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War and it's side effects
Negative effects of war
The after effects of war
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Fear rises in crescendo in me. Papa Christophe is now gone. No shrieks, no struggle, no clamor. Just death. I climb clumsily to the nearby woods but my mind is losing its way to conscious.
“Marie?”
My legs are tangled with anxious. Residents around me are dead still under the cover of the fractured moonlight. Layers of darkness flood my mind along with waves of dread. I’m terrified. More than terrified. My heart flops like a dead fish running dry of hope.
Here comes agony and nausea. My own fear starts to tear my flesh and my mind is wrecked with despair. Callous machetes and guns are everywhere, all wet with my tribe’s blood. The sickening smell stings me and agitates my bodily functions. Every detail of this death scene is now etched into my brain.
“Marie? Marie wake up.”
Thousands and thousands of abandoned bodies lie across the fields in a ruby pool of blood; their faces are brimmed with hatred as if they regard this flagitious world with disgust even when they meet their ends. The air I’m breathing in is becoming more and more stale; every breath I take is acc...
Bullets flying through the air right over me, my knees are shaking, and my feet are numb. I see familiar faces all around me dodging the explosives illuminating the air like lightning. Unfortunately, numerous familiar faces seem to disappear into the trenches. I try to run from the noise, but my mind keeps causing me to re-illustrate the painful memories left behind.
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.
live in the wilderness can recognize the central truth of existence, which is that death lives right beside us at all times, as close and as relevant as life itself, and that this reali...
Fear is an amazing emotion, in that it has both psychological as well as physiological effects on the human body. In instances of extreme fear, the mind is able to function in a way that is detached and connected to the event simultaneously. In “Feared Drowned,” Sharon Olds presents, in six brief stanzas, this type of instance. Her sparse use of language, rich with metaphors, similes and dark imagery, belies the horror experienced by the speaker. She closes the poem with a philosophical statement about life and the after-effects that these moments of horror can have on our lives and relationships.
In the novella Heart of Darkness and the collection of poems Native Guard, Trethewey and Conrad depict vivid images of decaying corpses and bodies to show society’s ability to manipulate justice.
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.
First came the pride, an overwhelming sense of achievement, an accomplishment due to great ambition, but slowly and enduringly surged a world of guilt and confusion, the conscience which I once thought diminished, began to grow, soon defeating the title and its rewards. Slowly the unforgotten memories from that merciless night overcame me and I succumbed to the incessant and horrific images, the bloody dagger, a lifeless corpse. I wash, I scrub, I tear at the flesh on my hands, trying desperately to cleanse myself of the blood. But the filthy witness remains, stained, never to be removed.
The detailed descriptions of the dead man’s body show the terrible costs of the war in a physical aspect. O’Brien’s guilt almost takes on its own rhythm in the repetition of ideas, phrases, and observations about the man’s body. Some of the ideas here, especially the notion of the victim being a “slim, young, dainty man,” help emphasize O’Brien’s fixation on the effects of his action—that he killed someone who was innocent and not meant to be fighting in the war. At the same time, his focus on these physical characteristics, rather than on his own feelings, betrays his attempt to keep some distance in order to dull the pain. The long, unending sentences force the reader to read the deta...
Death’s whisper traveled in my ear, wrapping around my mind, “I can take you away from this madness. Beyond this hell, that is life.” “Will it be more peaceful there?” I asked. “As serene as heaven above.” Possessive Depression responded. My heavy heart fluttered at the thought of serenity. No more painful days, or lonely, restless nights. No more of this living death. Anxiety murmured all my insecurities tempting me to make the decision, as every tick-tock from the clock he held, echoed in my brain, putting fear in me of things that will never happen. I thought about the invitation to eternal sleep, “I would finally be able to extract this smiling mask…” Thus, I decided to join the dance of death, done dealing with my dilemmas.
As I inched my way toward the cliff, my legs were shaking uncontrollably. I could feel the coldness of the rock beneath my feet when my toes curled around the edge in one last futile attempt at survival. My heart was racing like a trapped bird, desperate to escape. Gazing down the sheer drop, I nearly fainted; my entire life flashed before my eyes. I could hear stones breaking free and fiercely tumbling down the hillside, plummeting into the dark abyss of the forbidding black water. The trees began to rapidly close in around me in a suffocating clench, and the piercing screams from my friends did little to ease the pain. The cool breeze felt like needles upon my bare skin, leaving a trail of goose bumps. The threatening mountains surrounding me seemed to grow more sinister with each passing moment, I felt myself fighting for air. The hot summer sun began to blacken while misty clouds loomed overhead. Trembling with anxiety, I shut my eyes, murmuring one last pathetic prayer. I gathered my last breath, hoping it would last a lifetime, took a step back and plun...
This tribe brings nothing but death and destruction to the island. Moreover, the newly formed group of warriors even develop a dance that they perform over the carcass of the dead pig. They become so involved in this dance that that warriors kill one of their own kind. By chance, Simon runs from the forest towards the group that is already shouting “‘Kill the beast! Cut his throat! Spill his blood!’” (152).
It’s a hard thing to explain to somebody who hasn’t felt it, but the resence of death and danger has a way of bringing you fully awake. It makes things vivid. When you’re afraid, really afraid, you see things you never saw before, you pay attention to the world. You make close friends. You become part of a tribe and you share the same blood – you give it together, you take it together. (O’Brien, 220)
	The pounding of shells, the mines, the death traps, the massive, blind destruction, the acrid stench of rotting flesh, the communal graves, the charred bodies, and the fear. These are the images of war. War has changed over the centuries from battles of legions of ironclad soldiers enveloped in glimmering armor fighting for what they believe to senseless acts of guerrilla warfare against those too coward to be draft-dodgers. Those who were there, who experienced the terror first hand were deeply effected and changed forever. In their retinas, images of blood and gore are burned for the rest of their life.
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.
However, even though the terms being used are grotesque and seem to describe beasts, the very conditions being described are so humanly in their nature that it cannot possibly be all dehumanizing. In this chapter, the protagonist is the fallen friend of Dong-Ho named, Jeong-dae, describing his experience as a soul post-death and the scene that followed his murder. The imagery he looks down as a fallen soul he describes in detail, “I’d lost so much blood that my heart finally stopped, the blood had continued to drain from my body, leaving the skin of my face transparent as writing paper” (51). The narrator himself describes his appearance as comparable to objects rather than a human and thus the interpretation that these words and scenes are dehumanizing is easy to understand. However, blood, heart, skin, face, body, even stench from the deceased, the limpness of a dead body, the convulsions that follow a blunt force trauma, all of these are human features and characteristics. These are the reactions and affects of trauma that any human would experience and it is clearly distinct form that of an animal because it is able to be talked about an communicated in language form souls or from others seeing it. Through these descriptions and graphic scenes, the author is humanizing the victims and allowing all readers to hear and feel the horrors that is the effects of war and violence on the human