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Colonialism as cause of the war in Sierra Leone
Colonialism as cause of the war in Sierra Leone
Colonialism as cause of the war in Sierra Leone
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In Ishmael Beah’s memoir A Long Way Gone, Beah’s imagery represents the struggle and misery of the Sierra Leone people are going through with the rebels invading. To begin, after Beah spends two days straight walking he arrives at a village that has already been condemned by the rebels. In the village Beah sees dead bodies everywhere, which fills his mind with the gruesome ways of death the men and woman suffered through: “I had seen heads cut off by machetes; smashed by cement bricks, and rivers filled with so much blood that the water ceased flowing… my body twitched with fear”(49). During this event Beah could not get these gruesome images out of his mind. Beah tries closing his eyes trying to hide away his vision to help the thoughts leave.
In A Long Way Gone, Ishmael Beah explained his journey throughout his life; whether it was with his family and friends or at war against the rebels in Sierra Leone. During the attack on his village in Mogbwemo, Beah was separated from his family when he was in another city with his brother and friends. At the young age of twelve, Beah was forced to flee from village to village with the aim of escaping the rebels. Eventually, he reluctantly joined the army as a soldier against the rebels. Throughout his memoir, Beah used multiple different tones. Beah described the cheerful times with family and friends, along with the dreadful and shocking times of war.
In “Nightmare” from Out of the Dust, Billie Joe wakes up from a nightmare, trembling in fear from a nightmare about the dust storms and her inability to play the piano. The poem is filled with symbolism, used to build up anxiety and uncertainty, and for Hesse to elaborate on her thoughts. “Through a howling dust storm, my lowered face was scrubbed raw by dirt and wind” dramatically demonstrates a mood of panic and distress. As the suspense builds, Hesse uses imagery to exhibit uneasiness and describe the situation even further, “dust crept inside my ears, up my nose, down my throat.” Many instances of figures of speech are used, such as similes, personification, and metaphors. After trudging through the dust, not caring about anything but
Ishmael starts his journey with a will to escape and survive the civil war of Sierra Leone in order to reunite with his mom, dad, and younger siblings, who fled their home when his village was attacked by rebels. Having only his older brother, who he escaped with, and a few friends by his side Ishmael is scared, but hopeful. When the brothers are captured by rebels, Ishmael’s belief in survival is small, as indicated by his fallible survival tactics when he “could hear the gunshots coming closer…[and] began to crawl farther into the bushes” (Beah 35). Ishmael wants to survive, but has little faith that he can. He is attempting to survive by hiding wherever he can- even where the rebels can easily find him. After escaping, Ishmael runs into a villager from his home tells him news on the whereabouts of his family. His optimism is high when the villager, Gasemu, tells Ishmael, “Your parents and brothers wil...
In his memoir, A Long Way Gone, Ishmael Beah deals with his loss of innocence as he is forced to join the children army of Sierra Leone in the country's civil war after being conscripted to the army that once destroyed his town in order for Ishmael to survive. His memoir acts as a voice to show the many difficulties that the members of Sierra Leone's child army had to suffer through and their day to day struggle to survive in the worst of conditions. In order to escape the perils and trials of war, Ishmael loses his innocence as he transitions from a child who liked to rap with his friends to a cold blooded solider in the army during the civil war in Sierra Leone. Through his transition, Ishmael is forced to resort to the addiction of drugs such as cocaine, marijuana, and “brown-brown” just so that he, along with the other members of the child army can have the courage to be able to kill their fellow countrymen and slaughter entire towns who stand in their paths. In order to portray his struggles in the army, Ishmael uses the dramatic elements of memories explained using flashback, dialogue, and first-person narration in order to establish the theme of the memoir being how war causes for a child to lose its innocence. The transition shown in the memoir illustrates how the title of the novel, A Long Way Gone, was chosen because it demonstrates how he is a long way gone psychologically, emotionally, and physically, from the child that he was when the memoir begins to the soldier that he is forced to become.
The war in Sierra Leone lasted eleven years and resulted in mass murder, destruction, and mainly, loss of innocence. This war impacted nearly everyone in the country, however its specific damage on the children of Sierra Leone is a tragedy that haunts the victims to this day. The Rebels killed and tortured thousands of innocent people and destroyed villages throughout the country. Boys as young as twelve were forced to form an army and fight against the rebels. Ishmael Beah, a young boy living amongst this war, tells his story in the book A Long Way Gone. He explains the gory and disturbing details of his life as a boy soldier. As the young boys were brainwashed into killing, the women and young girls of the country were being raped,
After an event of large magnitude, it still began to take its toll on the protagonist as they often “carried all the emotional baggage of men who might die” during the war (O’Brien 1187). The travesties that occurred with the brutality of war did not subside and began to affect those involved in a deeply emotional way. The multitude of disastrous happenings influenced the narrator to develop a psychological handicap to death by being “afraid of dying” although being “even more afraid to show it” (O’Brien 1187). The burden caused by the war creates fear inside the protagonist’s mind, yet if he were to display his sense of distress it would cause a deeper fear for those around him, thus making the thought of exposing the fear even more frightening. The emotional battle taking place in the psyche of the narrator is directly repressed by the war.
An attention-grabbing story of a youngster’s voyage from end to end. In “A LONG WAY GONE,” Ishmael Beah, at present twenty six years old tells a fascinating story he had always kept from everyone. When he was twelve years of age, he escaped attacking the revolutionaries and roamed a land-living rendered distorted by violence. By thirteen, he’d been chosen up by the government military and Ishmael Beah at nature a gentle young boy, bring into being that he was accomplished of really dreadful deeds. Few days later on the rampage he is unrestricted by military and referred to a UNICEF rehabilitation centre, he wriggled to re-claim his humankind and to re-enter the biosphere of non-combatants, who seen him with terror and distrust . This is at preceding a story of revitalisation and hopefulness.
The mind is a very powerful tool when it is exploited to think about situations out of the ordinary. Describing in vivid detail the conditions of one after his, her, or its death associates the mind to a world that is filled with horrific elements of a dark nature.
Dealing with the death of a loved one is one of life's most challenging obstacles. The pain and suffering that a person goes through cannot be fully understood unless experienced firsthand, like people that have experienced death through abortion. However, for some who have experienced death in war, death is something more like a game, where it is feared, yet made fun of in hopes of lessening the truth of reality. In the short story, “The Things They Carried”, by Tim O’Brian, the author demonstrates his attempts to make death less real through tactics like telling stories about the dead as if they were living, joking about zombies and conceiving the dead as items instead of people.
Lawrence Hill Books, c2009 Bracken, Patrick and Celia Petty (editors). Rethinking the Trauma of War. New York, NY: Save the Children Fund, Free Association Books, Ltd, 1998.
In A Long Way Gone, Ishmael Beah, a former boy soldier with the Sierra Leone army during its civil war(1991- 2002) with the rebels of the Revolutionary United Front (RUF), provides an extraordinary and heartbreaking account of the war, his experience as a child soldier and his days at a rehabilitation center. At the age of twelve, when the RUF rebels attack his village named Mogbwemo in Sierro Leone, while he is away with his brother and some friends, his life takes a major twist. While seeking news of his family, Beah and his friends find themselves constantly running and hiding as they desperately strive to survive in a land rendered unrecognizable by violence. During this time, he loses his dear ones and left alone in the wilderness, is forced to face many physical and psychological dangers. By thirteen, he has been picked up by the government army, and is conditioned to fight in the war by being provided with as many drugs as he could consume (cocaine and marijuana), rudimentary training, and an AK-47. In the next two years, Beah goes on a mind-bending killing spree to avenge the death of his dear ones. At sixteen, he was picked up by UNICEF, and through the help of the staff at the rehabilitation center, he learns to forgive himself and to regain his humanity.
...ys, they are seized by soldiers and taken to a village engrossed by the military fighting back at the rebels. The fellow children soldiers became Ishmael’s only family at the time, and each of them were supplemented with a white pill, “The corporal said it will boost your energy” says a young soldier. (116) Little did Ishmael and the others know that the tablet was an illicit drug given to them to fight their fatigue and anxiety for a short term to better them in combat with the rebels. Beah unknowingly alters into a blood-craving animal, who kills with numbness and no emotion. “I was not afraid of these lifeless bodies. I despised them and kicked them to flip them.” (119) Ishmael now relies and is addicted to drugs to get through his day-to-day life, including smoking marijuana, and constantly snorting “brown brown” (121) which is a mixture of gunpowder and cocaine.
The hikers never knew the two indigenous people, except for what they wore that night, what booze they drank, and what side they slept on. And those simple details were just enough to make the dead bodies Human: capable of joking, singing, fighting, and eating. So the sudden termination of these lives confused the hikers, for they weren’t sure what they should feel about the death of two strangers. The hikers stared and stared at the bodies, perhaps feeling sadness for the friends, parents, and lovers of these men, but feeling only emptiness for the men themselves. They were just two more anonymous faces, frozen in their final dreams and nothing more than dead.
One of the worst things about war is the severity of carnage that it bestows upon mankind. Men are killed by the millions in the worst ways imaginable. Bodies are blown apart, limbs are cracked and torn and flesh is melted away from the bone. Dying eyes watch as internal organs are spilled of empty cavities, naked torso are hung in trees and men are forced to run on stumps when their feet are blown off. Along with the horrific deaths that accompany war, the injuries often outnumber dead men. As Paul Baumer witnessed in the hospital, the injuries were terrifying and often led to death. His turmoil is expressed in the lines, “Day after day goes by with pain and fear, groans and death gurgles. Even the death room I no use anymore; it is too small.” The men who make it through the war take with them mental and physical scarification from their experiences.
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.