The line between not guilty and innocent is not always clear. Sometimes the court system can be flawed. The question is: does acquitted mean innocent? This question is brought about in the book Monster by Walter Dean Myers, when Steve Harmon, the main character, is on trial. He is acquitted, however, is he really innocent? Steve Harmon is guilty of being the lookout but is not responsible for Mr.Nesbitt’s death, because he was in the store, he was identified by other participants, but he was out of the store before Nesbitt died. Firstly, Steve Harmon was in the store on the day of the robbery. He constructs a journal entry stating “ I walked into a drugstore to look for some mints”(140) This is a self-confession that he was present. This also
Growing up in a world of gangs, death, and suffering Kody Scott, also known as Monster Kody, grew up in a life of struggle. From eleven years old Kody knew what he wanted a to be, a gangster. Nothing could stop him from becoming one of the most feared gang member of the late 1970?s and early 80?s except maybe his own conscience. Kody Scott goes through an evolution, from a child to Monster Kody to finally Sanyika Shakur, his Muslim name. Sanyika Shakur is a true survivor, considering everything that has taken place in his life he has managed to make something of himself from nothing.
Monster: main point of the story The story The Monster by Toby Litt is about the life of a monster that lacks self-awareness. This “monster” has been given no type of correct calling and is unfamiliar with its own physical identity (Litt 250). The monster was limited to its memory but still retained certain aspects. Because it “didn’t have a very good memory,” it couldn’t remember the characteristics of one tree in order to compare it to the other, but it could remember certain maternal characteristics his mother had displayed.
In Monster, Steve is on trial for murder of Mr.Nesbitt and is in the hands of the jury to decide his fate, they declare he is not guilty and Jaime King guilty. The theme of Monster is, people are judged by the acquaintances they have and the people they associate themselves with. This theme is proved by, King wanted to be associated with Steve and Steve wanting to seperate from King, who Steve’s friends are and what they talk about and how Steve’s role in the robbery was caused by his friends and his friends were the ones mostly involved. Even though the jury declared Steve not guilty does not mean that he is, Steve may have been with the wrong crowd, but what if he was just like his friends and got lucky and won the
Flawed, contemplative, and challenging are three descriptive words to describe equality, or the lack of it. The lack of equality is a “monster” according to Cohen’s fourth thesis “The Monster Dwells at the Gates of Difference.” Cohen’s fourth thesis explains how differences among people in regards to race, gender, culture, etc. create “monsters” in society, even when people do not want them to exist. According to “Monster Culture (Seven Theses)” by Jeffrey Jerome Cohen: “Monsters are our children. They can be pushed to the farthest margins of geography and discourse, hidden away at the edges of the world and in the forbidden recesses of our mind, but they always return.” This quote means that the monsters society creates
Throughout history we see monsters taking many different shapes and sizes. Whether it be a ghoul in the midst of a cold nightly stroll or a mass genocide, monsters are lurking everywhere and our perception of what monsters truly are, is enhancing their growth as a force with which to be reckoned. Fear of the unknown is seen throughout time, but as humans progress we are finding that things we once were afraid of we are less frightening than they once were. Monsters can evoke fear in their targeted victims rather than physically harm their victims. For instance, every year a new horror film is released with the next scary beast, but why do we call something a monster even if we know it is not real? Even certain people and creatures are classified as monsters, but are they really monsters, or do their actions speak of monstrous doings? In his article and book chapter Monsters and the Moral Imagination and chapter 5 of On Monsters, Stephen Asma suggests that monstrosity, as we know it, is on the rise as humans progress, and how we perceive monsters can often define monstrosities in itself, providing evidence as to why monster cultures are on the rise, and showing how human progress has evolved our perception of how we think on the topic that is monsters.
Sinister predators within gothic novels are often similar to the “femme fatale”, a mysterious and seductive female character whose charms ensnare her lovers, often leading them into compromising, dangerous, and deadly situations. A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. However, this is contrasted within ‘Frankenstein’ by the female creature. Many of the sinister predators found within ‘Frankenstein’ are male, however Mary Shelley’s female creature is presented through the eyes of Victor Frankenstein as “malignant” and a “daemon”, suggesting that it is sinister. Despite the fact that the monster’s companion never has a chance to live as she is cruelly
The statement, never judge a book by its cover, is known by almost everyone, however, in a world of first impressions, people are always going to treat and judge someone by the way they look and act. The novel, Monster, written by Walter Dean Myers is about a 16-year-old boy, Steve Harmon, who is on trial with James King for felony murder. In the jail and court, it is shown that when the jury or prisoner looks at another, they can instantly tell whether they are strong, or they are timid. The jury in the court can reach their decision just based on first impressions. Being portrayed as cowardly can put one at a major disadvantage.
Sometimes, in novels like Frankenstein, the motives of the author are unclear. It is clear however, that one of the many themes Mary Shelley presents is the humanity of Victor Frankenstein's creation. Although she presents evidence in both support and opposition to the creation's humanity, it is apparent that this being is indeed human. His humanity is not only witnessed in his physical being, but in his intellectual and emotional thoughts as well. His humanity is argued by the fact that being human does not mean coming from a specific genetic chain and having family to relate to, but to embrace many of the distinct traits that set humans apart from other animals in this world. In fact, calling Victor's creation a `monster' doesn't support the argument that he is human, so for the sake of this case, his name shall be Phil.
While the GOP suffers under the existential reality of its meandering Frankenstein Monster (AKA Donald Trump), conservative America must come to the reality its lives with a metastasized cancer born of its 1970s/1980s "southern strategy."
Walter Dean Myer’s book Monster depicts how the American legal system functions. The primary theme of the story is to examine how a person who commits a crime is arrested, convicted, tried, and punished. This book looks at the legal system through the eyes of a young, African American teenager. He paints horrible images of life in jail (but keep in mind… this is a detention center or equivalent to juvenile hall, not the state or federal penitentiary). Further, Myers brings to point that everyone who is sentences to this facility is to be punished, whether they are guilty or innocent. By the end of the story, Steve has a different outlook… things are typically not as bad as you initially think they are… it is all in how you view things.
Steve Harmon is truly guilty of Felony murder. He shows this in his journal entries. Other admitted participants also show this.In the eyes of the law Steve is giulty because he agreed to go into the store on that
In Mary Shelley’s Frankenstein, Victor Frankenstein, the protagonist, produces a monster and instead of teaching his monster the mannerisms and norms of society, he abandons him. Victor expects his monster to make it in the harsh, critical society without being taught correct demeanors because he believes that having correct mannerisms is intuitive. A common viewpoint of the book is that Frankenstein’s monster should receive the blame, because he should have had proper nature, but in reality, society nurtured him to act out. Victor isolated the monster, and other members of society followed in Victor’s example and also treated him as so; which made the creature’s actions monstrous. Frankenstein played God, causing society to view his creature as a monster and as a risk to the public, but Frankenstein did not intend to create the monster as dangerous in nature; society nurtured him to act as a beast.
In Frankenstein, Mary Shelley uses the motif of monstrosity to convey the theme that a person’s outward appearance is not what makes them a monster but rather their actions or inactions that classify true monstrosity. Despite the fact that the monster Victor Frankenstein creates is a literal example of monstrosity in the novel there are many parts that give meaning to monstrosity within character’s actions. Although Victor appears normal, since he is human his ambitions, secrets, selfishness, and inaction makes him a monster himself. Along with monstrous characters the pursuit of knowledge that is seen in Victor, his monster, and Walton in Frankenstein prove that knowledge can be a monstrosity. Mary Shelley’s Frankenstein is created using the life stories of different characters in the novel. The novel itself could be seen as a monster created similarly to Victor’s monster.
Once a group of Chinese was visiting the home of an American. As they were shown around the house, they commented, "You have a very nice home. It's so beautiful." The hostess smiled with obvious pleasure and replied in good American fashion "Thank you" ---- which caused surprise among some of her Chinese guests. Later, while conversing at the dinner table, the host remarked to the Chinese interpreter, a young lady who had graduated not long ago from a university, "Your English is excellent. Really quite fluent." To this she demurred, "No, no. My English is quite poor" ---- an answer that he had not expected and found a bit puzzling.
Recently writing about Collateral Beauty and Passengers, New Yorker critic Richard Brody observed that fantasy is “the hardest genre to pull off, for the simple reason that life is interesting.” That's an astute diagnosis of why most fantasy is so tedious to take in, whether on the page or screen, as it's rooted in borrowed jargon that's about nothing more than its own existence. Watching an uninspired fantasy, one's trapped in a sensory-deprivation tank of exposition that's molded to serve a trite catch-and-release pattern: dutifully wade through talk of growth and prophecies and you're rewarded with an action scene or teary catharsis that you'll have forgotten by the end credits. There's no sense of incidental detail, of spontaneity, of poetry,