...Since the Day I Saw You(Summer, New York City. It’s a partly cloudy day. The location of this tale is the Parker residence, an apartment in Brooklyn. In the foreground, there is a dark blue couch with four cushions sit. On the right end of the couch, there is a wooden footrest with a blue cushion sewn on top of it. In the background, there is a window that shows the skyline of the city. The Brooklyn Bridge is just edged out from the angle in which we see the window. Slightly behind the couch is a wooden kitchen counter with a sink on the left side. To the right of the counter, is a bulletin board. Tic tacked to it, there is the front page of an issue of The Daily Mail with a headline which reads “SPIDER-MAN: COP KILLER!” with an image of Spider-Man punching a cop in the face in the middle of a riot to the right of the headline. To the right of that is a two compartment refrigerator. It is about eight feet large. Lying on the couch, head facing stage right, is Mary. She is lying on her stoma...Since the Day I Saw You by deathchrist2000
Love and Virtue: A Romance in 7 PartsWhen looking at the concepts of Love and Virtue, writers tend to use them to contrast each of their pros and cons. Sometimes, as in the case of the sonnets being discussed in this essay, one of these concepts is shown to be superior to the other; however, this does not necessarily mean that it is so. It should also be noted that I’m looking at the selected sonnets from my perspective, in a time period in which we do not view these concepts as incompatible. When these sonnets were written, the conflict being discussed was an established conflict. The readership of the time already had a working knowledge of the stereotypes of the subjects discussed. They accepted this conflict because it was an established conflict within their religious studies (the deadly sin of lust). However, our society is not the same as the society when these sonnets were written, with focuses on different stories and attitudes regarding said stories being radically different. As such, when put into the conLove and Virtue: A Romance in 7 Parts by deathchrist2000
Maus/Passing Final DraftTo begin this essay, let’s first explore what exactly we are referring to when we talk about war stories. To start with, what is a war? One might answer, a conflict between two foreign powers. But that has issues of it’s own because that would leave out conflicts like the American Civil War. So then, why not redefine war as a conflict between two organized military powers? Well, that leaves out conflicts involving non-military combatants within the conflict such as the French Revolution. Heck, what about wars where one of the two sides is pacifistic? I could go on about the issues of trying to create a “catch-all” definition of a concept as large as war. So, for the purpose of this paper, let us define war as a physical conflict between two populations with ideological differences.Maus/Passing Final Draft by deathchrist2000
Now that we’ve got that out of the way, let us look at what is typically referred to as a war story. When one hears those two words, one tends to think of stories like The Red B
Passing EssayPassing by Nella Larsen uses the concept of double consciousness to explore what it means to be able to pass for white within the society of the United States and the subtext of the lead character’s sexuality permeating in the novel. Specifically, it will be explored through the double acts the characters play in their lives that cause them to have “…two warring ideals in one… body, whose dogged strength alone keeps it from being torn asunder” (Du Bois, 11). Through this reading, I believe the concept of double consciousness is not exclusive to the experiences of African Americans in pre-Civil Rights America, but rather tied to the larger concept of identity.Passing Essay by deathchrist2000
The concept of double consciousness was coined by W.E.B. Du Bois in the opening chapter of The Souls of Black Folk. Double consciousness is “…this sense of always looking at one’s self through the eyes of others…” (Du Bois, 11). Essentially, what this refers to is t
“In May 1968 my mother killed herself. (She left no note.)”
It is December 1980. Regan was elected President of the United States last month and Thatcher closes out her second year as Prime Minister of the United Kingdom. In the pop charts, Kenny Roger’s Lady is booted out of it’s number one spot after six weeks on December 21st by John Lennon’s (Just Like) Starting Over. The top three songs of the year are Blondie’s Call Me, Olivia Newton-John’s Magic, and (somehow in between them) Pink Floyd’s Another Brick in the Wall (Part 2). In comics, after a relatively uneventful year (with notable exceptions being Amazing Spider-Man #200 and Avengers #200 in which Spider-Man faced off against the burglar who murdered Uncle Ben and Ms. Marvel got raped respectively) Raw #2 was released. Within this underground magazine, contained the first chapter of Maus by Art Spiegelman.
It is November 1, 2014 and I’ve started to read Maus again. The opening pages are of our “Nick Caraway” remembering a moment from his childhood. If you bought into the hype, you would see this moment as being a metaphor for the Holocaust. But then, that’s just hype. This story isn’t about the Holocaust.
It is December 1, 1986, the fourth issue of Alan Moore and Dave Gibbon’s Watchmen has just been released in stores. Structurally, it’s an achronological recollection of the past by a man who is alone with his thoughts. His memories are framed with “It is (date).” There is a sense of death in the air.
It is August 18, 1982. Vladek Speigelman has died. Five years later, in February, his son Art began working on a page of the comic. The page consists of a man alone with his thoughts. His thoughts being of the past. They are framed with when they occurred. There is a stench of death in the air, although that could be from the bodies. Afterwards, reporters come in asking our dear writer questions. About how Germans should feel, about what the book is about, about marketing his vest. It becomes overwhelming and he begins to cry for his mom, like a child. The vultures vanish like the thoughts they were. Art heads off to see his therapist, another survivor of the Holocaust, but that isn’t what they talk about. They talk about Vladek. The subject of the Holocaust is used to discuss Art’s feelings of inadequacy and the possibility of Vladek’s survivor’s guilt. When Art returns home, feeling better, he listens to the recording he made of his converstions with his father and is startled by them. He does not react to any horrifying image about the death, but rather to his own reaction to his father not talking about the death. Mainly by shouting at him to “TELL ME ABOUT AUSCHWITZ!” There can be only one conclusion from all of this: this isn’t a story about the Holocaust. It’s about the relationship between a father and a son. This is supported by other sections of the book such as the majority of it being the framing device instead of the narrative, and a sequence in which we read a comic written by Art from years ago about his mother’s suicide and how it made him feel.
It’s some time in 1991 (no date can be found, so let’s use November). It’s been exactly one year since Thatcher has not been the Prime Minister, and over two since Regan finished his time. The President right now is George H. W. Bush and the Prime Minister is John Major. In the pop charts, Karyn White’s Romantic is taken off the number one spot by Prince’s Cream which itself is taken down by Michael Bolton’s When a Man Loves a Woman which mercifully lasts only a week and is replaced by P.M. Dawn’s Set Adrift on Memory Bliss. In comics, aside from the last chapter of Maus being released in trade format, not much happens.
Despite it being November 10th, 2014, I still feel the aftershocks of the 80’s. And that is what my final is about: Maus and the stories of the 80’s.
“Vladek died of congestive heart failure on August 18, 1982…”