I’ve lost everything; my reputation, my spot as leader, my followers and all the respect I once worked hard to get. When Hekja left I thought I was in a respectable position. I had a loyal army that followed me even though I was a female. With the help of Hekja I had finally shown everyone that women were as capable of doing things like men. Women could even be more courageous and stronger than many men. But everything is getting worse.
A couple of days after Hekja left, everyone started to disrespect me because I killed Finnbogi and all his people without a legal challenge. I tried to explain to them the reasons for my decisions, but they never seemed to understand. I tried to keep my distance from everyone for a while because I know I am a strong woman but one against so many other men could harm me and at the moment I am not the woman I once was, I am full
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They left on the boat we had stolen from Finnbogi. The only ones that remained in Vinland were myself, my two children, Thorvard and the Skraelings. We haven’t seen the Skraelings since our last attack, I think they received the message that we are at peace with them.
Even though Thorvard repeatedly tells me that he stands by all of my decisions and doesn’t think what I did was wrong, I don’t believe him. How could I? It is unacceptable to kill so many people without a legal fight and I understand that, but what could I have done? If we hadn’t of killed Finnbogi and his people we most likely would have been killed ourselves by the Skraelings.
My family and I have been living in the long house, all the celebrations and laughter are mere memories. Now the house is empty, only Thorvard and my children occupy the house. Right now my children are running around the house playing a chasing game. Every time I look at the child I adopted from Finnbogi, Astrid, regret and remorse fill my heart. I laugh as Erik falls while running away from Astrid and that’s when I hear
Working as a teacher serving at-risk four-year-old children, approximately six of her eighteen students lived in foster care. The environment introduced Kathy to the impact of domestic violence, drugs, and family instability on a developing child. Her family lineage had a history of social service and she found herself concerned with the wellbeing of one little girl. Angelica, a foster child in Kathy’s class soon to be displaced again was born the daughter of a drug addict. She had been labeled a troublemaker, yet the Harrisons took the thirty-hour training for foster and adoptive care and brought her home to adopt. Within six months, the family would also adopted Angie’s sister Neddy. This is when the Harrison family dynamic drastically changes and Kathy begins a journey with over a hundred foster children passing through her home seeking refuge.
Inside, the walls were a pristine white, with shiney linoleum floors. A new range and refrigerator awaited in the kitchen. It seemed like a dream to them -- until it all came crashing down. One of Lajoe's sisters was found strangled in the family's bathtub. Then, upon hearing the news of his sisters death, one of Lajoe's brothers had a heart attack and died.
...en-year-old girl”. She has now changed mentally into “someone much older”. The loss of her beloved brother means “nothing [will] ever be the same again, for her, for her family, for her brother”. She is losing her “happy” character, and now has a “viole[nt]” personality, that “[is] new to her”. A child losing its family causes a loss of innocence.
“Trauma. It doesn 't eke itself out over time. It doesn 't split itself manageably into bite-sized chunks and distribute it equally throughout your life. Trauma is all or nothing. A tsunami wave of destruction.A tornado of unimaginable awfulness that whooshes into your life - just for one key moment - and wreaks such havoc that, in just an instant, your whole world will never be the same again”(Holly Bourne, The Manifesto on How to be Interesting). In "Moral Injury," Tony Dokoupil explores the guilt, shame, and regret that burdens countless veterans. In "The Man I Killed," when author Tim O 'Brien kills an individual for the first time it traumatized him as a young soldier in Vietnam. This action wreaks havoc within O 'Brien, altering his
The sentencing of underage criminals has remained a logistical and moral issue in the world for a very long time. The issue is brought to our perspective in the documentary Making a Murderer and the audio podcast Serial. When trying to overcome this issue, we ask ourselves, “When should juveniles receive life sentences?” or “Should young inmates be housed with adults?” or “Was the Supreme Court right to make it illegal to sentence a minor to death?”. There are multiple answers to these questions, and it’s necessary to either take a moral or logical approach to the problem.
The “Man I Killed” takes us into the Vietnam War and tell us about a soldiers first time of killing another individual. The author describes a Viet Cong soldier that he has killed, using vivid, physical detail with clear descriptions of the dead mans’ fatal wounds. O'Brien envisions the biography of this man and envisions the individual history of the dead Vietnamese soldier starting with his birthplace moving through his life, and finished with him enrolling in the Vietnamese Army. O'Brien also describes some of the dead soldiers’ hopes and dreams. The author uses this history in an attempt to make the dead man more realistic to the reader
Indian Killer by Sherman Alexie is a gut-wrenching novel centered around the storyline of an unknown killer who has a strong and evident motive for kidnapping and killing people throughout the novel's progression. The people that the killer takes interest in consists of mostly white men. This deep burning fire within the killer has an extensive connection with the complexity of tension between whites and Indians, as radio host Truck Schultz states through multiple broadcasts. The novel also has another character that stands out, John Smith. Sherman's novel has two killers, John Smith and Marie Polatkin, who share very identical qualities such as an equal level of hatred towards the average white male and a strong sense of anger issues.
At the beginning of her first real encounter with calamity, Astrid is inundated with a deluge of emotions, leaving her dazed. It is during this time of bewilderment that the young girl is placed in her first foster home in the custody of a Sunday Christian named Starr. With the absence of a father figure in her life, Astrid’s feelings for Ray metamorphose into those of desire and what began as a timid liking, turns into something much more. The Oedipal feelings she harbors towards “Uncle” Ray, Starr’s boyfriend, lead ultimately her expulsion from the home.
Construction of Holmes’s World’s Fair Hotel, or better known as “The Murder Castle” in modern times, began in 1890. The building consisted of over 60 rooms and 51 oddly cut doors. By Holmes’s request, new construction workers were brought in each week so no one would know the exact layout besides him, and he refused to pay for any of the labor or materials used. Holmes used his intelligence and carefully contemplated every action to make sure it would be virtually impossible for anyone to catch him. In the top two floors of the 162 by 50 foot three story hotel there were trap doors, asphyxiation chambers, and blowtorches in the walls to torture and kill the people working in and staying at the hotel and a dissection table, crematory, and
The effects from this corrupt enterprise are undeniably painful and scaring. In common societies women are belittled and objectified excessively, it is hardly considered a conflict when unimaginable pain is inflicted upon them. The physical, emotional, and mental distortion and destruction, caused by violence last an eternity. The inane fear, agony of sha...
Babies and families are so frowned upon that the word spreads and Mustapha Mond finds out. As a result Bernard is exiled from the World state, and John is forced to live in a lighthouse on the shore. Meanwhile, in poor health, Linda passes away.
Suddenly her bed was empty. Her room was empty. The nametag on her door was gone. Annie slept most of the weekend and, one day, just didn’t wake up. She was gone. I was shattered. ================
Women often are put in positions that often create turmoil within themselves. Women tend to make decisions based more on emotion and values as opposed to what is dictated by governing laws and rulers. By choosing to do what is “right in their heart” women often suffer great consequences such as persecution, abuse, exile and even death.
The story looks at a mother’s unwillingness to stop mourning for her dead child who appears as a ghost to her and tells her he is unable to sleep in his coffin until she stops mourning him. ‘On one side, the tale seems an admonition about excessively mourning (private or personal) loss. On the other side, it also depicts a necessary, perhaps also desired, separation from the parents’ (Christian Petzold, 2013) The Grimms’ story plays an overlap in Francois illness, and her ability to not let go of her lost child. It suggests that Nina herself is a ghost, unable to sleep until Francois is able to stop mourning the loss of her child.
Following the accidental death of their cousin, Sophie Mol, and the brutal beating of Velutha by the police, the twins are brought to the police station for questioning. Baby Kochamma, the twins’ great-aunt and the most prominent antagonist of the novel, calls the children “murderers,” claiming, “Even God doesn’t forgive that” (300). As Baby Kochamma begins to craft this narrative that Estha and Rahel deliberately killed their cousin out of jealousy, Roy creates a harsh sense of irony because in reality it is Baby Kochamma herself who is the murderer after ordering Velutha to be killed for his affair with Ammu. Baby Kochamma continues to fabricate her tale, telling the twins how she will be morally obligated to confess to the police how they “forced [Sophie Mol] to go” and how they “pushed her out of the boat in the middle of the river” (300). Although Roy tells the story through an omniscient third person narrator, most of the novel is focused on the perspective of the twins at age seven. Therefore, the clouding lens of childhood innocence is often a big part of how the story is told. The twins, “fascinated by the story she was telling them,” (300) know this is not actually what occured the previous night, and yet