research Office. â€Å"Research, of course,† he said. â€Å"I’ve got to go,† he added. â€Å"I’l catch you at the party later, okay, Elena?† He had half turned away, when Elena impulsively put out her hand to catch his arm. â€Å"Where have you been, Matt?† she asked. â€Å"I’ve hardly seen you lately.† Matt grinned, but he didn’t quite meet her eyes. â€Å"Footbal ,† he said. â€Å"Col ege bal ‘s a big deal.† He gently pul ed away from her restraining hand. â€Å"Later, Elena. Damon.† They watched him walk away, and then Damon nodded toward the door Matt had come out of. â€Å"Shal we?† he said. â€Å"Shal we what?† Elena asked, puzzled. â€Å"Oh, like that wasn’t suspicious,† Damon said. He put his hand on the knob, and Elena heard the lock snap as he forced it open. Inside was a very boring room. A desk, a chair, a smal rug on the floor. Maybe a little too boring? â€Å"A research office without books? Or even a computer?† Elena asked. Damon cocked his head to one side, considering, then, with a swift movement, pul ed aside the rug. Below it was the clear outline of a trapdoor. â€Å"Bingo,† Elena breathed. She stepped forward, already bending down to try and pry it open, but Damon pul ed her back. â€Å"Whoever is using this could stil be down there,† he said. â€Å"Matt just left, and I doubt he was alone.† Matt. Whatever was going on, Matt knew about it. â€Å"Maybe I should talk to him,† Elena said. Damon frowned. â€Å"Let’s wait until we know what we’re dealing with,† he said. â€Å"We don’t know what Matt’s involvement is. This could be dangerous for you.† He had taken hold of her arm again and was pul ing her gently, steadily out of the room. â€Å"We’l come back later.† Elena let him lead her away, grappling with what he’d said. Dangerous? she thought. Surely Matt wouldn’t be doing anything that would be a danger to Elena? How to cite The Hunters: Moonsong Chapter Twenty, Essay examples

White Noise and Self-Help free essay sample

This essay compares two contemporary novels examining how each of the protagonists deal with personal suffering. This essay compares the two contemporary novels White Noise and Self Help, and examines specifically how each of the protagonists deals with personal suffering. It also compares the male vs female response to pain and how each gender deals with lifes problems. It is part of human nature to use humor as an escape when confronted with tragic situations. Jack Gladney, Don Delillos character in White Noise (1985), is no exception, nor is the quintessential Lorrie Moore character from Self-Help (1985), her collection of short stories. While the deflection of major life issues, however, is common in both works, the authors reflect this tendency of ours in different contexts. Jacks dialogue, for example, throughout White Noise is consistently sarcastic. On the other hand, Moores humor is darker and her characters employ other tactics to shirk the dilemmas they face in life. We will write a custom essay sample on White Noise and Self-Help or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page