“Did you ask him?”
“Yes, standard protocol was followed.”
“Did you scan his mortality card?”
“Yes, ma’am. I have routed his feed through the reclamation system and placed a carbon print in the vault.”
“How many years?”
I want to live. Can they hear me? “I want to live.” Read More…
Wanuri Kahiu’s short film, Pumzi, and the Wachowski brothers’ film, The Matrix, engage in a comprehensive depiction of how technology and truth function in a dystopian society. In each film, technology is depicted as a tool used by authoritarian systems from under which protagonists struggle for both truth and freedom. Technology and progress are represented as negative and enslaving, while intuition and hope emerge as the tools of freedom. Where intellectual knowledge culminates in a destruction of the earth and becomes useful only as a tool of authoritarian control, hope and intuition become synonymous with freedom and life. Although the two movies diverge on the point of defining freedom, hope and intuition are exposed as more capable of attaining freedom than the “old” ideas of progress. Read More…
The tinny clank of the cell door startles him to a drowsy realization. His crinkled Raider’s t-shirt wavers loosely about his body as the shakes set in. A pungent air found in dank back alleys hangs about the small room. His legs are wet. Read More…
Thin, but for a bloated belly. She can’t conceive the wealthy. Her happiness isn’t a commodity. Sneaking , creaking stairs, fear is not hiding today. Steps gentle, but firm enough to conceal their secret running. Victory is, three plastic wheels within four cement walls. Pedal faster, faster, winter’s glint gilding purple wrappers, thrown! […]
What the hell did you do that for?
You can’t drive right now. We’ll find them in the morning.
Oh, I forgot, you’re the big boss man. Getting the little woman under control.
You’re drunk. Read More…
I take an aith,
to trot back home
thistle-born Tory. Read More…
Ahab’s character is inherently linked to Christianity through the novel and, yet, he utilizes other belief systems in his pursuit of the whale. Combining Ahab’s pursuit with the prevalence of the number three leads to an analysis that the number is used to emphasize a merging of various belief systems. Ahab is depicted as blending, utilizing, and disregarding spiritual elements that don’t venture far from each other to begin with. The Pequod can be viewed as a microcosm of spiritual discourse where the compounded explication of the similarities in various belief systems are revealed through the number three. The Pequod’s ultimate wrecking exposes the flaw in thinking that one belief system excludes or is superior to another. This essay will explore the underpinning connections of the number three throughout the novel and how the number’s prevalence lends to understanding Ahab’s spiritual quest for the whale as a statement on American culture of the time.
Tobias Smollett’s novel The Expedition of Humphry Clinker begins with commentary on the limitations of philosophy: “[P]eople in general were so misled by vulgar prejudices, that philosophy was hardly sufficient to undeceive them” (17). Combining education with entertainment, Smollett’s novel is a literary construct of social experimentation that demonstrates complex philosophical ideas through mock reality and humor. This construct is useful because it allows readers to conceptualize complex social commentary through entertainment and realism rather than through the abstract or detached musings that one might find in a treatise. The more abstract a concept is, the more likely it is to meet resistance in the mind of readers. His novel engages contemporary philosophy by challenging expectations of how to identify someone. Each character embodies conflicting social roles, rendering them more complex than the conventional guidelines of gender, economic class, and moral judgment allow. Smollett’s novel undermines conventional claims of identity and combines philosophy with reality in novel form. This form makes philosophy more accessible and understandable to a readership that may not have not been engaged, otherwise. Read More…
Subjective identity is the concept that an individual can conceive a complete and static identity based on personal observation and experience alone. Horace Walpole’s The Castle of Otranto complicates the possibility or reliability of a subjective identity. Walpole’s use of the third person demonstrates the complexity of identity, because it demonstrates that one person cannot observe and experience simultaneous events. The third person illuminates a disjoint between what characters know and what is happening. As a full range of perceptions interplay, the reader has the ability to witness a number of events, reactions, and misunderstandings. As the characters demonstrate strained reasoning, the idea of a convincing self-identity weakens. On the backbone of an objective narrator, a theme of disembodiment or discontinuity of the self is represented through synecdoche, metaphor, and plot. Combined, the formal structure and the context of the novel wholly challenge the concept of subjective identity. Read More…
Quote chosen for analysis from The Brothers Karamazov by Fyodor Dostoevsky:
“I am not a doctor, but nevertheless I feel the moment has come when it is decidedly necessary for me to explain to the reader at least something of the nature of Ivan Fyodorovich’s illness. Getting ahead of myself, I will say only one thing: he was, that evening, precisely just on the verge of brain fever, which finally took complete possession of his organism, long in disorder but stubbornly refusing to succumb. Though I know nothing of medicine, I will venture the suggestion that he had indeed succeeded, perhaps, by a terrible effort of will, in postponing his illness for a time, hoping, of course, to overcome it completely. He knew he was not well, but he was loath to be ill at that time, during those approaching fatal moments of his life; he had to be personally present, to speak his word boldly and resolutely, and ‘vindicate himself to himself.’ Read More…