Creating an Efficient IT Infrastructure

Creating an Efficient IT Infrastructure Richard Lecator 1 Business Requirements 1.1 Project Overview Since the firm works on web analytics and effective qualitative reportage. The project assist of software used by the firm that enables it to have high quality, data collection that is very effective that starts in minutes without any necessity of additional programming. 1.2Background including current process The company is known for its dominant role in the collection and analysis of data. The firm has been operational for a duration almost equaling two years and has a total of approximate 20 employees, where four have been delegated to the IT department. The firm is further able to collect native and email data from almost all the electronic sources, with the inclusion of the individual computers, storage devices for mobile media, backup tapes, networks belonging to the companies, and the mobile devices for personal use. This shows that the company is well equipped to manage almost all of the devices. 1.3 Scope 1.3.1 Scope of Project The scope of this project should be controlled through the following tips: Through making sure that the project team, the stakeholders, the business leaders, as well as everybody else involved understanding the scope of the project. This can be achieved through keeping on reinforcing what it is throughout the project life cycle. The second tip involves making sure that the project team understands how to identify a scope change when they see it and to be able to answer appropriately and correctly back to the business users. This means they should be able to answer all queries relating to every single instant of the project. They should not answer questions with NO but try to find solutions for different issues regarding the project and bring back the best results to the project manager. The third tip is communication, which involves managing the communications of the project through managing the expectations of what the project is going to deliver regarding scope; this is an important part of the project plan. This also involves making sure that there is continuous communication and there is effective communications plan to manage scope changes. Data warehousing involves the process of designing how data is stored for the goal of improving reporting and analysis (Sinha, 2011). Data warehouse specialists ensure that various stores of data are related and connected to each other both physically as well as conceptually. An organizations data is usually stored in some databases. To be able to analyze the broadest range of data, each of the databases needs to be connected in some way. This implies that the data within them need a way of being related to other relevant data and that the physical databases themselves have a connection so their data can be viewed at together for reporting and analysis purposes. Data analytics can be utilized to examine whether a database is working as projected. With the information acquired from the analytics, the database administrators can establish which areas of the warehousing are accepted and which areas of their site are not accepted by the users. Analytics, therefore, enables the database designer to improve the user experience; analytics is a core aspect of this project implementation and adoption (Ohlhorst, 2013). Interfaces and cloud computing are key to the company growth due to the rapid involving technological world. The virtualization of databases through cloud computing is a key concept since it enhances security by avoiding system failure and improved disaster recovery techniques. Outsourcing and off-shoring needs potentially offer greater and wider benefits. Complex strategies in this project can be outsourced. Virtualization technologies such as cloud computing and security issues which are core in the project can be outsourced. Security is a major part of this project since failure to implement good security measures would mean that the company will not grow as speculated and therefore lowering its competitive edge. Therefore the project plan should lay down the security measures to be implemented so that the Wiggly Corporation can implement a secure database system. The necessary resources for this project include analytics software for collecting the relevant data, database management system for managing the databases, and knowledgeable staff to manage key dockets of the project management. The staff members may include Chief Technology Officer (CTO) who is responsible for ensuring the throughput, speed, accuracy, availability, and reliability of the relational databases and Chief Security Officer (CSO) who is responsible for ensuring the security of the database. 1.3.2 Constraints and Assumptions The project should have well-defined constraints regarding who has access to what resources; for example, the database administrator should have different login credentials from other users. Assumptions have been made in defining the scope, objectives and approach in this case, are that the data collected is of both of qualitative and quantitative measures. 1.3.3 Risks There are various risks that exist within the implementation and deployment of this project which may include the following: The lack of awareness for security policy in the user domain; this risk emerges from intentional malicious activities within the workstation domain through unauthorized user access. Weakness in installed software and malicious software introduces vulnerabilities. Unauthorized network access, transmitting private data which is unencrypted, or spreading malicious software. Exposure and unauthorized access of internal resources to the public, which may lead to loss of productivity due to internet access, denial of service attacks, or brute-force attacks on the organizational network infrastructure. 1.3.4 Scope Control Scope control is apprehensive of the factors that contribute to scope changes and therefore aims at ensuring that the scope changes are positive. Scope control determines whether the scope change has taken place and managed the changes in the case that they occur. For scope control to succeed, it must be systematically incorporated with other control processes which include time control, risk control, and quality control (Martin, 2008). The aspect of scope control is made up of measuring the extent into which development towards goals and objectives is being accomplished, the evaluation of the possible reactions to any deviations, as well as the correcting any hostile trends. 1.3.5 Definition of Terms (if applicable) Project Goal This is the objective of the Project. Project scope This involves defining the activities that are involved so as to achieve the project goal. The risk assessment Defined regarding the probability of project occurrence and the negative cost impact of project outcomes. Work Breakdown Structure (WBS) This involves breaking down the project activities so as to plan for time and other resources. Functional Point Analysis (FPA) This would be extremely useful in managing the change of scope of the project, communicating functional requirements, as well as measuring productivity. References Sinha, A. K. (2011). Data warehousing. Indianapolis, IN Prompt Publications. Martin, P. K., Tate, K. (2008). Getting started in project management. New York: Wiley. Ohlhorst, F. (2013). Big data analytics: Turning big data into big money. Hoboken, N.J: John Wiley Sons.

The Twilight Saga 4: Breaking Dawn 4. GESTURE

The wedding flowed into the reception party smoothly – proof of Alice's flawless planning. It was just twilight over the river; the ceremony had lasted exactly the right amount of time, allowing the sun to set behind the trees. The lights in the trees glimmered as Edward led me through the glass back doors, making the white flowers glow. There were another ten thousand flowers out here, serving as a fragrant, airy tent over the dance floor set up on the grass under two of the ancient cedars. Things slowed down, relaxed as the mellow August evening surrounded us. The little crowd spread out under the soft shine of the twinkle lights, and we were greeted again by the friends we'd just embraced. There was time to talk now, to laugh. â€Å"Congrats, guys,† Seth Clearwater told us, ducking his head under the edge of a flower garland. His mother, Sue, was tight by his side, eyeing the guests with wary intensity. Her face was thin and fierce, an expression that was accented by her short, severe hairstyle; it was as short as her daughter Leah's – I wondered if she'd cut it the same way in a show of solidarity. Billy Black, on Seth's other side, was not as tense as Sue. When I looked at Jacob's father, I always felt like I was seeing two people rather than just one. There was the old man in the wheelchair with the lined face and the white smile that everyone else saw. And then there was the direct descendant of a long line of powerful, magical chieftains, cloaked in the authority he'd been born with. Though the magic had – in the absence of a catalyst – skipped his generation, Billy was still a part of the power and the legend. It flowed straight through him. It flowed to his son, the heir to the magic, who had turned his back on it. That left Sam Uley to act as the chief of legends and magic now___ Billy seemed oddly at ease considering the company and the event – his black eyes sparkled like he'd just gotten some good news. I was impressed by his composure. This wedding must have seemed a very bad thing, the worst thing that could happen to his best friend's daughter, in Billy's eyes. I knew it wasn't easy for him to restrain his feelings, considering the challenge this event foreshadowed to the ancient treaty between the Cullens and the Quileutes – the treaty that prohibited the Cullens from ever creating another vampire. The wolves knew a breach was coming, but the Cullens had no idea how they would react. Before the alliance, it would have meant an immediate attack. A war. But now that they knew each other better, would there be forgiveness instead? As if in response to that thought, Seth leaned toward Edward, arms extended. Edward returned the hug with his free arm. I saw Sue shudder delicately. â€Å"It's good to see things work out for you, man,† Seth said. â€Å"I'm happy for you.† â€Å"Thank you, Seth. That means a lot to me.† Edward pulled away from Seth and looked at Sue and Billy. â€Å"Thank you, as well. For letting Seth come. For supporting Bella today.† â€Å"You're welcome,† Billy said in his deep, gravelly voice, and I was surprised at the optimism in his tone. Perhaps a stronger truce was on the horizon. A bit of a line was forming, so Seth waved goodbye and wheeled Billy toward the food. Sue kept one hand on each of them. Angela and Ben were the next to claim us, followed by Angela's parents and then Mike and Jessica – who were, to my surprise, holding hands. I hadn't heard that they were together again. That was nice. Behind my human friends were my new cousins-in-law, the Denali vampire clan. I realized I was holding my breath as the vampire in front – Tanya, I assumed from the strawberry tint in her blond curls – reached out to embrace Edward. Next to her, three other vampires with golden eyes stared at me with open curiosity. One woman had long, pale blond hair, straight as corn silk. The other woman and the man beside her were both black-haired, with a hint of an olive tone to their chalky complexions. And they were all four so beautiful that it made my stomach hurt. Tanya was still holding Edward. â€Å"Ah, Edward,† she said. â€Å"I've missed you.† Edward chuckled and deftly maneuvered out of the hug, placing his hand lightly on her shoulder and stepping back, as if to get a better look at her. â€Å"It's been too long, Tanya. You look well.† â€Å"So do you.† â€Å"Let me introduce you to my wife.† It was the first time Edward had said that word since it was officially true; he seemed like he would explode with satisfaction saying it now. The Denalis all laughed lightly in response. â€Å"Tanya, this is my Bella.† Tanya was every bit as lovely as my worst nightmares had predicted. She eyed me with a look that was much more speculative than it was resigned, and then reached out to take my hand. â€Å"Welcome to the family, Bella.† She smiled, a little rueful. â€Å"We consider ourselves Carlisle's extended family, and I am sorry about the, er, recent incident when we did not behave as such. We should have met you sooner. Can you forgive us?† â€Å"Of course,† I said breathlessly. â€Å"It's so nice to meet you.† â€Å"The Cullens are all evened up in numbers now. Perhaps it will be our turn next, eh, Kate?† She grinned at the blonde. â€Å"Keep the dream alive,† Kate said with a roll of her golden eyes. She took my hand from Tanya's and squeezed it gently. â€Å"Welcome, Bella.† The dark-haired woman put her hand on top of Kate's. â€Å"I'm Carmen, this is Eleazar. We're all so very pleased to finally meet you.† â€Å"M-me, too,† I stuttered. Tanya glanced at the people waiting behind her – Charlie's deputy, Mark, and his wife. Their eyes were huge as they took in the Denali clan. â€Å"We'll get to know each other later. We'll have eons of time for that!† Tanya laughed as she and her family moved on. All the standard traditions were kept. I was blinded by flashbulbs as we held the knife over a spectacular cake – too grand, I thought, for our relatively intimate group of friends and family. We took turns shoving cake in each other's faces; Edward manfully swallowed his portion as I watched in disbelief. I threw my bouquet with atypical skill, right into Angela's surprised hands. Emmett and Jasper howled with laughter at my blush while Edward removed my borrowed garter – which I'd shimmied down nearly to my ankle – verycarefully with his teeth. With a quick wink at me, he shot it straight into Mike Newton's face. And when the music started, Edward pulled me into his arms for the customary first dance; I went willingly, despite my fear of dancing – especially dancing in front of an audience – just happy to have him holding me. He did all the work, and I twirled effortlessly under the glow of a canopy of lights and the bright flashes from the cameras. â€Å"Enjoying the party, Mrs. Cullen?† he whispered in my ear. I laughed. â€Å"That will take a while to get used to.† â€Å"We have a while,† he reminded me, his voice exultant, and he leaned down to kiss me while we danced. Cameras clicked feverishly. The music changed, and Charlie tapped on Edward's shoulder. It wasn't nearly as easy to dance with Charlie. He was no better at it than I was, so we moved safely from side to side in a tiny square formation. Edward and Esme spun around us like Fred Astaire and Ginger Rogers. â€Å"I'm going to miss you at home, Bella. I'm already lonely.† I spoke through a tight throat, trying to make a joke of it. â€Å"I feel just horrible, leaving you to cook for yourself – it's practically criminal negligence. You could arrest me.† He grinned. â€Å"I suppose I'll survive the food. Just call me whenever you can.† â€Å"I promise.† It seemed like I danced with everyone. It was good to see all my old friends, but I really wanted to be with Edward more than anything else. I was happy when he finally cut in, just half a minute after a new dance started. â€Å"Still not that fond of Mike, eh?† I commented as Edward whirled me away from him. â€Å"Not when I have to listen to his thoughts. He's lucky I didn't kick him out. Or worse.† â€Å"Yeah, right.† â€Å"Have you had a chance to look at yourself?† â€Å"Urn. No, I guess not. Why?† â€Å"Then I suppose you don't realize how utterly, heart-breakingly beautiful you are tonight. I'm not surprised Mike's having difficulty with improper thoughts about a married woman. I am disappointed that Alice didn't make sure you were forced to look in a mirror.† â€Å"You are very biased, you know.† He sighed and then paused and turned me around to face the house. The wall of glass reflected the party back like a long mirror. Edward pointed to the couple in the mirror directly across from us. â€Å"Biased, am I?† I caught just a glimpse of Edward's reflection – a perfect duplicate of his perfect face – with a dark-haired beauty at his side. Her skin was cream and roses, her eyes were huge with excitement and framed with thick lashes. The narrow sheath of the shimmering white dress flared out subtly at the train almost like an inverted calla lily, cut so skillfully that her body looked elegant and graceful – while it was motionless, at least. Before I could blink and make the beauty turn back into me, Edward suddenly stiffened and turned automatically in the other direction, as if someone had called his name. â€Å"Oh!† he said. His brow furrowed for an instant and then smoothed out just as quickly. Suddenly, he was smiling a brilliant smile. â€Å"What is it?† I asked. â€Å"A surprise wedding gift.† â€Å"Huh?† He didn't answer; he just started dancing again, spinning me the opposite way we'd been headed before, away from the lights and then into the deep swath of night that ringed the luminous dance floor. He didn't pause until we reached the dark side of one of the huge cedars. Then Edward looked straight into the blackest shadow. â€Å"Thank you,† Edward said to the darkness. â€Å"This is very†¦ kind of you.† â€Å"Kind is my middle name,† a husky familiar voice answered from the black night. â€Å"Can i cut in?† My hand flew up to my throat, and if Edward hadn't been holding me I would have collapsed. â€Å"Jacob!† I choked as soon as I could breathe. â€Å"Jacob!† â€Å"Hey there, Bells.† I stumbled toward the sound of his voice. Edward kept his grip under my elbow until another set of strong hands caught me in the darkness. The heat from Jacob's skin burned right through the thin satin dress as he pulled me close. He made no effort to dance; he just hugged me while I buried my face in his chest. He leaned down to press his cheek to the top of my head. â€Å"Rosalie won't forgive me if she doesn't get her official turn on the dance floor,† Edward murmured, and I knew he was leaving us, giving me a gift of his own – this moment with Jacob. â€Å"Oh, Jacob.† I was crying now; I couldn't get the words out clearly. â€Å"Thank you.† â€Å"Stop blubbering,Bella. You'll ruin your dress. It's just me.† â€Å"Just? Oh, Jake! Everything is perfect now.† Hesnorted. â€Å"Yeah – the party can start. The best man finally made it.† â€Å"Now everyone I love is here.† I felthis lips brush my hair. â€Å"SorryI'm late, honey.† â€Å"I'm just so happy you came!† â€Å"That was the idea.† I glanced toward the guests, but I couldn't see through the dancers to the spot where I'd last seen Jacob's father. I didn't know if he'd stayed. â€Å"DoesBilly know you're here?† As soon as I asked, I knew that he must have – it was the only way to explain his uplifted expression before. â€Å"I'm sure Sam's told him. I'll go see him when†¦ when the party's over.† â€Å"He'll beso glad you're home.† Jacob pulled back a little bit and straightened up.He left one hand on the small of my back and grabbed my right hand with the other. He cradled our hands to his chest; I could feel his heart beat under my palm, and I guessed that he hadn't placed my hand there accidentally. â€Å"I don't know if I get more than just this one dance,† he said, and he began pulling me around in a slow circle that didn't match the tempo of the music coming from behind us. â€Å"I'd better make the best of it.† We moved to the rhythm of his heart under my hand. â€Å"I'm glad Icame,† Jacob said quietly after a moment. â€Å"I didn't think I would be. But it's good to see you†¦ one more time. Not as sad as I'd thought it would be.† â€Å"I don't want you to feel sad.† â€Å"I know that. And I didn't come tonight to make you feel guilty.† â€Å"No – it makes me very happy that you came. It's the best gift you could have given me.† He laughed. â€Å"That's good, because I didn't have time to stop for a real present.† My eyes were adjusting, and I could see his face now, higher up than I expected. Was it possible that he was still growing? He had to be closer to seven feet than to six. It was a relief to see his familiar features again after all this time – his deep-set eyes shadowed under his shaggy black brows, his high cheekbones, his full lips stretched over his bright teeth in the sarcastic smile that matched his tone. His eyes were tight around the edges – careful; I could see that he was being very careful tonight. He was doing all he could to make me happy, to not slip and show how much this cost him. I'd never done anything good enough to deserve a friend like Jacob. â€Å"When did you decide to come back?† â€Å"Consciously or subconsciously?† He took a deep breath before he answered his own question. â€Å"I don't really know. I guess I've been wandering back this direction for a while, and maybe it's because I was headed here. But it wasn't until this morning that I really started running. I didn't know if I could make it.† He laughed. â€Å"You wouldn't believe how weird this feels – walking around on two legs again. And clothes! And then it's more bizarre because it feels weird. I didn't expect that. I'm out of practice with the whole human thing.† We revolved steadily. â€Å"It would have been a shame to miss seeing you like this, though. That's worth the trip right there. You look unbelievable, Bella. So beautiful.† â€Å"Alice invested a lot of time in me today. The dark helps, too.† â€Å"It's not so dark for me, you know.† â€Å"Right.† Werewolf senses. It was easy to forget all the things he could do, he seemed so human. Especially right now. â€Å"You cut your hair,† I noted. â€Å"Yeah. Easier, you know. Thought I'd better take advantage of the hands.† â€Å"It looks good,† I lied. He snorted. â€Å"Right. I did it myself, with rusty kitchen shears.† He grinned widely for a moment, and then his smile faded. His expression turned serious. â€Å"Are you happy, Bella?† â€Å"Yes.† â€Å"Okay.† I felt his shoulders shrug. â€Å"That's the main thing, I guess.† â€Å"How are you, Jacob? Really?† â€Å"I'm fine, Bella, really. You don't need to worry about me anymore. You can stop bugging Seth.† â€Å"I'm not just bugging him because of you. I like Seth.† â€Å"He's a good kid. Better company than some. I tell you, if I could get rid of the voices in my head, being a wolf would be about perfect.† I laughed at the way it sounded. â€Å"Yeah, I can't get mine to shut up, either.† â€Å"In your case, that would mean you're insane. Of course, I already knew that you were insane,† he teased. â€Å"Thanks.† â€Å"Insanity is probably easier than sharing a pack mind. Crazy people's voices don't send babysitters to watch them.† â€Å"Huh?† â€Å"Sam's out there. And some of the others. Just in case, you know.† â€Å"In case of what?† â€Å"In case I can't keep it together, something like that. In case I decide to trash the party.† He flashed a quick smile at what was probably an appealing thought to him. â€Å"But I'm not here to ruin your wedding, Bella. I'm here to .. .† He trailed off. â€Å"To make it perfect.† â€Å"That's a tall order.† â€Å"Good thing you're so tall.† He groaned at my bad joke and then sighed. â€Å"I'm just here to be your friend. Your best friend, one last time.† â€Å"Sam should give you more credit.† â€Å"Well, maybe I'm being oversensitive. Maybe they'd be here anyway, to keep an eye on Seth. There are a lot of vampires here. Seth doesn't take that as seriously as he should.† â€Å"Seth knows that he's not in any danger. He understands the Cullens better than Sam does.† â€Å"Sure, sure,† Jacob said, making peace before it could turn into a fight. It was strange to have him being the diplomat. â€Å"Sorry about those voices,† I said. â€Å"Wish I could make it better.† In so many ways. â€Å"It's not that bad. I'm just whining a little.† â€Å"You're†¦ happy?† â€Å"Close enough. But enough about me. You're the star today.† He chuckled. â€Å"I bet you're just loving that. Center of attention.† â€Å"Yeah. Can't get enough attention.† He laughed and then stared over my head. With pursed lips, he studied the shimmering glow of the reception party, the graceful whirl of the dancers, the fluttering petals falling from the garlands; I looked with him. It all seemed very distant from this black, quiet space. Almost like watching the white flurries swirling inside a snow globe. â€Å"I'll give them this much,† he said. â€Å"They know how to throw a party.† â€Å"Alice is an unstoppable force of nature.† He sighed. â€Å"Song's over. Do you think 1 get another one? Or is that asking too much?† I tightened my hand around his. â€Å"You can have as many dances as you want.† He laughed. â€Å"That would be interesting. I think I'd better stick with two, though. Don't want to start talk.† We turned in another circle. â€Å"You'd think I'd be used to telling you goodbye by now,† he murmured. I tried to swallow the lump in my throat, but I couldn't force it down. Jacob looked at me and frowned. He wiped his fingers across my cheek, catching the tears there. â€Å"You're not supposed to be the one crying, Bella.† â€Å"Everyone cries at weddings,† I said thickly. â€Å"This is what you want, right?† â€Å"Right.† â€Å"Then smile.† I tried. He laughed at my grimace. Tm going to try to remember you like this. Pretend that†¦Ã¢â‚¬  â€Å"That what?That I died?† He clenched his teeth. He was struggling with himself – with his decision to make his presence here a gift and not a judgment. I could guess what he wanted to say. â€Å"No,† he finally answered. â€Å"But I'll see you this way in my head. Pink cheeks. Heartbeat. Two left feet. All of that.† I deliberately stomped on his foot as hard as I could. He smiled. â€Å"That's my girl.† He started to say something else and then snapped his mouth closed. Struggling again, teeth gritted against the words he didn't want to say. My relationship with Jacob used to be so easy. Natural as breathing. But since Edward had come back into my life, it was a constant strain. Because – in Jacob's eyes – by choosing Edward, I was choosing a fate that was worse than death, or at least equivalent to it. â€Å"What is it, Jake? Just tell me. You can tell me anything.† â€Å"I – I†¦ I don't have anything to tell you.† â€Å"Oh please. Spit it out.† â€Å"It's true.It's not†¦ it's – it's a question. It's something I want you to tell me† â€Å"Ask me.† He struggled for another minute and then exhaled. â€Å"I shouldn't. It doesn't matter. I'm just morbidly curious.† Because I knew him so well, I understood. â€Å"It's not tonight, Jacob,† I whispered. Jacob was even more obsessed with my humanity than Edward. He treasured every one of my heartbeats, knowing that they were numbered. â€Å"Oh,† he said, trying to smother his relief. â€Å"Oh.† A new song started playing, but he didn't notice the change this time. â€Å"When?† he whispered. â€Å"I don't know for sure. A week or two, maybe.† His voice changed, took on a defensive, mocking edge. â€Å"What's the holdup?† â€Å"I just didn't want to spend my honeymoon writhing in pain.† â€Å"You'd rather spend it how? Playing checkers? Ha ha.† â€Å"Very funny.† â€Å"Kidding, Bells. But, honestly, I don't see the point. You can't have a real honeymoon with your vampire, so why go through the motions? Call a spade a spade. This isn't the first time you've put this off. That's a good thing, though,† he said, suddenly earnest. â€Å"Don't be embarrassed about it.† â€Å"I'm not putting anything off,† I snapped. â€Å"And yes I can have a real honeymoon! I can do anything I want! Butt out!† He stopped our slow circling abruptly. For a moment, I wondered if he'd finally noticed the music change, and I scrambled in my head for a way to patch up our little tiff before he said goodbye to me. We shouldn't part on this note. And then his eyes bulged wide with a strange kind of confused horror. â€Å"What?† he gasped. â€Å"What did you say?† â€Å"About what†¦ ? Jake? What's wrong?† â€Å"What do you mean? Have a real honeymoon? While you're still human? Are you kidding? That's a sick joke, Bella!† I glared at him. â€Å"I said butt out, Jake. This is so not your business. I shouldn't have†¦ we shouldn't even be talking about this. It's private – â€Å" His enormous hands gripped the tops of my arms, wrapping all the way around, fingers overlapping. â€Å"Ow, Jake! Let go!† He shook me. â€Å"Bella! Have you lost your mind? You can't be that stupid! Tell me you're joking!† He shook me again. His hands, tight as tourniquets, were quivering, sending vibrations deep into my bones. â€Å"Jake – stop!† The darkness was suddenly very crowded. â€Å"Take your hands off her!† Edward's voice was cold as ice, sharp as razors. Behind Jacob, there was a low snarl from the black night, and then another, overlapping the first. â€Å"Jake, bro, back away,† I heard Seth Clearwater urge. â€Å"You're losing it.† Jacob seemed frozen as he was, his horrified eyes wide and staring. â€Å"You'll hurt her,† Seth whispered. â€Å"Let her go.† â€Å"Now!† Edward snarled. Jacob's hands dropped to his sides, and the sudden gush of blood through my waiting veins was almost painful. Before I could register more than that, cold hands replaced the hot ones, and the air was suddenly whooshing past me. I blinked, and I was on my feet a half dozen feet away from where I'd been standing. Edward was tensed in front of me. There were two enormous wolves braced between him and Jacob, but they did not seem aggressive to me. More like they were trying to prevent the fight. And Seth – gangly, fifteen-year-old Seth – had his long arms around Jacob's shaking body, and he was tugging him away. If Jacob phased with Seth so close†¦ â€Å"C'mon, Jake. Let's go.† â€Å"I'll kill you,† Jacob said, his voice so choked with rage that it was low as a whisper. His eyes, focused on Edward, burned with fury. â€Å"I'll kill you myself! I'll do it now!† He shuddered convulsively. The biggest wolf, the black one, growled sharply. â€Å"Seth, get out of the way,† Edward hissed. Seth tugged on Jacob again. Jacob was so bewildered with rage that Seth was able to yank him a few feet farther back. â€Å"Don't do it, Jake. Walk away. C'mon.† Sam – the bigger wolf, the black one – joined Seth then. He put his massive head against Jacob's chest and shoved. The three of them – Seth towing, Jake trembling, Sam pushing – disappeared swiftly into the darkness. The other wolf stared after them. I wasn't sure, in the weak light, about the color of his fur – chocolate brown, maybe? Was it Quil, then? Tm sorry,† I whispered to the wolf. â€Å"It'sall right now,Bella,† Edward murmured. The wolf looked at Edward. His gaze was not friendly. Edward gave him one cold nod.The wolf huffed and then turned to follow the others, vanishing as they had. â€Å"All right,† Edward said to himself, and then he looked at me. â€Å"Let's get back.† â€Å"But Jake – â€Å" â€Å"Sam has him in hand. He's gone.† â€Å"Edward, I'm so sorry. Iwas stupid – â€Å" â€Å"You did nothing wrong – â€Å" â€Å"I have such a big mouth! Why would I†¦ I shouldn't have let him get to me like that. What was I thinking?† â€Å"Don't worry.† He touched my face. â€Å"We need to get back to the reception before someone notices our absence.† I shook my head, trying to reorient myself. Before someone noticed? Had anyone missed that? Then, as I thought about it, I realized the confrontation that had seemed so catastrophic to me had, in reality, been very quiet and short here in the shadows. â€Å"Give me two seconds,† I pleaded. My insides were chaotic with panic and grief, but that didn't matter – only the outside mattered right now. Putting on a good show was something I knew I had to master. â€Å"My dress?† â€Å"You look fine. Not a hair out of place.† I took two deep breaths. â€Å"Okay. Let's go.† He put his arms around me and led me back to the light. When we passed under the twinkle lights, he spun me gently onto the dance floor. We melted in with the other dancers as if our dance had never been interrupted. I glanced around at the guests, butno one seemed shocked or frightened. Only the very palest faces there showed any signs of stress, and they hid it well. Jasper and Emmett were on the edge of the floor, close together, and I guessed that they had been nearby during the confrontation. â€Å"Are you – â€Å" Tm fine,† I promised. â€Å"I can't believe I did that. What's wrong with me?† â€Å"Nothing is wrong with you† I'd been so glad to see Jacob here. I knew the sacrifice it had taken him. And then I'd ruined it, turned his gift into a disaster. I should be quarantined. But my idiocy would not ruin anything else tonight. I would put this away, shove it in a drawer and lock it up to deal with later. There would be plenty of time to flagellate myself for this, and nothing I could do now would help. â€Å"It's over,† I said. â€Å"Let's not think of it again tonight.† I expected a quick agreement from Edward, but he was silent. â€Å"Edward?† He closed his eyes and touched his forehead to mine. â€Å"Jacob is right,† he whispered. â€Å"What am I thinking?† â€Å"He is not.† I tried to keep my face smooth for the watching crowd of friends. â€Å"Jacob is way too prejudiced to see anything clearly.† He mumbled something low that sounded almost like â€Å"should let him kill me for even thinking †¦Ã¢â‚¬  â€Å"Stop it,† I said fiercely. I grabbed his face in my hands and waited until he opened his eyes. â€Å"You and me. That's the only thing that matters. The only thing you're allowed to think about now. Do you hear me?† â€Å"Yes,† he sighed. â€Å"Forget Jacob came.† I could do that. I would 60 that. â€Å"For me. Promise that you'll let this go.† He stared into my eyes for a moment before answering. â€Å"I promise.† â€Å"Thank you. Edward, I'm not afraid.† â€Å"I am,† he whispered. â€Å"Don't be.† I took deep breath and smiled. â€Å"By the way, I love you.† He smiled just a little in return. â€Å"That's why we're here.† â€Å"You're monopolizing the bride,† Emmett said, coming up behind Edward's shoulder. â€Å"Let me dance with my little sister. This could be my last chance to make her blush.† He laughed loudly, as unaffected as he usually was by any serious atmosphere. It turned out there were actually lots of people I hadn't danced with yet, and that gave me a chance to truly compose and resolve myself. When Edward claimed me again, I found that the Jacob-drawer was shut nice and tight. As he wrapped his arms around me, I was able to unearth my earlier sense of joy, my certainty that everything in my life was in the right place tonight. I smiled and laid my head against his chest. His arms tightened. â€Å"I could get used to this,† I said. â€Å"Don't tell me you've gotten over your dancing issues?† â€Å"Dancing isn't so bad – with you. But I was thinking more of this,† – and I pressed myself to him even tighter – â€Å"of never having to let you go.† â€Å"Never,† he promised, and he leaned down to kiss me. It was a serious kind of kiss – intense, slow but building†¦. I'd pretty much forgotten where I was when I heard Alice call, â€Å"Bella! It's time!† I felt a brief flicker of irritation with my new sister for the interruption. Edward ignored her; his lips were hard against mine, more urgent than before. My heart broke into a sprint and my palms were slick against his marble neck. â€Å"Do you want to miss your plane?† Alice demanded, right next to me now. â€Å"I'm sure you'll have a lovely honeymoon camped out in the airport waiting for another flight.† Edward turned his face slightly to murmur, â€Å"Go away, Alice,† and then pressed his lips to mine again. â€Å"Bella, do you want to wear that dress on the airplane?† she demanded. I wasn't really paying much attention. At the moment, I simply didn't care. Alice growled quietly. â€Å"I'll tell her where you're taking her, Edward. So help me, I will.† He froze. Then he lifted his face from mine and glared at his favorite sister. â€Å"You're awfully small to be so hugelyirritating.† â€Å"I didn't pick out the perfect going-away dress to have it wasted,† she snapped back, taking my hand. â€Å"Come with me, Bella.† I tugged against her hold, stretching up on my toes to kiss him one more time. She jerked my arm impatiently, hauling me away from him. There were a few chuckles from the watching guests. I gave up then and let her lead me into the empty house. She looked annoyed. â€Å"Sorry, Alice,† I apologized. â€Å"I don't blame you, Bella.† She sighed. â€Å"You don't seem to be able help yourself.† I giggled at her martyred expression, and she scowled. â€Å"Thank you, Alice. It was the most beautiful wedding anyone ever had,† I told her earnestly. â€Å"Everything was exactly right. You're the best, smartest, most talented sister in the whole world.† That thawed her out; she smiled a huge smile. â€Å"I'm glad you liked it.† Renee and Esme were waiting upstairs. The three of them quickly had me out of my dress and into Alice's deep blue going-away ensemble. I was grateful when someone pulled the pins out of my hair and let it fall loose down my back, wavy from the braids, saving me from a hairpin headache later. My mother's tears streamed without a break the entire time. â€Å"I'll call you when I know where I'm going,† I promised as I hugged her goodbye. I knew the honeymoon secret was probably driving her crazy; my mother hated secrets, unless she was in on them. â€Å"I'll tell you as soon as she's safely away,† Alice outdid me, smirking at my wounded expression. How unfair, for me to be the last to know. â€Å"You have to visit me and Phil very, very soon. It's your turn to go south – see the sun for once,† Renee said. â€Å"It didn't rain today,† I reminded her, avoiding her request â€Å"A miracle.† â€Å"Everything's ready,† Alice said. â€Å"Your suitcases are in the car – Jasper's bringing it around.† She pulled me back toward the stairs with Renee following, still halfway embracing me. â€Å"I love you, Mom,† I whispered as we descended. Tm so glad you have Phil. Take care of each other.† â€Å"I love you, too, Bella, honey.† â€Å"Goodbye, Mom. I love you,† I said again, my throat thick. Edward was waiting at the bottom of the stairs. I took his outstretched hand but leaned away, scanning the little crowd that was waiting to see us off. â€Å"Dad?† I asked, my eyes searching. â€Å"Over here,† Edward murmured. He pulled me through the guests; they made a pathway for us. We found Charlie leaning awkwardly against the wall behind everyone else, looking a little like he was hiding. The red rims around his eyes explained why. â€Å"Oh, Dad!† I hugged him around the waist, tears streaming again – I was crying so much tonight. He patted my back. â€Å"There, now. You don't want to miss your plane.† It was hard to talk about love with Charlie – we were so much alike, always reverting to trivial things to avoid embarrassing emotional displays. But this was no time for being self-conscious. â€Å"I love you forever, Dad,† I told him. â€Å"Don't forget that.† â€Å"You, too, Bells. Always have, always will.† I kissed his cheek at the same time that he kissed mine. â€Å"Call me,† he said. â€Å"Soon,† I promised, knowing this was all I could promise. Just a phone call. My father and my mother could not be allowed to see me again; I would be too different, and much, much too dangerous. â€Å"Go on, then,† he said gruffly. â€Å"Don't want to be late.† The guests made another aisle for us. Edward pulled me close to his side as we made our escape. â€Å"Are you ready?† he asked. â€Å"I am,† I said, and I knew that it was true. Everyone applauded when Edward kissed me on the doorstep. Then he rushed me to the car as the rice storm began. Most of it went wide, but someone, probably Emmett, threw with uncanny precision, and I caught a lot of the ricochets off Edward's back. The car was decorated with more flowers that trailed in streamers along its length, and long gossamer ribbons that were tied to a dozen shoes – designer shoes that looked brand-new – dangling behind the bumper. Edward shielded me from the rice while I climbed in, and then he was in and we were speeding away as I waved out the window and called â€Å"I love you† to the porch, where my families waved back. The last image I registered was one of my parents. Phil had both arms wrapped tenderly around Renee. She had one arm tight around his waist but had her free hand reached out to hold Charlie's. So many different kinds of love, harmonious in this one moment. It seemed a very hopeful picture to me. Edward squeezed my hand. â€Å"I love you,† he said. I leaned my head against his arm. ‘That's why we're here,† I quoted him. He kissed my hair. As we turned onto the black highway and Edward really hit the accelerator, I heard a noise over the purr of the engine, coming from the forest behind us. If I could hear it, then he certainly could. But he said nothing as the sound slowly faded in the distance. I said nothing, either. The piercing, heartbroken howling grew fainter and then disappeared entirely.

Adult Boundaries in ‘the Passion’ and ‘the God of Small Things’.

Winterson and Roy refuse to ‘accept what we think of as adult boundaries'. How is this reflected in ‘The Passion' and ‘The God of Small Things'? In every civilisation, there are boundaries which are set by the adults to run our lives. They are the unspoken laws which were created by higher authorities and not supposed to be questioned. Adult boundaries present the strength of the society. Yet those boundaries suppress the individuals’ freedom. Most importantly it deters the lives of the weakest people in the society.Both Jeanette Winterson and Arundhati Roy have strong opinions on these adult boundaries. Arundhati Roy was born in 1961 in the North-eastern Indian region of Bengal, to a Christian mother and Hindu father in India’s caste system. She spent her childhood in Ayemenem in Kerala. Roy is widely known for political activism. Winterson was born in Manchester. She was adopted and raised in Elim Pentecostal Church. Her parents wanted her to be miss ionary. Winterson identified herself as a lesbian and left home at 16 as her parents would not accept her as a lesbian.Brought up as a Pentecostal Christian, â€Å"Jeanette never truly abandons her faith; her faith abandons her because of clear disagreements over her sexual identity†( Michael Dick on ‘Oranges Are Not the Only Fruit’). Here, Winterson’s faith could be her parents. Perhaps she had faith in them that they would accept her. Therefore she doesn’t abandon them but they abandon her. One might suggest that this is a false statement because Winterson’s rebellious personality may have pushed her to abandon her faith.Although both writers are attacking the adult boundaries to break them down, they know this would usually end in tragedy as adult boundaries restore orders. Both writers use their characters to define and then challenge the society’s rules. The formation of and belonging to categories are adult boundaries. For exampl e Estha and Rahel were not aware that they belonged to a categorised system as they ran off to Velutha to freely play with him therefore meaning that categories form as you grow into it. The characters are faced with loss of freedom as they have no choice as to â€Å"who should be loved.And how. And how much†. Estha and Rahel are limited in showing their love towards Velutha and Ammu breaks the boundaries by loving an Untouchable. Velutha. Similarly, Villanelle differentiates between genders which are two completely different categories. She dresses as a male by wearing a ‘codpiece’ and covering her face with ‘white powder’. Every layer of powder blurs the ability to differentiate her between genders. Winterson says, â€Å"heterosexuality and homosexuality are a kind of psychosis, and the truth is somewhere in the middle†( http://www. brainyquote. om/quotes/keywords/homosexuality. html). However, this is biased as Winterson is someone who chal lenges the barriers set for her. The idea of sexuality categories is bound to cultural and historical factors. For some, The word ‘heterosexuality’ is redundant because male and female genders naturally complete each other. Winterson does not want there to be specific categories separating sexual preferences which she has to belong to. Therefore, as she fearlessly breaks between boundaries they become blurred as the readers cannot decide where she belongs.Henri is also present in a so-called them and us category as he justifies the killing of British soldiers by calling them, ‘the enemy’ rather than recognising their humanity and the responsibility associated with taking human life. Under Napoleon’s personal governance, Henri insidiously expresses his feminine side. He feels sympathetic to the abused prostitutes and feels fear by the inhumanness of the war. Henri is actually a weak, even feminine soldier, who has a passion for Napoleon which implies that he is also sexually attracted to him.After losing an eye at Austerlitz, Henri questions himself if he should run away from the war. Henri then says, â€Å"to survive the zero winter(†¦ ) we made a pyre of our hearts and put them aside for ever. There’s no pawnshop for the heart†. His decision to abandon is certain. Henri starts to hate napoleon and himself for loving him. Henri is tackling boundaries as he isn’t conforming to orders and love laws. Napoleon lacks the passion Henri is in search of. The words ‘Untouchable’ and ‘Touchable’ are a formation of adult boundaries as it assesses who is allowed to interact with whom.Ammu imagines touching Velutha’s muscular body which she is not allowed; this shows that passion can take over the boundaries. Villanelle admits that â€Å"Somewhere between fear and sex passion is†. This is true because your passion can lead you into dangers which you would usually fear yet it satisfies you at the same time. For instance, France’s unjustified love for Bonaparte, who has exploited them, sent their sons to death and ‘bled them dry’. ‘Love Laws’, the boundaries imposed by traditional caste societies, are torn down in both novels as Winterson and Roy refuse to accept the classic ‘fairy-tale’ model of love.As the audience found Estha’s joyful singing irritating, they sent him out where he lost his voice forever. Estha losing his voice was like losing his virginity. His innocence is stolen by this man. While Rahel senses that this man cannot be trusted, she tells Ammu, â€Å"So why don't you marry him then? † only to be told that now Ammu loves her a little less. Consequently Rahel is inconsolable and unable to forget Ammu's words. This is certainly contravening because while Estha is more loved Rahel is being less loved. Roy may be doing this to show that Love laws can sometimes be unfair and that no one has control.More importantly, the peculiar sexual intimacy between Estha and Rahel completely destroys boundaries. Loredo believes the cause for incest is â€Å"the desire for affiliation and affection; a combating of loneliness, depression, and a sense of isolation; and a discharging of anxiety and tension due to stress†( www. pamramsey. com/incest. htm). Although the twins having a high intimacy, Roy most probably wanted to show innocence as they had known each other before life began, – two separate individuals who share a single womb for nine months.Estha saw his mum in Rahel and it was as if Estha had returned to her after he was sent away. I do not believe â€Å"the taboo breaking coupling of the twins†( Aijaz Ahmad reading Arundhati Roy politically) should be seen acceptable as this will scar them forever when they realise their guilt. Similarly, in ‘The Passion’ the so called holy priest â€Å"had been forced out of the church for squin ting at young girls from the bell tower†. A priest is supposed to be a person who gives direction and sin-free. However the priest is not innocent anymore.Both authors refuse adult boundaries in order for everyone to be equal and free. However if there were no rules and orders the joy and satisfaction of breaking them would not exist. Ammu wouldn’t feel the pleasure where she secretly seeks for Velutha. Estha and Rahel wouldn’t be able to enjoy running off to Velutha. Villanelle wouldn’t feel pleasure of confusing men with her codpiece and powdered face. At the end of the day, â€Å"The one who breaks the silence is never forgiven. †( Jeanette Winterson- ‘Why Be Happy When You could Be Normal’)Control encourages adult boundaries to form. In ‘The God of Small Things’, the history house seems to be very powerful. â€Å"To understand history,† Chacko says, â€Å"we have to go inside and listen to what they’re sa ying. † The twins acknowledge that the river acts as a barrier to them, preventing them from getting the cruel truths, putting the pieces of the puzzle together. Chacko also told them that â€Å"the whole contemporary history, (†¦)- was no more than a blink of the Earth Woman's eye†, compared to whom they were inconsequential.This story is actually really important in shaping the twins’ later life. They openly are being told that they’re insignificant. They are just a small part of a great picture that will have little lasting effect. Correspondingly, as Anne Clarke mentions, â€Å"Chacko, (†¦) explains to Rahel and Estha that they are a family of anglophiles(†¦). From Chacko’s disillusioned perspective, cultural hybridity is seen as emphatically negative as it alienates the subject from both cultures†: â€Å"we belong nowhere. We sail unanchored on troubled seas.We may never be allowed ashore†. ( Anna Clarke, ‘lan guage, hybridity and dialogism in ‘The God of Small Thing’) This will instantly create boundaries for them as they will know they have no freedom and are controlled by larger external powers. Both authors dislike the human enthusiasm with wealth but they do not reject adult boundaries, they debate adult passion to treat rich with great regard. Roy tells her reader that wealth alone does not determine the moral integrity of a person, as Pappachi’s treatment of his wife and his children demonstrates this. They were beaten, humiliated and then made to suffer (†¦) for having such a wonderful husband and father. † It is visible that she is being controlled because Chacko starts to take control of the pickle factory just as it was doing well. Pappachi beats Mammachi because he feels that women should not have so much control, – he is afraid that it’s shaming his manhood. Concurrently, Villanelle is living a life Winterson wanted to live herself ; – she allows her character to live freely. In reality women in the 17th and 18th century would not be as free as Villanelle.For instance â€Å"Women who spoke out against the patriarchal system of gender roles, or any injustice, ran the risk of being exiled from their communities. †( http://www. enotes. com/feminism-criticism/women-16th-17th-18th-centuries) Georgette is another example of the women at the time although she was not â€Å"tried for heresy in 1545 and eventually burned at a stake†( http://www. enotes. com/feminism-criticism/women-16th-17th-18th-centuries) like Anne Askew, an outspoken English protestant. â€Å"Georgette actively opposed to the established system of patriarchy†. ( http://www. enotes. om/feminism-criticism/women-16th-17th-18th-centuries) One might suggest that Georgette is a ‘positive heroine’. Unlike a fairy-tale character, she does not deny her father’s authority but rejects being manipulated as a produ ct. Winterson is blatantly frustrated as she questions, â€Å"Why should a woman be limited by anything or anybody? Why should a women not be ambitious for literature? Ambitious for herself? †. ( Jeanette Winterson- ‘Why Be Happy When You could Be Normal’) However, this is easy to say for Winterson because the consequences of rebelling may outweigh the benefit of freedom.Therefore with Villanelle, Winterson creates a role model for women to follow. ‘The Passion’ and ‘The God of Small Things’ uses language to escape the reality of the adult boundaries. The twins Rahel and Estha want to move away from reality because 2what you end up remembering isn’t always the same as what you have witnessed†( Julian Barnes-The Sense of an Ending) which is why they often seek refuge in the fiction world. â€Å"Like the actor-dancers [of Kathakali†¦] the twins feel as if they were living in two worlds at the same time†. Joelle Cel erier-Vitasse – The Blurring of Frontiers in Arundhati Roy’s ‘The God of Small Things’) After witnessing the action of the Touchable police towards Velutha, Rahel does not accept his death. There are many similar cases in history as Edward Luce says, â€Å"In much of rural India caste discrimination is as rampant as ever and hundreds die every year from caste violence, some at the hands of police†. ( In spite of the gods by Edward Luce (pg. 125)) When they see that â€Å"blood spilled from his skull like a secret. Rahel refuse to believe that it is his body whereas Estha refuses to see it a fiction anymore. Perhaps the reality is too hard for Rahel, as Velutha is a father figure to them. Both writers’ characters deny the unpleasant realities like a child. In ‘The Passion’, Henri justifies his killing by calling them the ‘enemies’ instead of giving them any human qualities, – he does not come to term with his action. Similarly, when Comrade Pillai wants the workers to stand against Chacko, he talks about him as ‘The management’. By doing this he is taking away his human side so the workers will not feel any guilt.Winterson seems particularly discontented by the boundaries enforced by the physical world, and utilizes the freedom offered by the creation of her own reality. Villanelle’s tendency towards theatrical cross-dressing dims the boundaries of reality; her excessive make-up, â€Å"I made up my lips with vermilion and overlaid my face with white powderâ€Å", conveys a fantastical image of a person from real one. The arrival of Sophie Mol in the Ayemenem household, whilst is theatrical, with the veranda becoming the set for the performance gave it the dignity of a stage and everything that happened there took on the aura and significance of performance.Whilst Winterson aims to â€Å"sharpen and multiply the possibilities of the actual world†( http://nccur . lib. nccu. edu. tw/bitstream/140. 119/33324/6/55101206. pdf) and create a better reality, Roy’s use of the comparison to theatrics is scornful. Roy mocks the rehearsed pleasantries that convention dictates and the characters go with it. Roy believes that they are another sign of society’s suppression of genuine human interaction. Overall, both authors clearly feel let down by the oppressive nature of many of the adult boundaries which are customary in the society.They also seem to resent the reverence many show for history, particularly when elements of history – war, oppression, and suffering – are so brutal. Both authors revel in the creation of their own realities as metaphorical escapes from the physical world and, in this, they once again come to resemble their characters: seeking refuge in their own fabricated stories. Bibliography 1. Roy, Arundhati. The God of Small Things. IndiaInk, India. 1997. 2. Winterson, Jeanette. The Passion. Grove Press. August 7, 1997. 3. Luce, Edward. In Spite of the Gods: The Rise of Modern India. Anchor.March 11, 2008. 4. 4. Clarke, Anne. language, hybridity and dialogism in ‘The God of Small Thing’. Routledge. 2007. 5. Winterson, Jeanette. Why Be Happy When You could Be Normal. Grove Press. March 6, 2012. 6. Barnes, Julian. The Sense of an Ending, THE NEW YORK TIMES BOOK REVIEW. USA. October 5, 2011. 7. Dick, Michael. ‘Oranges Are Not the Only Fruit’. Ryerson University. November 25, 2005. 8. Roy, Winterson. Homosexuality Quotes. Brainy Quote. 2001 – 2012 BrainyQuote. BookRags Media Network. http://www. brainyquote. com/quotes/keywords/homosexuality. html. 9. Ramsey, Pam.Psychological Effects of Incest on Girls Focusing on Sibling Incest. Pamramsey. 1994. http://www. pamramsey. com/incest. htm 10. Cengage, Gale. Feminism in Literature. eNotes. 2005. http://www. enotes. com/feminism-criticism/women-16th-17th-18th-centuries 11. Book by Onega, Susana . Refracting t he Canon in Contemporary British Literature and Film. 1994. Quote by Winterson, Jeanette. 1996. 12. Ahmad, Aijaz. Reading Arundhati Roy politically. Frontline. 8 August, 1997 13. Celerier-Vitasse, Joelle. The Blurring of Frontiers in Arundhati Roy’s ‘The God of Small Things’. France. 2008.

The Use of Conflict in the Short Fiction Story - 568 Words

The Use of Conflict in Short Fictions Conflict is an essential element of plot. It reflects the main character’s struggle in a story. Plot is developed based on the conflict. Therefore, a good story often contains one or more conflicts, which can lead the story from the exposition to the climax, and then the resolution. In addition, it is also a significant tool used by the writers to reflect the problems in real life. Writers In â€Å"The Appointment in Samarra†, W. Somerset Maugham uses the conflict between human and supernatural to teach us a specific lesson about death and destiny. In the story, Maugham illustrates the fear of dying, which is the natural part of human nature by describing the servant’s reaction after seeing the Death in the marketplace. â€Å"The servant came back, white and trembling† (Maugham) Trying to avoid his fate, the servant borrows a horse from the merchant in order to run away from the Death â€Å"as fast as the horse could gallop†. (Maugham) The place he heads to is Samarra, where the servant believes that â€Å"Death will not find me†. (Maugham) However, Maugham tells us the place the Death will meet the servant is Samarra, where the servant fled to. Here he shows us the power of the supernatural, which is a conflict with the fear of human nature. Therefore, although the servant escaped, he just ended up going along with what fate had for him and couldnt change his destiny. In the plot, Maugham tells us the moral through the resolution of theShow MoreRelatedThe World of Fiction666 Words   |  3 PagesThe World of Fiction The fiction is a literary genre which through shaping the character, narrating story, and describing the environment to reflect life, to express ideas. It uses the narrators language to expand the themes and express thoughts and feelings. It is the reflection of art and performance of the social life. Fiction can reflect specific social phenomenon by creating a significant character. 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Gather all of your information, plan the direction of your essay, and organize your ideas by developing a 1-page thesis statement and outlineRead MoreA P Short Story Analysis952 Words   |  4 PagesThe short story â€Å"AP† by John Updike is told through first person narration and is about a teenage male who works at a local supermarket in New England, â€Å"AP†, observing young girls as he is checking out customers in line. The girls have no idea that this young man is privately making judgements of them. The judgements transpire with the lines â€Å"there was this chunky one† (438), â€Å"there was this one, with one of thos e chubby berry faces† (438), and â€Å"this wasn’t quite so tall† (438), all relating toRead MoreEssay on Eng 102 Short Story735 Words   |  3 PagesFiction Essay Thesis and Outline Instructions    In Module/Week 3, you will write a 750-words (about 3–4-pages) essay that compares and contrasts two stories from the Fiction Unit.   Before you begin writing the essay, carefully read the guidelines for developing your paper topic that are given below.   Review the Fiction Essay Grading Rubric to see how your submission will be graded.   Gather all of your information, plan the direction of your essay, and organize your ideas by developing a one-page