Film Analysis, Memento

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Our staff of freelance writers includes over 120 experts proficient in Film Analysis, Memento, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Film Analysis, Memento paper at affordable prices with !Memento is a film that distinguishes itself through its startling structure and hypnotic use of repetition. The film chooses to play backwards - so we actually begin with the conclusion of the events, and work our way back to where it all began. This is a structure used rarely in film - there have certainly been films that have played on the power and instability of memory, which this one does, and Rashomon and The Outrage are a couple that have analysed a single event from a range of perspectives. But backwards? It has been replicated in theatre - Harold Pinters Betrayal (which was subsequently filmed) and Tom Stoppards Arcadia are two examples, and both worked with some success. Arcadia, for example, begins in misery and ends with a bittersweet optimism; all the more tragic for what we understand will befall the characters in their future. Memento, however, appears to be no journey back to innocence, although, in some respects, it is not too far from being just that.

This film is a complex and intricate thriller, as we track back into the past of Leonard Shelby (Guy Pearce) who suffers from chronic short-term memory loss. Shelby is on a quest to find the murderer of his wife (Jorja Fox) who died in the same attack that robbed Leonard of his memory. His condition prevents the making of new memories, and thus, he is forced to use other means to keep track of his acquaintances, his environment, and the clues he needs to track down her killer. This is a challenging, frequently difficult film that eludes clear narrative lines and remains, even after its conclusion (or, more accurately, its chronological beginning) firmly enigmatic and open-ended. It is one of the best things about this film, simply because it works so well as an intriguing puzzle, and then demands spirited deconstruction, re-assemblage and analysis after its all over. Memento does have its faults, but it more than compensates for them for being so brilliantly difficult, and for demanding so much - perhaps too much - from its audience.

We begin with Leonard exacting justice in a brutal assault on a man we only see the briefest glimpse of, but who turns up alive and smiling not a minute later. He is Teddy (Joe Pantoliano), and his reappearance on the scene is an abrupt, discordant image, but as the scene plays out, we return again to the beginning of the previous scene, and a neat circle has been completed. And this is the way the story progresses for the rest of the film. People appear with injuries that vanish in the next scene, they have arguments over issues you cannot understand until later - the whole movie hinges on an ability to hold the memory and use it later on. The challenge for Shelby is to collect the clues to his wifes killer before his memory fades, when he is forced to begin all over again from scratch. Cleverly we too are placed in this position as each new sequence begins, and its a great joy in this film to find yourself wholly identifying with the struggles of the main protagonist. Its a completely empathetic experience as you are granted pieces of the puzzle before the screen fades and you find yourself in an alien environment, with characters holding conversations you cannot place within the grand scheme of things. In fact, your ability to read this film is reliant on your ability to remember, to place events, clues in their appropriate order, and to store away the pieces of the puzzle you feel are important. In this way, Memento proves one of the more significant films in recent times that tests not just modes of narrative, but modes of spectatorship, ways of processing and storing the images and events which flash before our eyes on the screen.

As we journey back in Memento, we come to know the mysterious Teddy better, as well as the dark, enigmatic Natalie (Carrie-Ann Moss). But how much do we really know? Nolan, who both directs and wrote the script, tantalizes us and encourages our skepticism with great effectiveness. How much of Leonards memory can we trust? To retain the clues and chart the progress of his quest, his body becomes his canvas - great tattoos adorn his body with clues, information, things it is essential he remember. But the film cleverly calls into question the source of this information, and challenges all that Leonard, and we, accept as fact. The series of photos Leonard keeps of the people in his life include hand-written notes -and on the photo of Teddy Leonard has written, Do not believe his lies. Is Teddy to be trusted? Or is the person who has provided this information the true liar? This is a film as much bound in generic conventions as any thriller with neo-noir overtones, and we know that something has to be up with the girl. And Natalie proves as interesting as anyone in this film, and her motives, along with those of the fast-talking Teddy become cloudier and more obscure the closer we draw to the resolution. The clever weaving of these characters and narrative threads is most effective, with the structure working to the films advantage. Because this film is so adamant in its refusal to make things easier, the process of dissecting and evaluating events and evidence becomes the greatest joy of this immensely pleasurable film. And whilst it is startling initially, the backwards structure, (interspersed with a black and white breather where Leonard recalls the significant case of Sammy Jankis), develops a wonderful rhythm, and its repetition as each sequence plays out to the beginning of the scene before gives Memento its brilliant shape, and its flexible space.

The main problems with Memento lie in its middle section, where the plot becomes even more complex, and further characters become important players in the whole scenario, and betrayals and double crosses and suspect motives become so overwhelming that it becomes increasingly difficult to navigate your way through the information. Memento perhaps allows itself a little indulgence, drags itself out for a little longer than it needed to, and tries to be a bit too clever in its intricacy. It is during this middle section when the structure loses its novelty, and the narrative bogs down in detail that Memento loses its focus and becomes more a chore than a pleasure. Perhaps, with ten minutes or so snipped off this section, Memento would hold together a little better than it does. But by the time the revelations start coming as the film builds to its climax, this focus, and our engagement with the structure is re-energised, and the resolution is as powerful and tantalizing as the earliest sections of the film. Memento is certainly a worthy, fascinating film, even for its occasional sluggishness. Performances are strong, particularly Carrie-Ann Moss, who continues to build a reputation with each role. Beginning with nondescript parts as the girl in films like The Matrix and Red Planet, she moved onto stereotype with Chocolat, and here, in Memento, seems to be proving that she can act as well and not just function, like she has had to in the past. Her Natalie seems to skulk like a vampire, eyes downcast, blackened and mysterious, and she effectively mixes into her character splashes of vulnerability and icy viciousness. Its a good performance that counteracts well with Guy Pearces effort. His Leonard is a sort of nothing man struggling to piece together the things that can restore him to life, and as such, Pearce plays him with a ruthless desire, and a frightened innocence, with the odd flash of irony and humour. Together with Pantoliano who is perhaps a little too stereotypically sleazy and hyped, like a used car salesman, the three hold together the narrative that increasingly spins out of reach and out of comprehension. Memento is, in many ways, a fairly standard, albeit well-executed vigilante style thriller. Its distinguishing trademark, though, the idea to play the thriller backwards, sets it above and beyond others that flood the genre, bringing a new angle, a new process to entice and challenge audiences. It may be flawed, and is certainly a film that remains elliptical after a first viewing, but the joy of Memento lies in the discussion, the evaluation, the knitting together of clues and re-assembling the narrative. As provocative, inspiring and challenging as it is, Memento will remain a film to remember.

A dislocated structure and the vagaries of memory are not just the sole domain of a film such as Memento, which hangs its narrative boldly and defiantly on deliberately non-linear storytelling. Steven Soderberghs The Limey manages to toy with such concepts with equal effectiveness, but without the fanfare. This film has languished in distribution hell for some time - it appeared at the Melbourne International Film Festival in 000 a year after its completion. Now, almost a full year later The Limey finally makes it onto our screens in Australia, a film by Soderbergh that actually predates his two most recent releases, Erin Brockovich and Traffic. Comparisons are, I suppose, inevitable in a case like this, simply because Soderbergh has moved closer and closer to the mainstream, and The Limey represents his last truly independent vision, before the demands of high profile stars and Academy Award potential left his films with a distinctive look, but a beveled edge. The Limey is a revenge drama, much in the mode of films such as John Boormans Point Blank, as the man slighted by the past seeks some sort of retribution and peace from what has gone before. In this case, our protagonist Wilson (Terence Stamp) seeks answers and revenge for the death of his much loved but neglected daughter Jenny (Australian TVs Melissa George). His journey leads him to his daughters friends Ed (Luis Guzman) and Elaine (Lesley Ann Warren), and finally to the luxurious home of record producer Valentine (Peter Fonda) where he seeks some final answers. Its fair to say that the plot as it is fairly thin, and some of the script is too loose and ill advised, but the way that Soderbergh approaches the material, twists and shapes it into something else is a real coup. The Limey plays so beautifully with memory, with composition and light that it lifts the occasionally pallid script and re-invigorates what could easily have become lumpish and laboured in the hands of another.

The Limey begins with the urgent violence of Wilsons plea Tell me! Tell me about Jenny! and from this initial set-up, we are left to free wheel through the narrative, where we slip casually backwards and forwards in time with astonishing ease. Often such a structure keeps you on your toes, forces you to shift and realign yourself with the new turn, the new chronology. Yet The Limey somehow manages these segues through time with seamless ease, its a bit like sliding down through a cascading river system where you are shifted and repositioned not necessarily by force, but by the insistence of the current, the natural flow of the film itself. This is one of the most perfect things about Soderberghs film; it adopts an unconventional structure, yet makes it seem effortless and natural, a skill he was less successful with in his subsequent film Traffic. Similarly, his film is populated with the sort of actors who struggle for recognition, with their time being past, their fame faded. Collecting actors such as Warren, Stamp and Fonda for this film imbues it with a kind of wistful melancholy that echoes Wilsons desire for the past, and his desperate longing for his lost daughter. Stamp is lumbered with some unfortunate dialogue that attempts to play upon his Cockney origins, but it just comes out sounding like Delvene Delaneys work on The Love Boat In Australia - condescending and embarrassing. Yet when Stamp is free to act, rather than adopt these ill-fitting robes, hes terrific. Similarly, Fonda is as good as hes ever been, and his satire of the faded and jaded 60s icon is absolutely perfect, and the script offers him a couple of tremendous scenes where he gets to comment with wry humour on the experiences of the past.

But what works best in this film is the careful construction of the narrative, the weaving of sound and image, the composition and framing that Soderbergh employs. He has an astonishing eye for a striking image, and knows when to draw in close, and when to place distance between the subject and the audience. A sequence when Wilson wreaks revenge upon some lackeys in the drug trade he investigates is a perfect example. Soderbergh chooses a kind of hysterical close-up, an image of absolute defiance and rage that explains so simply the complexity of Wilsons past, and his drive to secure peace for his daughter. Yet at the same time Soderbergh is unafraid to wind back, climb into the background where we can see the violence at a distance, almost judgmentally. The juxtaposition of harrowing intimacy and objective observation is a powerful methodology that works to contextualise Wilson and his actions, without ever losing our understanding of his character, or our sympathy for his plight. And in keeping with the fractured structure of memory, vision and sound slip out of sync, and conversations become disembodied voice-overs, matched with images of silence or contemplation. This functions almost like a Shakespearean aside; characters pass comment to the audience, yet seem for all intents and purposes to remain muted, contained. It is perhaps the dislocation of the editing of both sound and vision that encourages the emotional power of The Limey. Key memories come to pass new light on more recent events, and dialogue often hides or fails to reflect truths, whilst other disconnected moments offer a more revealing, accurate truth. Most effective, though, is Soderberghs inclusion of scenes from Stamps 167 film Poor Cow (which was Mike Leighs first film). It is through these scenes, with a young Stamp cheerfully misbehaving, filled with youthful mischief, and the dreams and anticipation of what life will hold, that Wilson comes into sharp focus. Its a beautiful, touching addition to the film as we are encouraged to compare the promise of youth and the faded visage of experience. The repeated flicking back to Wilson on the plane, heading home from his time in Los Angeles offers a perfect conduit for the full breadth of memory; its only here, away from the world with the events behind him, that he can begin to sift and sort through the memories and construct them into some sort of shape that has any meaning for him.

The Limey, like Boormans Point Blank presents us with a dreamlike world, where sound amplifies and vanishes and revenge is something that must be worked through and understood, before it can be carried out. Soderbergh mastery of the camera, and of the varying modes of storytelling ensures that the sometimes-lax script (by Lem Dobbs) is buoyed by the strong performances (especially Warren and Fonda, who are terrific) and expert editing (by Sarah Flack). By the films conclusion, as we, in many ways, return to the beginning, Soderbergh has indeed succeeded in telling us all about Jenny, and its not just about what happened to her. It is about the relationships and the flaws of Jenny, and those that ran in her circles. There is very little simple condemnation of these people - even Valentine comes across more as misguided and foolish than truly evil - and it is this refusal to resort to simplicity that allows The Limey to retain a complex and fascinating trajectory that may misfire here and there, but is for the most part, a powerful, intelligent, and quite beautiful film from a master filmmaker.

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Micromarketing

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Over the past century there have been three changes in the orientation of marketing distribution, selling and brand management. The Internet is consolidating the fourth stage of marketings evolution marketing as managing individual relationships with customers (Doyle 000). Since the heydays of mass marketing in the 150s, through the decades to the twenty-first century, marketing thought has pushed for smaller and smaller groups of consumers as market targets (Schiller 18 cited by Goldsmith 1). Initially the response to meeting customer needs better was market segmentation. Companies brought out an increasing number of product variants to meet the diverse needs of their customers. Media too became more segmented mass circulation newspapers and magazines were replaced by a number of specialised issues, and the digitisation of technology also facilitated an explosive growth of the number of radio and television channels. The most rapid change results from the revolution of information technology. By 001, only a decade after the emergence of the world wide web, a fundamental change in business and society had occurred- a critical mass of people, over 00 million, at home and at work, are able to communicate electronically with one another at essentially zero cost, using universal, open standards (Doyle 00).Micro marketing is a concept that lies in the area of segmentation. It is a segmentation strategy. In Kotlers et al Principles of Marketing, micro marketing is listed as a level of market segmentation Companies can practise no segmentation (mass marketing), complete segmentation (micro marketing) or something in between (segment marketing or niche marketing) (Kotler et al 1). While segment and niche marketers tailor their offers and marketing programmes to meet the needs of various market segments, they do not customise their offers to each individual customer. Segment and niche marketing fall between the extremes of mass marketing and micro marketing. The aim of micro marketing is to get as close to the segment of one, as opposed to mass marketing which does not consider any segmentation at all. Kotler et al (1) define micro marketing as the practice of tailoring products and marketing programmes to suit the tastes of specific individuals and locations. The Dictionary of Business, Oxford University Press (16) defines micro marketing as

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A form of target marketing in which companies tailor their marketing programmes to the needs of a narrowly defined geographic, demographic, psychographic, or behavioural market segment.As micro marketing is a form of target marketing, there are different forms of micro marketing. Micro marketing includes local marketing and individual marketing local marketing involves tailoring marketing programmes to the needs and wants of local customer groups-cities, neighbourhoods and even specific stores (Kotler 000). Individual marketing is being described as the ultimate level of segmentation. The individual marketing concept holds that the key to effective marketing is to use interactive communications to develop individual relationships with consumers based on providing superior value through personalised products and services (Doyle 000). Other terms for individual marketing are customised marketing, markets-of -one marketing, and one -to-one marketing. Christopher (18) describes micro marketing as an attempt to focus marketing strategies upon ever-smaller groupings of customers.Jain (00) sees micro marketing or segment-of-one-marketing as he calls it, as a combination of two independent concepts information retrieval and service delivery. He describes that on one side the company has a database of customers preferences and purchase behaviours; on the other is a tightly engineered service approach to service delivery that uses the database to tailor a service package for individual customers. Pitt (18) describes four basic but essential steps which marketers have to follow in order to practise one to one marketing successfully. Firstly companies must identify their customers, in terms of who are the heavy, medium, light and non-users?, prioritising the most loyal and avoiding costs on those who seem totally reluctant to buy your product. Secondly, the company must then differentiate each customer in terms of who are the most valuable customers for the company. The value of a customer determines how much time and investment should be allocated to that customer. Identifying the most valuable customers, recognising their unique preferences and needs, and treating them differently is the essence of micro marketing. Thirdly, the company should interact with their customers, representing the opportunity to learn more about the customer and his value to the organisation. Finally, Pitta (18) suggests that the company must customise their products for each consumer, integrating the production process with a firms customer feedback.The focus of mass marketing is on mainstream brands. Typically these appeal to a broad cross section of demographic groups. They are promoted using mass distribution media using simple, undifferentiated messages. Promotional effort is shared evenly and little effort is made to customise the product to reflect the particular needs of individual consumers or the localities in which they live.The focus of micro marketing is quite different. Less interested in market share than in customer lifetime value, micro marketing uses profiling tools to build a careful picture of the target audience for the product. Micro marketing recognises the different motivations that lead different demographic segments to buy each variant of the brand and through different channels. Reliance is on media, which can be highly targeted - direct mail, telephony, the Internet, door-to-door distribution - many of which can be customised on a one-to-one basis. Quantitative techniques such as profiling, mapping, scoring and clustering are used to define and reach target audiences efficiently.So what are the forces that push marketers towards a customer-focused philosophy of micro marketing?New TechnologyThe problem with market segmentation was that it was expensive and limited in effectiveness more variants meant higher manufacturing costs and spiralling inventory levels leading to lower profits and asset turnover (Doyle 00). The move towards greater customisation not merely results from the emergence of new technologies in recent years, such as computers, databases, robotic production, e-mail, and fax. A further important catalyst of this development has been the decrease in costs of these technologies. Until recently, even if companies learned about individual requirements, it was generally too costly to customise products. Consequently with the decline in costs, most industries have been standardised with a great array of technologies that permit companies to interact with their clients on a one-to-one basis. Digitisation and networks democratise consumption, making customisation affordable to many rather than few (Lamb 00).What we have seen then over recent years was that businesses moved from economies of scale, towards economies of scope. With the advent of information technology a more targeted, narrowly created marketing strategy could be pursued mass customisation. To get the benefits of marketing one to one relationships, a firm must customise. To get the maximum benefit, a firm must customise en masse (Pitta 18). As described by Kotler above, customisation is the most extreme form of micro marketing. Mass customisation is the ability to prepare on a mass basis individually designed products and communications to meet each customers requirements. Media and products can be tailored to the individual customer and made to order, using the prior named technologies to produce and communicate. Furthermore do these technologies allow companies to record all the information they obtain from customers. Creating databases enables these companies to learn about the buying behaviour and preferences of customers and to communicate individually and directly with them. As already mentioned by Jain 00, it becomes clear that this kind of customised marketing is not feasible without the proper technology. A highly targeted and customised marketing strategy requires a profile of each individual customer. Such vast amounts of data are only manageable in the form of computerised databases. Again the link between technology and this particularly strategy becomes exposed. Database marketing (DBM) can be seen as the backbone of micro marketing. Using data from a variety of sources such as ACORN, MOSAIC, or PINPOINT assists marketers greatly in targeting customers more precisely, facilitating a much greater degree of personalisation. Database marketing is transforming the ways in which fragmented markets can be addressed and individualised communications delivered (Doyle 000).Less obvious has been the influence of service marketing on goods marketing. The services marketing emphasis of customer satisfaction and long term relationship have influenced goods marketers to think differently about their businesses and customers (Goldsmith 1). The New Consumer.The information age has brought a marked rise in customer expectations. The new consumer has become increasingly sophisticated in his needs, expecting higher quality, competitive prices and improved faster service. Kotler et al 1, states that the move towards individual marketing mirrors the trend in consumer self-marketing. Individual customers are taking more responsibility for determining which products and brands to buy. Furthermore there is a trend towards more interactive dialogue, and less advertising monologues, thus supporting the notion of Doyle 00. Consumers are becoming more and more educated and place more reliance on their selves.The Mintel article 00 Vision Tomorrows Consumer, predicts future socio-demographic trends that will have a fundamental impact on how marketing will have to be practised in the future. The article foresees major changes in consumer lifestyles, which are not utopias, but which are already visible in todays society indicating a greater extent towards the future. The article predominantly describes a further increase of fragmentation and segmentation of consumers, characterised by greater social isolation, individualism and self-reliance, supporting Kotlers (000) notion of self-marketing. The traditional socio-economic classification of adults by age, sex, economic background and geographic area is no longer a totally reliable method of segmenting society for marketing purposes; marketing must now be based on highly specific and targeted interest groups (Mintel 000). Further on, the article describes that as a consequence, consumers are no longer content with buying in standard service and product packages, rather they increasingly want to configure their own tailor made packages. Consequently as the individualistic self-reliant consumer grows, his demands towards products and services specific to his requirements grow simultaneously. The customer of today is taking more individual initiative in determining what and how to buy. New technologies such as the Internet have reinforced this behaviour, because through the Internet customers are able to look up information and evaluation of products and services and can thus make up their own minds about the best offer.The strong emphasis of the self and the individual, have been reflected in marketing, as in recent years there has been a strategic shift towards that of engaging into a more intimate, empathetic relationship with the consumer, treating him more as an individual rather than an anonymous person from the mass. Often micro marketing is expressed in relationship marketing. As business focus shifts away from product, towards understanding the customer and increasing their value, the commercial pressure to implement a customer relationship management (CRM) solution across all channels has become enormous (Wilmshurst et al 00). Kotler (000) states that the predominance of the customer and the importance of true customer service are one of two converging trends that make mass customisation the organising principle of the 1st century. Relationship marketing is an important ingredient of mass customisation programmes, he continues, because unlike mass production, which eliminates the need for human interaction, mass customisation has made relationships with customers more important than ever..This brings me to focus on how the concept of micro marketing works in practice by looking at how it applies to durable goods company. The company that I am going to look at is Dell. Dell has been a pioneer for their direct business model, enabling customers to configure their own computers via the Internet. In Dells case customisation is exerted through both media as well as the product itself. There is nothing special about Dells computers and from the beginning it faced many established competitors such as IBM, COMPAQ and Hewlett Packard. Dell sells directly to the customer, cutting out the traditional dealer channel. This gives the company a substantial cost advantage, avoiding the resellers mark up and avoiding risks of carrying large stocks of finished goods. Dell only builds computers according to its customers precise specifications, such as the amount of RAM memory, type of monitor, modem, or CD drive, amount of hard disk space, and so on. The company is a leader in supply chain management as it works with suppliers to deliver the right components for its customers needs (Lamb 00). Companys with millions of customers can not engage into a one-to-one dialogue with each of them, since this would not be cost effective. Even for companys pursuing mass customisation, segmentation is still necessary. But the objective of the segmentation is different; the aim is to segment not by similarity of needs but rather by the potential lifetime value of the customer to the organisation. This is exactly what Dell does. The company segments its customers in terms of profitability for the company. The Motorola Company is using todays technology to customise its products - quickly to serve the needs of individual consumers. Motorola co-designs pagers with customers and manufactures customised pagers to their specifications. To accomplish this, Motorolas pager sales force visits a potential customer and uses the customers own specifications to design the pager system that will satisfy the individual customers needs. Then the salesperson finalises the specifications on a laptop computer and sends it via modem to the Motorolas factory. Incredibly, over 0 million types of pagers can be specified by a customer and manufactured by Motorola. More incredibly, it is possible for the factory to finish producing the first customised pager of any customers order in two hours. That kind of customisation and speed create an amazingly strong relationship (Peppers and Rogers, 1).ConclusionTo assess the future of one-to-one marketing, it is necessary to review the dictates of one-to-one marketing and investigate its information technology requirements (Pitta 18). It requires a wholehearted commitment and philosophy dedicated to knowing each consumer and treating each one as the companys complete focus. Please note that this sample paper on Micromarketing is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Micromarketing, we are here to assist you. Your persuasive essay on Micromarketing will be written from scratch, so you do not have to worry about its originality.

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Say NO!

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· When does the unborn baby's heart begin to beat?The heartbeat begins between the eighteenth and twenty-fifth day.· When does the brain begin to function?Electrical brain waves have been recorded as early as forty days.

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· How early can a baby survive outside the mother' womb?Currently, twenty weeks is considered the accepted minimum. However, this time will be reduced as medical technology continues to improve.· What about cases of rape and incest?Pregnancy from rape is extremely rare. A study of one thousand rape victims who were treated after the rape reported no pregnancies. There are no known studies of incest cases. Medically, we know pregnancy in these cases would be rare. As reasons for legalizing abortion rape and incest are nothing more than emotional screens used by those profiting from abortion. But we must approach the victim of rape or incest with great compassion. The woman has been subjected to an ugly trauma, and she needs love, support and help. But she has been the victim of one violent act. Should we now ask her to be a party to a second violent act -that of abortion? Unquestionably, many would return the violence of killing an innocent baby for the violence of rape. But, before making this decision, remember that most of the trauma has already occurred. She has been raped. That trauma will live with her all her life. Furthermore, this girl did not report for help, but kept this to herself. For several weeks or months, she has thought of little else. Now, she has finally asked for help, has shared her upset, and should be in a supportive situation. · But what about the child with disease who will die a slow death or live his life as a burden to his family?Do you believe the new "ethic" should be that we kill the suffering or burdensome? Some of these cases are tragic, some are also inspirational. We cannot assume the responsibility for killing an unborn child simply because the child has not yet been seen in public. The child's place of residence does not change what abortion does - kill a human being.· What about the population boom? We can hardly feed the people of the world now!True, the population of the world is growing, but population is not a problem in the United States. The U.S. death rate is now greater than the birth rate and our present population is growing older.Population growth or decline compares replacement of the current number of reproductive age individuals with the number of babies being born. By this measure, the United States is now in a sharp population decline.One recent projection of the population has predicted that around the year 000, half of the population will be over 50 and a third will be over 65. The impact upon our society will be tremendous.· How can a girl give up her own baby for adoption and go through life never knowing what is happening to her child?Which is better to remember, "I gave my baby life. And because I loved him, I gave him into the arms of a loving couple" - or to remember, "I selfishly ended my baby's life?"What will the doctor do to me during my abortion?During the early months of pregnancy, (1- mos.), suction abortions are usually performed. The opening to your uterus (cervix) is closed tight to hold the baby in. The doctor must force your cervix open with long metal rods. Another method is to use a small stick of compressed seaweed (laminaria). After it is inserted into your cervix it absorbs water, swells up, and opens the cervix. The abortion is done 4 hours after the laminaria is put in. When it is open wide enough, he will put the end of the suction tube through your cervix into your uterus. As soon as the suction machine is turned on, the baby will be torn from your uterus along with the placenta and sucked through the tube into a canister.Will my abortion be painful?Unless you are put to sleep for your suction abortion, yes, it will be very painful. Is abortion dangerous to my health?Any surgical procedure has its risks. This is especially true of abortion. In a paper put out by the Family Planning Associates Medical Group, a group of abortion clinics in southern California, the following risks are describedHowever, it is clear to us that even when the surgeon is highly skilled and experienced in the method of dilation and extraction (abortion) that there is a risk of perforation of the uterus by the various instruments that are required. There is the additional risk of laceration of the uterus either by the instruments or by the fetal tissue itself.What this means is that the instruments the doctor puts through you cervix into your uterus can poke a hole through you uterine wall. It also means that the crushed bones of your baby can cut, slash or puncture your uterus while being removed. Often times the doctor is not aware that he has done this because he cannot see into the uterus while he works. If this should occur, you would bleed through the hole into your abdominal cavity or vagina. If you do not get to the hospital in time you could die from loss of blood.The paper goes on to say that hospitalization is required if the uterus is punctured. Damage to the bowel and bladder, blood transfusions and even a hysterectomy (removal of the uterus) can result. The greatest risk involved in an early abortion is when the doctor performs and incomplete abortion. The paper explains it this way ...the most common problem encountered in termination of early pregnancies is infection and retained tissue (incomplete abortion). What this means is that parts of the baby are left behind in your uterus. As they rot, they cause a severe infection that can cause permanent damage to your female organs and you could become sterile (unable to become pregnant) or miscarry your next baby. Is it really a baby or just 'a blob of tissue'?Several years ago scientists did not know. Now, however, with ultrasound and other methods, they can actually see the unborn baby inside of its mother's womb. From the center photo you can see for yourself, that this is a perfectly formed little human being. At this stage, even though you feel nothing, your baby is kicking, clenching his fists, curling and fanning his toes, and is generally very active and comfortable inside of you.Will my baby feel pain during the abortion?In the past few years, research by medical doctors has proved that yes, unborn babies can feel pain. Dr. H. M. Liley, the leading authority on the study of babies before birth, stated, When doctors first began invading the sanctuary of the womb, they did not know that the unborn baby would react to pain in the same fashion as a child would. But they soon learned that he would.During a suction abortion the whole baby is too large to pass through the suction tube. Wherever the suction tip comes in contact with the baby's body, that portion is torn off and suctioned away. To finish the procedure, the doctor uses forceps to crush the baby's skull so that it too can pass through the narrow suction tube. ARE THE BABIES ALIVE DURING THE ABORTION?Yes! On July 11, 15, American Medical News (AMA's official journal) submitted the transcript of a tape-recorded interview with abortionist Dr. Martin Haskell to the House Judiciary Committee in which he admitted "...the majority of fetuses aborted this way (partial birth abortion) are alive until the end of the procedure." IS THIS TYPE OF ABORTION RARE?When this type of procedure first became public knowledge, those defending it said it was only done a few hundred times a year. Then Ron Fitzsimmons, the executive director of the National Coalition of Abortion Providers admitted on ABC's "Nightline" (11/5) that he had lied when he asserted the procedure was used rarely and only on women whose lives were in danger. The reality is, this gruesome method of killing partially born babies is done many thousands of times a year. Abortionist, Dr. McMahon, admitted in 15 to performing over 000 partial birth abortions.ARE THEY PERFORMED ONLY ON SEVERELY DEFORMED BABIES?That is what the abortion industry would like you to believe. But Dr. Haskell said in a tape recorded interview with the AMA's American Medical News "...and I'll be quite frank most of my abortions are elective (not medically necessary) in that 0-4 week range ... In my particular case, probably 0% are for genetic reasons. And the other 80% are purely elective." An article in the L.A. Times (8/8/6) listed some of the medical reasons for this type of abortion. They included cleft palates, cystic hygroma, (both easily corrected problems) and cystic fibrosis. The medical conditions present in the mother that warranted this type of abortion were, "depression, chicken pox, diabetes, vomiting ..." In other words, even those partial birth abortions that are done for the "health of the mother" or because of a "defective fetus" are often performed for minor, easily correctable conditions. Dr. C. Everett Coop, former U.S. Surgeon General, stated, "... in no way can I twist my mind to see that the late-term abortion as described is a medical necessity for the mother. It certainly can't be a necessity for the baby."IS THIS TYPE OF ABORTION EVER DONE ON THIRD TRIMESTER BABIES?Yes. While most babies are in their 0th to 4th week when aborted in this manner, babies are aborted as late as the ninth month! This was admitted to by abortionist Dr. McMahon who, in 15, submitted to the House Judiciary Constitution Subcommittee a graph and explanation that showed he aborted healthy babies even in the third trimester!As disturbing as this sounds, these are the facts. In this country medical doctors are partially delivering babies and then killing them. These babies are inches from being born. Many could be born and placed directly in the loving arms of childless couples for adoption. Instead, they are cruelly killed. Some call this abortion. No matter what you call it, you cannot alter the reality - 4 more inches out of the womb and this act would be called murder.What kind of induced abortions are there? In the first week there are micro-abortions caused by contraceptive drugs and devices (see Chapters 1 and 5). After implantation there are those induced by drugs such as RU 486, Methotrexate and prostaglandins (see Chapter 1).In the first trimester there are surgical abortions like suction and D&C.In the second and third trimesters there are instillation types, D&E, intracardiac injections and partial birth abortions.What are the first trimester surgical ones?There are several types - Menstrual extraction This is a very early suction abortion, often done before the pregnancy test is positive.- Suction-aspiration In this method, the abortionist must first paralyze the cervical muscle ring (womb opening) and then stretch it open. This is difficult because it is hard or green and not ready to open. He then inserts a hollow plastic tube, which has a knife-like edge on the tip, into the uterus. The suction tears the baby's body into pieces. He then cuts the deeply rooted placenta from the inner wall of the uterus. The scraps are sucked out into a bottle (see color photo in back of book). The suction is times more powerful than a home vacuum cleaner.- Dilatation & Curettage (D&C) This is similar to the suction procedure except that the abortionist inserts a curette, a loop-shaped steel knife, up into the uterus. With this, he cuts the placenta and baby into pieces and scrapes them out into a basin. Bleeding is usually profuse.What are second trimester ones? In the 170s and '80s the most common type was saline amniocentesis, or salt poisoning abortions.These are not used much anymore because of danger to the mother. These are done after the 16th week. A large needle is inserted through the abdominal wall of the mother and into the baby's amniotic sac. A concentrated salt solution is injected into the amniotic fluid. The baby breathes and swallows it, is poisoned, struggles, and sometimes convulses. It takes over an hour to kill the baby. When successful, the mother goes into labor about one day later and delivers a dead baby.Is it actually poisoning? Yes. The mechanism of death is acute hypernatremia or acute salt poisoning, with development of wide-spread vasodilatation, edema, congestion, hemorrhage, shock, and death. Galen et al., Fetal Pathology and Mechanism of Death in Saline Abortion, Amer. Jour. of OB&GYN,174, vol. 10, pp. 47-55 And other methods?In the '70s and '80s, prostaglandin drugs were used to induce violent premature labor and delivery. When used alone, there was ...a large complication rate (4.6%) is associated with its use. Few risks in obstetrics are more certain than that which occurs to a pregnant woman undergoing abortion after the 14th week of pregnancy. Duenhoelter & Grant, Complications Following Prostaglandin F- Alpha Induced Mid-trimester Abortion. Jour. of OB & GYN, Sept. 175 Because of these problems, the D&E or Dilatation & Evacuation method was developed and largely replaced the above. It involves the live dismemberment of the baby and piecemeal removal from below.A pliers-like instrument is used because the baby's bones are calcified, as is the skull. There is no anesthetic for the baby. The abortionist inserts the instrument up into the uterus, seizes a leg or other part of the body, and, with a twisting motion, tears it from the baby's body. This is repeated again and again. The spine must be snapped, and the skull crushed to remove them. The nurse's job is to reassemble the body parts to be sure that all are removed. This sounds dangerous.It is, but a report from the U.S. Center for Disease Control, Dept. HEW, stated that it is still safer for the mother than the salt-poisoning or Prostaglandin method. Comparative Risks of Three Methods of Midtrimester Abortion, Morbidity and Mortality Weekly Report, Center for Disease Control, HEW, Nov. 6, 176 It is reported that every year about 100,000 women are aborted by the D&E method, between 1 and 4 weeks gestation. Of this, 500 have serious complications. This was still judged to have a lower risk of morbidity and mortality than the infusion procedures. MacKay et al., Safety of Local vs General Anesthesia for Second Trimester D&E Abortions OB-GYN, vol. 66, no. 5, Nov.185, p. 661Any new methods? Yes, intracardiac injections. Since the advent of fertility drugs, multi-fetal pregnancies have become common. The frequency of triplet and higher pregnancies . . . has increased 00% since the early 170s.Since these are usually born prematurely and some have other problems, a new method has been developed. Assisted Repro. Techniques . . . , L. Wilcox, Fertl. & Sterility, vol. 65, #, Feb. '6, pg. 61 At about 4 months a needle is inserted through the mother's abdomen, into the chest and heart of one of the fetal babies and a poison injected to kill him or her. This is pregnancy reduction. It is done to reduce the number or to kill a handicapped baby, if such is identified. If successful, the dead baby's body is absorbed.Sometimes, however, this method results in the loss of all of the babies. Please note that this sample paper on Say NO! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Say NO!, we are here to assist you. Your persuasive essay on Say NO! will be written from scratch, so you do not have to worry about its originality.

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Arthur Rimbaud- poetry analysis

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Understandably, a poets life and circumstances will affect his poetry, as poetry often speaks of experience or feelings generated by those experiences. The 19th Century, French poet Rimbaud, led a most unorthodox life. He was a homosexual, extremely antireligious and opinionated to say the least. His poetry is much like his life, that is, it is often unorthodox. ARTHUR RIMBAUD 1854-1891. BIOGRAPHYJean Nicholas Arthur Rimbaud was born October 24, 1854 in Chareleville, France. His father, Frederic held the rank of Captain of Infantry in the French Military, he had risen to this position from that of a mere recruit. For much of Rimbaud's early childhood he was stationed in Northern Africa. His father had also written several unpublished military works and had translated the Koran into French, which Rimbaud would later use to study Arabic.

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Rimbaud's mother and father separated when he was six, his mother, Marie-Catherine, was left to raise his siblings and him by herself, as Rimbaud's father was not heard from again. His mother was a stern woman who raised her children in a rigid manner, controlling even the books they read. Rimbaud was an advanced, clever child who was also particularly religious, owing to his mother's beliefs. Whilst attending the Rossat Institute, Rimbaud, aged ten, wrote the poem: "Le Soleil etait Encore Chaud." (The Sun was Still Warm). In 1868 Rimbaud was invited to address sixty Latin hexameters to the Imperial Prince on the occasion of his first communion. The prince's tutor asked Rimbaud's headmaster to thank him publicly. In 1869 Rimbaud won a prestigious Latin poetry prize, his first French verse composition: "Les Etennes des Orphetins," (The Orphans New Year Gift) was also printed this in year. In 1870 Rimbaud ran away from home, aiming to make it to Paris, he was however, arrested for not having a train ticket and was forced to return home. From this time onwards he ceased attending school and began to try to establish a career as a writer. Rimbaud befriended a young teacher named George Izambard who was known to have revolutionary ideals. He encouraged Rimbaud to read Rabelais and Hugo, much to the dismay of his mother. In 1871, Rimbaud attempted to run away again, this time to Belgium to find work as a journalist. He was unsuccessful at this and adhered to his mother's wish for him to return home. Unhappy at what he saw as his "imprisonment" in Chareleville, Rimbaud began spending much of his time in the library, he would request books on alchemy, occultism, magic and socialism which scandalised the librarians. In November 1871, Rimbaud ran away again to Paris. He spent a fortnight living in extreme poverty and was forced to return to Chareleville on foot. Upon his return, he passed through lines of Prussian soldiers who were soon to enter Paris, as part of a German unification attempt. The attempt was unsuccessful and the soldiers entered Paris on March 1st and left March 3rd, no battles were fought, no lives were lost. Rimbaud was intrigued by these foreigners and vowed he would learn German. When Rimbaud returned home he wrote a letter to Izambard, expressing his ideas for poetry. By this time Rimbaud had become fervourantly anticlerical and antichristian. He frequently stopped priests in the streets and wrote slogans such as "MERDE A DIEU". His political views, like much of those in the rest of Europe, were becoming increasingly socialist. In late 1871, Rimbaud sent his poems- "Les Effares" and "Les Couer" to the poet Verlaine. Upon reading them, Verlaine wrote to Rimbaud: ' Come, beloved, great soul, you are called, you are awaited.' Rimbaud departed for Paris shortly and lived in Veraline's parents in law's house. Verlaine and his in-laws were shocked by Rimbauds youth, his personal filthiness and his opinions.Rimbaud quickly became accustomed with Paris and its customs; he began drinking absinthe and smoking marijuana, which by his first reports made him 'see white moons, black moons.' Rimbaud and Verlaine spent their days and much of their nights in Cafes in the Quartier Latin. This caused much tension between Verlaine and his young wife who had recently given birth to a son. Verlaine's mother-in-law accused Rimbaud of corrupting him, though Verlaine was ten years his senior. Rimbaud and Verlaine began having an affair, their relationship, always a troubled one, did not improve when the two escaped to London. They travelled together from this point and whilst in Belgium, Verlaine, in a drunken anger, shot Rimbaud in the wrist. This marked the end of their tumultuous romantic relationship.Rimbaud returned to his family and wrote "Un Saison en Enfer," which speaks of his turbulent times with Verlaine. This was to be his last writing, as shortly before his 21st birthday he announced he was through with literature.Rimbaud saw Verlaine again in London on friendly terms, but was repulsed by what he described as Verlaine's 'incessant clinginess.' Once again, Rimbaud returned to Chareleville and began making plans to travel.He made his way east to Java and later returned to Europe by ship. He found work in Cyprus as a quarry foreman and was angered to hear that his mother had paid for a publishing of five hundred copies of his collected poems. Enraged, he returned to France and burnt four hundred and ninety five of the copies; the remaining five copies had already been given to friends.In 1879, Rimbaud saw Verlaine for the last time. Verlaine had recently re-converted to Catholicism and urged Rimbaud to do the same, however, he flatly refused. Verlaine died shortly after.Rimbaud departed for East Africa, which at this time was under German control. He fulfilled a youthful promise and quickly became fluent in German as well as finding work as a gunrunner and later as a slave trader.Rimbaud's popularity in France was growing steadily, owing to several publications of his work. He refused to return to France, referring to his poetry as "slop". He remained in contact with his family and continued to send his aging Mother money.Rimbaud returned to France in 1890, as he had a tumour in his leg, which required amputation. He had the limb amputated in Marseille. Several months after the amputation, gangrene set in and left Rimbaud gravely ill. He died in Marseille, aged thirty seven in 1891.POETRY ANALYSISThe two poems below are typical of Rimbaud's earlier work before his relationship with Verlaine. They contain none of the anger and cynicism, which is ever present in his later work. Whilst they do not follow traditional poetry constraints such as meter, in their original French they have a rhyme scheme, whilst at the same time being wonderfully descriptive and using numerous symbols.MA BOHEME(Fantasie)Je m'en allais, les poings dans mes poches crevees;Mon paletot aussi devenait ideal;J'allais sous le ciel, Muse! Et j'etais ton feal;Oh! La la! Que d'amours spendides j'ai revees!Mon unique culotte avait un large trou.-Petit Poucet reveur, j'egrenais dans ma courseDes rimes. Mon auberger etait a la Grande- Ourse.-Mes etoiles au ciel avaient un doux frou-frou.Et je les ecoutais assis au bord des routes,Ces bons soir de septembre ou je sentais des gouttesDe rosee a mon font, comme un vin de viguer;Ou, rimant au milieu de ombres fantastiques,Commes des lyres, je tirrai les elastiquesDe mes souliers blesses, un pied pres de mon coeur! MY BOHEMIAN EXISTENCE(A Fantasy)I went off with my hands in my torn coat pockets; my overcoat too was becoming ideal; I travelled beneath the sky, Muse! And I was your vassal; oh dear me! What marvellous loves I dreamed of!My only pair of breeches had a big hole in them.- Stargazing Tom Thumb, I sowed rhymes along the way. My tavern was at the Sign of the Great Bear.- My stars in the sky rustled softly.And I listened to them, sitting on the roadsides on those pleasant September evenings while I felt drops of dew on my forehead like vigorous wine.And while, rhyming among the fantastical shadows, I plucked like the strings of a lyre; the elastics of my tattered boots, one foot close to my heartANALYSISIn its original French form, the poem has a definite rhyme scheme, which in the first two stanzas is A,B,B,A and in the last two stanzas is A,A,B. This rhyme scheme further develops the rhythm of the poem, which gives it an "upbeat" tone.The poem contains no definite meter, as this was one of the "constraints" that Rimbaud broke away from. He felt that his poetry was a testimony to his visions, his visions were formless and therefore poetry should be so too. From this he also disregarded the traditional use of versification, although this may have been because he felt he had already mastered this skill, owing to his early successes in traditional French and Latin poetry. The first line in the first sentence sets the tone of the poem and relates strongly to the title. "I went off with my hands in my torn coat pockets; my overcoat too was becoming ideal." This shows Rimbaud relishing in his Bohemian lifestyle, enjoying his poverty, happy that his coat is tattered.Rimbaud states that the sky is his muse and he is the skies' vassal. This perhaps is a strange turn about, Rimbaud acting as a medium for the sky, bringing its magnificence from the heavens to the earth.In the second stanza Rimbaud further develops the "bohemian" nature of the poem- "My only pair of breeches had a big hole in them." Interestingly, he also makes reference to Tom Thumb, The Grim Brothers Fairy Tale character, the tiny son of a poor farmer. In this way it can be said that Rimbaud is likening himself to the minute stance of Tom Thumb when compared to the great sky. Another interpretation can be made when Rimbaud states- "I sowed rhymes along the way." This can be taken to mean a farmer sows seed for sustenance, whilst Rimbaud sows rhymes, for poetry is his sustenance.Rimbaud creates a cyclical relationship between himself and the sky, "my tavern was at the Sign of The Great Bear." The Great Bear is a constellation in the Northern Hemisphere, Rimbaud claiming this to be his tavern, suggests a personal, intimate relationship with the sky, in the same way one would have with a real tavern that was only down the road.The poem is very descriptive, and much of the descriptiveness comes from the use of poetic techniques such as similes, "while I felt drops of dew on my forehead like vigorous wine." This line likens dew to wine, which suggests Rimbaud is becoming intoxicated with the omnificence of the sky.In the final stanza another simile is used, "I plucked like the strings of a lyre, the elastics of my tattered boots." Which elevates the boots into a charming, medieval instrument, far removed from the likes of worn boots. However, for Rimbaud, his boots hold the same beauty. Keeping to his bohemian demeanour, holding to unconventional views.LE BUFFETC'est un large buffet sculpte; le chene sombre,Tres vieux, a pris cet air si bon des vielles gens;Le buffet est ouvert, et verse dans son ombreComme un flot de vin vieux, des parfuns engageants;Tout plein, c'est un fouillis de vielles vieilleries,De linges odorants et jaunes, de chiffonDe femmes ou d'enfants, de dentelles fletries,De fichus de grand'mere ou sont peints des griffons;-C'est la qu'on trouverait las medallions, les mechesDe cheveux blancs ou blonds, les portraits, les fleurssechesDont le parfun se mele a des parfuns de fruits.-O buffet du vieux temps, tu sais bien des histories,Et vu voudrais conter tes contes, et tu bruisQuand s'ouvrent lentement tes grandes portes noires.THE CUPBOARDIt's a broad carved wooden cupboard, the ancient dark-coloured oak has taken on that pleasant air that old people have; the cupboard is open, and gives off from its kindly shadows inviting aromas like a breath of old wine;Full to overflowing, it's a jumble of quaint old things: fragrant yellowed linen, rag's of women or children's clothes, faded laces, grandmother's handkerchief's embroidered with griffins;-Here you could find lockets, and locks of white or blonde hair, portraits and dried flowers whose smell mingles with the smell of fruit.O cupboard of olden time, you know plenty of stories, and you'd like to tell them, and you clear your throat every time your great dark doors slowly open.ANALYSISThis poem is more descriptive than the last and makes greater use of poetic techniques such as similes and personification. Like the first it has no definitive meter scheme and the rhyme scheme in the original French is as follows: A,B,A,B A,B,A,B A,A,B A,B,A.Rimbaud goes into great detail in describing the cupboard, which suggests maybe its significance in the household, or the sentimental value, which it holds.In the first stanza the cupboard is personified as an old person for the first time: "the ancient dark coloured oak has taken on that pleasant air that old people have". The persona of an old person, which is bestowed on the cupboard, suggests the familial stance of the cupboard, as if it has been part of the household for sometime. The cupboard being open also suggests a friendly, inviting tone, like that of the lap of a grandparent. The pleasant simile "gives off from its kindly shadows inviting aromas like a breath of old wine." This gives the cupboard distinction, suddenly it is no longer a lowly storage facility, but an esteemed part of the household. The specification that the wine is old also shows the esteemed position, which the cupboard holds, something, which should be treasured, savoured.The second stanza is quite feminine, "fragrant yellowed linen, rags of women's or children's clothes, faded laces, grandmother's handkerchiefs". This suggests a familial relationship between all these items and their owners, which creates a "homely" tone. Perhaps Rimbaud wrote about this cupboard from memory, as mentioning things such as "fragrant, yellowed linens", is somewhat tainted with a sense of nostalgia, looking back on the items fondly.In the third stanza, the feminine tone of the poem is continued: "Here you could find lockets, and locks of white or blonde hair, portraits and dried flowers". All of these things are distinctly feminine, which is a contrast with the actual, masculine cupboard. This mentioning of a locket is a delicate touch, a container within a container, perhaps symbolic of a woman.In the final stanza, the cupboard is given a wise, all-knowing demeanour- "you know plenty of stories, and you'd like to tell them". This use of personification creates a feeling of sentiment to the cupboard, much like one feels towards a grandparent, who knows many stories, is a testament to time, is keeping track. The use of personification is furthered in the final line of the last stanza- "and you clear your throat every time your great dark doors open slowly". This enhances even more so the character of the old person which the cupboard has been given. Words such as "slowly'" create the feeling of someone who is aged, retiring.CONCLUSIONIn his short literary career of twenty-one years, Rimbaud managed to challenge the boundaries of traditional French poetry as well the constraints of French society. His unorthodox lifestyle was mirrored in his writing style. Perhaps it was the passionate 'living out' of his art that inspired and influenced many others, from rock icons Jim Morisson and Patti Smith, to Australian painter Brett Whitely. Rimbaud's challenging of the traditional ideals of beauty was more akin to the twentieth century. In this way, it can be said that he was ahead of his time.ARTHUR RIMBAUD- BIOGRAPHY AND POETRY ANALYSIS.ENGLISH LITERATURE YEAR 11. SHAMA ADAMS. Please note that this sample paper on Arthur Rimbaud- poetry analysis is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Arthur Rimbaud- poetry analysis, we are here to assist you. Your persuasive essay on Arthur Rimbaud- poetry analysis will be written from scratch, so you do not have to worry about its originality.

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Julian

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The waves leaped onto shore, crashing and frothing and foaming. I stood watching absentmindedly while the wild wind blew my skirt up above my knees. I blushed and tried to smooth it down while glancing around to see if anyone had noticed. I knew what I had worn had seemed appropriate at the time, but I also knew that it could get me into trouble out here. Katie and Emily supported my choice; a light, flowing flowery skirt under a tight black tank top exposing my stomach. It had seemed a good choice. My mind raced, we were at Julian's bar overlooking the windward coast. I had been here once before on a class trip up island but we had not stayed long and we had not been allowed to drink anything. Maybe that would change now that Katie's mother brought us, she seemed very chill. I smiled, my heart racing. How long had it been since I had had a drink? Or a cigarette for that matter? Too long…I felt sure Julian would give me a cigarette and a drink or two. Julian stood inside behind the bar, smiling with those pearly white teeth of his, laughing loudly and joking with a few other Bahamians. Yes, Julian would give me a cigarette or a drink or two. Julian was my friend. He had come down-island to the Island School to teach me and my classmates how to dance. We needed to learn because the Bahamian festival of Junkanoo proved to be fast approaching. We were to partake in the festivities by making our own costumes and hats, dancing and singing the traditional songs. I did not like dancing as much as I liked drumming and when I saw Julian and his cousin Vernon playing two animal skin drums I forced myself to walk over and begin to play with them. I did not know Julian or Vernon at that time, but I was very aware of how the Bahamian men viewed any girl with white skin and blonde hair. I sucked it up, knowing that nothing could happen to me on campus. They both seemed surprised at my ability to keep a beat and shortly thereafter announced that I would be the first female to ever play drums in the Junkanoo festival. My heart had almost burst from my chest with pride. Yeah, Julian and I got along real well. I sat down to keep my playful skirt from exposing me further in front of the natives. Katie and Emily came over to join me and we began to talk. "Yo you guys, do you think Julian would give me a cigarette?""…I don't see why not," Katie replied, "He gave me a long island iced tea." She nonchalantly held up the glass for me to see."Rock on dude! So I guess your mother doesn't mind if we drink?"

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"As long as we don't act irresponsibly," Emily replied.Damn her, always the voice of reason. "I'll be right back you guys, save my seat."Not that it mattered, it was midday and the entire patio was empty. A few natives sat inside watching the satellite television, and a few more lounged on the bar, but the wind proved too much for them. It did not seem like anything special to them, they lived there, in that paradise. I stepped inside hesitantly. Julian still stood behind the bar, flashing those bright teeth. I found him to be a handsome man; 6', probably around 0 lbs, 4years old and not a bit of fat on him…well muscled and dark. His eyes were white and big with long lashes, I thought them beautiful. The men did not notice me and I stood there in the doorway, silent for a few minutes."Julian?"He was still laughing. I stepped further inside, "Excuse me, I'm sorry, but Julian could I talk to you for a second?"The men turned to look at me."Sure sweetheart, just go out front, I'll be right there."I smiled in relief, "Thankyou!"He joined me after a minute, just long enough for my excitement to build."Hey.""Hey, what you need my little drummer?"I grinned, I loved it when he reminded me of that. I felt very special."Ummm, I really hate to be out of line here…" I glanced up at him to ensure that he was watching me in a platonic way. I had become very aware of how I must have appeared to him. He looked down at me, patient, affectionate and friendly. Good old Julian, I knew I could count on him to be cool. I cleared my mind, "Do you think you might be able to give me a cigarette?" I held my breath, tasting the desire in my mouth."You sure you want one?""Yes," I nodded animatedly. I felt so guilty!"Well sure then! No problem. You want anything else?"Like what?! I wondered. "Like what?""Well, of course you can have any drink here, on the house, and…me and my boys got some pot if you want that too."My heart fluttered, NO WAY! Holy crap! Julian's gonna give me pot! It did not even occur to me that I would be betraying myself by smoking down there. There was a reason why we were forbidden to ingest any foreign substances, even cigarette smoke, under threat of expulsion. We were all there to study and grow, both spiritually and physically. "Really?" I squealed, "Would you do that for me? But I don't have any money." Fuck, how can I get some money??"Oh no, don't worry about that my little friend. It would be my pleasure.""No way Julian, that's so unfair of me!""No it's not, I have just a little bit for you and we got plenty down here.""Well…ok, but how will I smoke it?" I felt stupid, I did not have a bowl and I could not roll a joint, even if I had access to papers."Don't worry, I'll bring you two nice joints yes?" I stood there in shock, ears ringing and victory slowly seeping into my bones."Thank you so much!!""No problem, stay here and I'll be right back."I did not believe it, it was way too good to be true. I was gonna have pot! And for free! This is going to be the shit. I'm going to be the shit. Wait till I tell Katie, rock on Sarah! He returned in a few minutes and handed me a pack of cigarettes, a whole carton. "Julian are you sure?!" He smiled and nodded. What an awesome guy."I'll bring you the pot later. When I signal, come into the women's bathroom and I'll give it to you there.""Sure! Thanks so much Julian, I really appreciate it!"He turned and winked at me before disappearing inside. Heart pounding, I strode around the corner of the building and back onto the deck. Katie and Emily had gone under the tarp at the far end of the patio. They sat there with Katie's mother and our other friend, and student, Tyler. I plopped onto one of the benches and lit a cigarette with trembling hands. It tasted so bitter and dirty, it seemed I was no longer in the Bahamas and I was no longer fresh and free and I my mind had become clouded. I shook those thoughts from my mind, smiled and leaned back, good ol' cancer sticks…. I started to cough and suddenly noticed the world spinning. What a buzz! Insanity it seemed, had found me again. After I finished two in a row, I stood and went to my friends. My lungs hung heavy in my chest. I could not tell Tyler. He provided half my motivation to stay out of trouble…that kind of trouble, rather. We would do anything else, whether it entailed jumping off cliffs, running miles on our days off, spear fishing, twisting in and out of the fallen columns 0 ft underwater in the marina, climbing 50 ft banyon trees, wrestling in the sand or exploring the abandoned resort deep in the jungle with the scorpions, lizards and orb-weavers…I knew he would be ashamed of me. He hated all forms of substance induced highs, he lived for the self induced ones. I sat down and ordered some fried conch with rice. I turned to Katie and whispered what had happened. She nodded her head and kept talking with her mother. I loved her mother, she looked just like Katie but older and wiser. Long brown hair, light eyes and beautiful southern features frequently lit up with a beaming smile. I thanked her again for bringing us all here. The other parents, including mine, were further down the shore at the enchanting Cotton Beach Resort. They had all arrived for the four day "parent's weekend" and were, no doubt, enjoying the luxuries of their beach and planted palm trees. I looked out over the royal purple and turquoise ocean, knowing that some day soon I would have to leave it. I turned and glanced over my shoulder at the bar. Julian was not standing there. Then I saw him further to the left, by the bathrooms, subtly motioning to me. I squeezed Katie's hand and excused myself to the bathroom. I passed Julian in the narrow hallway and stepped inside. The girl's bathroom proved to be a tiny space filled with not much more than a toilet, sink and shadows. Julian stepped in behind me and softly shut the door. I backed up and stood with my hands behind me, resting on the sink. He rustled around in the pockets of his jeans and fished out two of the fattest blunts I have ever seen. I gasped and smiled up at him, "Thanks so much Julian you rock!""It was no problem Sarah."I took them from him and put them on the counter behind me. I did not have pockets or a bag and would have to stash them somewhere under my clothes. This, of course, I would not do with him in the room. As I turned back around I wondered why he had not yet left. Ungrateful girl, you have not thanked him enough. Stop using people that think you are their friend, try to be genuine for once! "I really, really appreciate this Julian. I have not seen this stuff since back where I live in the US, two months ago," I shook my head, "I never thought I might get my hands on some here!"He smiled, a strange gleam in his eye, "Just make sure dat no one know you got if from me.""Oh of course, of course." He still had not left and I my mind raced for another space filler. Just a few more seconds and you can run back outside, finish eating and go home. You won't have to remember this awkwardness next time you see him. It's all in your head and it'll go away soon. I glanced up from my feet to meet his eyes again. He had a strange expression on his face and I found myself suddenly mentally unable to escape the present situation. Of course I knew what was going to happen then. He stepped forward and loomed in front of me."How bout you give uncle Julian a thank you kiss."The walls zoomed in with lightning speed and I realized I could not go anywhere. He was between me and the door. I had no space to dodge or squeeze by, not that I could have anyway, that would have been very rude of me."Julian please…" I muttered almost inaudibly, "you're too old for me…"He reached for me and pulled me to him, and then his fat black lips were smothering mine. I stood there speechless, feeling my breath being squeezed out of my chest. His hands clutched me and almost immediately slid down to roughly grab two handfuls of my ass. He was breathing heavily in my ear, then his lips tore back to my cheeks, my mouth…when it occurred to me to kiss him back. His tongue violated my mouth and I awkwardly opened it a little wider while leaning into him. Sarah, you are such an idiot! You walked right into this one and now you want to back out? I mean, you met him, alone, in a bathroom for free pot. For Christ's sake, he deserves a little lovin', look what he's done for you. Be a mature woman and suck it up! But something inside me whimpered, as it always did. I kept wondering why I could not just make myself enjoy kissing him and be done with it. I grew painfully aware of his thick, throaty whispers. My stomach turned, no one will ever find me in here, I have to last this one out. Julian reached down and grabbed one of my hands, which had been dangling, paralyzed by my side. Like a puppet master he jerked it up above his waist before thrusting it deep into his pants. Oh my god…my fingertips brushed something warm and firm. Holy shit…I tried to subtly withdraw my hand, but he pushed it back down and I hesitantly took hold of him. He groaned and it was all just too much. But, alas, it proved not to be too much; I was still standing there under him. I was still conscious. Just then he pulled back and cocked his head. I immediately withdrew my hand. Then I heard it too, a firm knock on the door. As I watched motionless, the door opened and there stood Katie."Excuse me Julian, but I'd like to talk to Sarah."Julian surprised and a little off-balance, nodded and walked out of the room, past Katie. Katie stepped inside and as she began to close the door I saw him lean over, smile at me expectantly and wink. I shuddered and stepped back to lean on the sink."Are you ok?!" Katie asked."Yeah, yeah. Sure. Oh my god that was gross." Katie gave me a quick hug and I hastily added, "Don't go yet please. Stay with me, he'll come back if you go." "Sure, no problem." She pulled her sarong up around her waist and squatted on the yellow toilet."How did you know I was here? How the hell did you find me??""Well, I knew something was up when you didn't come back for so long, and I figured Julian might be up to something. The first time I opened the door I saw Julian's back and I thought he must have been plunging the toilet or something. So I turned around to go back to the table, but then I stopped and came back because something didn't feel right." She finished up and stood,"Thank god for that!! Fuck, I really didn't think he would do that. What an idiot!" I shook my head. "But…" I turned around and showed her the two joints, "I got us some pot nigga!" She smiled and laughed."Shit. How am I going to get out of here?" I asked her in a squeaky voice."Ummm…we'll just walk out together, straight to our table, sit down and I'm sure everything will be fine." I sucked in a breath. "Julian won't bother us," she added. After a few more minutes we pulled the door open and walked out holding hands. We had to go right by Julian's bar, and I saw him flash his white teeth out of the corner of my eye. I thankfully squeezed her hand as we both settled into the picnic bench. Throughout the remainder of dinner I would occasionally give into curiosity and glance over my shoulder to see where he was. More often than not he was watching me. Twice, he actually motioned for me to leave the table and join him in the bathroom again. I nudged Katie and told her. She suggested, calmly, that I simply ignore him and then he would leave me alone. I felt a little safer with my friends, sitting with my back to the bar. But when we had finished dinner they all voted to stay and have a few more drinks. All except Katie and me. My heart sunk, I wanted to tell Tyler and Emily. I wanted so badly to share my latest adventure with them, to laugh about it and at myself. But I could not just then, as Katie had made so abundantly clear. After another round of drinks we were all a bit woozy. Katie and Tyler whirled around the patio, dancing to the music from the speakers. Emily, Katie's mother and I sat watching them and laughing. Katie had the most beautiful smile. After they had tired, someone came up with the ingenious idea for a group photo behind the bar, with Julian. I did not know if the night would ever end! The bar no longer seemed exciting. Well, at least, not exciting in a positive way. My drink tasted too bitter, no doubt Julian had been generous with the vodka. I smiled wryly. I shivered outside in the wind, and I sweat inside, knowing he was watching and waiting for me. A sense of filthiness washed over me, constantly reminding me of my idiocy. I knew I had been foolish and consequently lost some of the magic I had once found on the Island. But the ordeal was not over. As we crammed behind the bar, I studiously tried to avoid ending up beside Julian. I wedged myself between Emily and Katie, taking comfort in their proximity. I kept myself facing forward, refusing to let him see that I was afraid of him. Katie's mother motioned for us all to move closer. All of a sudden I felt a hand on my butt. Julian stood behind me! While Katie's mother yelled directions and waved her hands, Julian had his way with me from behind. I did not move, I did not say anything. I could not confront him, to do that would unthinkable! I stood there for what seemed an eternity feeling shame in my cheeks and hearing anger ring in my ears. She finally finished the roll and I wrenched Julian's hand from my behind and walked out the front door. I never saw him again. In fact, I forgot about the incident for an entire year. Please note that this sample paper on julian is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on julian, we are here to assist you. Your persuasive essay on julian will be written from scratch, so you do not have to worry about its originality.

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