The words 'darkness' and 'out there' in the title of the story create an anticipation of fear in the reader right from the start. Yet the story begins with a pretty young girl in a sunny field of wild flowers, an old woman living alone in a cottage, and a charitable woman, Pat, who organises a Good Neighbours' Club to help people like Mrs Rutter. The title, therefore, introduces the idea of something sinister beneath this innocent surface and arouses the interest of the reader from the beginning.
The first suggestion of darkness comes with mention of a wartime air crash in which the German crew was killed. There are rumours of ghosts. A bit scary, perhaps, but really nothing more than superstition. Sandra keeps to the track around the field nevertheless. This darkness of fear and superstition is 'out there' in the woods.
By contrast, she says that it was ok if you were in the sunshine. Sandra is a pretty girl and ‘here’ for her is out in the sunshine where she reflects about a time when someone told her she had pretty feet. This suggests that she is very comfortable with her own world and her own body - she knows that she is attractive and is optimistic about the future – she talks about travelling, getting a good job and falling in love. Back home she imagines wathing tv with the curtains closed, shutting the dark out. Deep down she feels safe but there is a darkness 'out there' that needs to be shut out.
The darkness out there takes a couple of other forms in her thinking. She remembers childhood fears of wolves and witches and tigers that local children thought lived in the woods. Later there were fears of predatory, violent men that she had heard about from the papers. But Lively suggests that these were more myth than reality. When Kerry Stevens suddenly appears and frightens her, he seems to be another candidate for the darkness out there. He is unattractive, one of those people up to no good. The reader is not encouraged to trust him much. Is he a...
Patricia M. Lassiter
Mr. Marcus Gamble
Are you afraid of the dark?
Fear of the dark, or nyctophobia, is a serious affliction that can lead to loss of sleep, heightened anxiety and even physical illness if it is not treated. Although most people associate fear of the dark with childish fears, persistent nyctophobia is a serious condition that should be treated with the help of a professional. A few tips can help mitigate the symptoms and effects of a fear of darkness and help begin the road to recovery.
In many cases, a phobia of the dark that persists into adulthood is tied to a particularly traumatic childhood experience, psychotherapist Phillip Hodson told Frostrup. However, most are treatable with cognitive behavioral therapy, according to Time's Healthland. In some instances, though, the underlying fear of the dark can be mistaken for a number of other phobias, or even general anxiety. According to "Fear Of The Dark" (2012), "People don’t necessarily know they have it. An individual may not be able to fall asleep once it's dark and their mind starts to wander. They think, ‘What if someone breaks into my house?’ Instead of realizing these associations may indicate a fear of the dark, they skip a step and assume they have a fear of burglars,” Carney told Healthland. ("Fear Of The...
The DarknessOut There
The DarknessOut There is about two teenagers doing a good deed for a pensioner – and discovering a dark secret that changes their view of life forever.
The story begins with Sandra walking through a field towards Mrs Rutter's cottage. Pat organises a group called The Good Neighbours Club which arranges for local teenagers to help people in need. Sandra is visiting Mrs Rutter.
Sandra keepsout in the sunshine and away from the dark woods called Packer's End. As a child she heard all sorts of frightening stories about the woods (or spinney as it is called in the story), including one about the ghosts of Germans killed in the Second World War.
Walking along in the open sunshine, Susan thinks first about these scary stories then she begins to daydream about her future which she imagines in an ideal way. She describes how she would go on holiday, fall in love, buy a sewing machine, and make herself a silk coat.
She is hoping to meet one of her friends at Mrs Rutter's but suddenly, from behind a wall, up jumps the rather unattractive, spotty Kerry Stevens.
They walk to Mrs Rutter's house where Sandra helps by doing some dusting while Kerry does some hard manual work in the garden. The kindly Mrs Rutter makes them a cup of tea and chatters in a friendly way with Sandra about flowers and dressmaking, and about her sad life widowed as a young woman in the war.
...and Steven Thomsen. Robert Gustafson is an associate professor, and Mark Popovich a professor, in the Department of Journalism at Ball State University; and Steven Thomsen is an associate professor in the Department of Communications at Brigham Young
University. Furthermore, Clark is 40, while Gustafsen, Popovich and Thomsen are respectively 62, 56 and 61.
[Slide 7.] With this data in mind, some pieces of the puzzle seem to fall in place when you start to read both articles. To start with 'A healthier dose of realism', even though I think it is obvious that Clark's opinion is not necessarily influenced by her own sex, after reading i did feel like Clark is a woman who is and acts thoroughly against factors in daily life that carry out a negative influence on people leading to a variety of negative ways of thinking, and even several medical disorders. To enforce her viewpoint she introduces a controversial example of such a factor: airbrushing; airbrushing refers to any retouching done to a photo that changes the reality of the photo. People or objects removed, acne erased, or body shapes altered. She gives mention to the work of Jo Swinson, a British Liberal Democrat and Member of Parliament. The reason Clark refers to Swinson is because Swinson is a leading figure within the Campaign for Body Confidence, who believe and pledge to defend that everyone has the right, whatever their size, shape or form, to feel happy about themselves. The following...
...Memory is a powerful concept. Often when an individual undergoes a traumatic situation, the ramifications of these actions seep into an individualfs psyche unknowingly. In effect this passes through memory and becomes sub-consciously buried within a personfs behavioural patterns generally. The Reader by Bernhard Schlink explores the concept of a young mans subconscious desire for a woman whom he gcanft remember to forgeth (1Memento) as she is so deeply inlaid within his soul.
Critically acclaimed as gA formally beautiful, disturbing, and finally morally devastating novel. From the first pagec [it] ensnares both heart and mindh ( Los Angeles Times), the novel tells the story of a young boy, 15, Michael Berg, through his own interior narration. He finds himself emotionally and sexually attached to a woman of over twice his age, Hanna Schmitz. She then breaks his heart by deserting him. Michael is emotionally torn by this incident and consequently develops a subconscious obsession with her.
Years after the mysterious disappearance of Hanna, Michael marries a woman named Gertrude. gGertrude was smart, efficient, and loyalh (3p 171) yet she never fulfilled Michael in the same way as Hanna had previously. Unknowingly he drove her away through his constant comparisons and dissatisfaction that Gertrude could not be the woman he wanted. gI could never stop comparing the way it was with Gertrude and the way it had been with Hanna; again and again,...
...In the story The Reader, the main characters Hanna and Michael are faced with several moral dilemmas, which challenges them into making changes that lead simultaneously growth as well as their demise. Hanna faces the challenge of deciding if her pride is worth more then her own freedom. It is in this fear, the loss of her dignity, which ultimately shapes the character she becomes in the end. Michael, the other main character, falls deeply in love with Hanna. He is forced to make a decision on whether or not it is justified to judge someone with the intent of knowing what he believed to be best for them.
Hanna and Michael share a brief summer where they shared a physically intimate relationship. Although physically close very little detail was shared on any aspect of Hanna’s former personal life. At the time that they had met, Hanna had been the dominant one, mainly on the account that there was a significant age difference, where Hanna was twice Michael’s age. At the end of the summer, Hanna moved away for no apparent reason at all. Michael did not have such an easy time adapting to life without Hanna. We see this in that he often accounted for there being something missing in all his relationships he had after her. Several years since he last saw, Michael is in his final years of law school, he is required to attend a trial in which several former SS Nazi guards are on trial for the death of a group of prisoners, Hanna had been one of those...
A prominent, recurring theme in Sonny's Blues is the conceptual tie between light and dark and the beliefs of the narrator and his brother, Sonny. In the traditional sense, light often symbolizes truth and enlightenment while darkness suggests the abysmal and totally contradicts any notions its opposite may kindle. It can be taken that the narrator chooses the path of light because though he still resides in the same area in which he grew up, he has become an educator and escaped a fate that so many of his peers share: drug abuse and lives filled with debauchery. Sonny, though good hearted by nature, chooses a much less respectable path than his brother. He falls into heroin use that eventually lands him in jail instead of a gig with a jazz band as a great musician, something he aspires to be. The traditional meaning of the contrast between light and dark directly relates to the lives of the two brother's in Sonny's Blues because they, in many ways, reflect the brothers themselves by illustrating Sonny as the dark and the narrator as the light by highlighting and comparing the decisions the brothers made until the end of the story.
From the beginning, the narrator introduces the imagery of light and dark that will come to be the dominating theme of the story. In the first scene, the narrator is contemplating Sonny's fate in the dark subway. The "swinging lights of the subway car" allow him to read about Sonny's arrest, while the...
The speaker begins his poem as a “dream” but “not all a dream” (line 1), immediately casting doubt upon the narrative to follow. The poet then imagines the end of the world through a series of natural, social, and possibly supernatural events.
The gloomy, cold earth wanes for weeks or months, long enough for men to “forget their passions” (line 7) and turn their hearts only to survival or despair. To stave off the darkness, they burn everything they can, including their homes. Both palaces and huts are burned to give light and warmth. Around the fires, men are at first glad to see other faces—but then they see in those faces such despair that they begin to weep, smile cynically, or fall into madness. The animals of the earth are affected as well, with birds falling from the sky to die helpless on the ground, wild beasts becoming timid, and poisonous snakes losing their venomous bites—the animals become food for the human beings, the people no longer hunters, but scavengers.
Once the animal food supply runs out, people turn on one another. The darkness brought a temporary ceasefire across the world, but no peace; as soon as survival became the only goal, “No love was left” (line 41). Humans become capable of cannibalism. Even the formerly faithful dogs turn on their masters, save for one noble canine who defends his master’s corpse from scavengers (both human and animal) until the dog itself dies from...
...Schlink's The Reader, the first-person narrator Michael describes reading the account written by a concentration camp who had survived along with her mother, the soul survivors in a large group of women who were being marched away from the camp. He says, "the book...creates distance. It does not invite one to identify with it and makes no one sympathetic..." The same could be said of The Reader. The book is written in such a way as to distance one from the characters. It prevents people from sympathizing with Hanna or Michael or anyone else, taking a sort of detached viewpoint from their problems. This can be paralleled to the efforts of the German people towards Vergangenheitsbewältigung, or "coping with the past." In coping with Germany's Nazi history, the Germans attempted to distance themselves from it and the moral implications it presented. They tried to understand it without involving themselves in it, since involving themselves could implicate them. The one person in the book who cannot distance herself, Hanna, is still unsympathetic because everyone else distances themselves from her, making it impossible to sympathize with any aspect of her plight. Hanna is symbolic of German history in this respect.
As the narrator, Michael is particularly hard to sympathize with. The way he guides the story eschews emotional attachment. He himself feels detached from almost everything: "....I felt nothing: my feelings were...