Teaching in English

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Teaching in English

Many students have a hard time learning a second language. To others it seems easy to learn a second language. Many people think that exposing their children to different cultures and languages will result in problems. There are people that just don't have any problem about having their kids mix with students that speak a second language. I feel that the public schools should teach in English only, because students that come from foreign countries could find a way to get help from other students, foreign students can pick up informal communication skills not taught in textbooks by being in a class composed of all English speakers, and foreign students will be motivated to learn the language that everyone else uses in order to communicate.

First, students that come from foreign countries could find a way to get help from other students. The student can use different kind of communication. In my case, when I first came here I would communicate with other students by pointing at things and speaking in my first language which is Spanish. Then the English speaker could translate for me. Another way English speakers could help foreign students would be to team up together with them to work on different kinds of projects or assignments. Most of the time there are bilingual students who can translate for the foreign students to figure out what people are trying to say. Doing these things will result in some kind of communication between English and non-English speakers.

Second, foreign students can pick up informal communication skills by being in a class where they learn practical English not taught in textbooks. The students express their words more free it's a better experience that can help the foreign students to learn more things about the language and help them learn the language faster. The textbook has a proper, formal way of the language. Some of the times it teaches just the basics of the language. The foreign student wants to learn more things about the language. It is easier to learn from other students and teachers, not just from the textbook. The best way that many students learn the language is by hearing the language from others. The student would receive a lot of help from other students and teachers, just by being surrounded by English speakers.

Last, foreign students are motivated to learn the language that everyone else uses in order to communicate students use the language at all times. Nowadays many people whose mother language is not English live in the U.S., and they have to learn to communicate at work, in stores, and with police officers or other people that walk by them. Most of the time the students are not familiar with the English language and they feel left out when someone is using the language. Some students think that just because English speakers are having a conversation, they are making bad comments about them, and it's not always like that. The foreign student does not want other students to go through what he or she went through. The foreign student feels motivated to help others. The foreign students might feel helpful when they help others. The students can help other students with the same problem that he or she had. It is also helpful at home. This is one reason to keep a English class in the programs.

In conclusion, public schools should teach in English only; students that come from foreign countries could find a way to get help from other students, foreign students can pick up informal communication skills by being in a class with people who are native or fluent English speakers, and foreign students will be motivated to learn the language that everyone else uses in order to communicate. To foreign students it is necessary to communicate with others in different countries, especially in the U.S.

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No sugar

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Tim Winton

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A BRIEF TEXTUAL ANALYSIS OF SOME ASPECTS

OF TIM WINTONS THAT EYE THE SKY

an essay by Carolyne Lee (This is an example of a textual analysis using feminist deconstructivist theory - and, in true deconstructivist style, the views expressed in this essay are not necessarily those held by the author.)

The first paragraph of Tim Wintons novel That Eye the Sky (1) yields some interesting language for the feminist reader/critic embarking on a little close textual analysis.

But first perhaps I should define this person, the feminist reader (presented here in the third person). It has been said () that the user of feminist criticism is suspicious, always alert for traces (in the texts that she reads) of the sites of the linguistic constructions of ideological stances, asking the question whose ends are being served here?

And so that this question can be applied to this piece of text - this paper (note the passive voice here a ruse, similar to the use of the third person voice with which I began this paper, in which many narratives are told, and behind which author/subjects hide their subjectivity/proclaim to be ideologically neutral. But consider this isnt the fictional I also a ruse?) - I must declare that SHE, our feminist reader, is also me the I, and the eye, of THIS text. But who, I ask, is the I, - could it be, for example, the twelve year old narrator? - not to mention the eye, of That Eye the Sky? But the important question to be put, I believe, is whose ends do/es he/they serve? The answer to this question will have to wait.

But I/she should not be duped into thinking that the first paragraph of the narrative of this novel constitutes the first piece of text in the book. Several blank pages earlier, and framed on both sides by blank pages, is a quotation From the otherworld of action and media, this interleaved continuing plane is hard to focus; we are looking into the light - it makes some smile, some grimace.Les A. Murray, Equanimity

The word that jumps out at me from this quote is light, and I am immediately mindful of the phrase see the light. My dictionary gives four meanings for this phrase, but I have chosen meanings three and four as relevant here to accept or understand an idea; realise the truth of something. And to be converted, especially to Christianity. () I intend to see if the meanings chosen have any congruence with the meanings I shall make from some of the text of this novel.

It should be made clear that I am not interested in Wintons intention in choosing that quotation, nor in his intentions with the novel as a whole. It is a foolish critic, in any case, who professes to know such things; for surely it is an impossibility to ever know what an author intended. (4)

This is not to say that I will not reveal biographical details of the author, insofar as I judge them to be helpful in making meaning of the text. (For example, I know that Tim Winton is not, say, twelve, but thirty years of age. (5) But these details will be equally as relevant as the biographical details of the reader or critic - in this case me - in this quest for meaning. And it must be recognized that the biographical details of both parties are discursive constructs and not a key to meaning in themselves. (6)

A word or two about meaning is probably in order here. Meaning is always political. (7) And so when I talk about meaning, I do not do so in order to fix it, for all time and across all contexts, but rather to show its location in a particular text, in the light of that texts relation with other texts, and to insist that this meaning is not only plural but constantly deferred in the never-ending web of textuality in which all texts are located. (8)

This is, of course, a deconstructive stance, originating from the work of Jacques Derrida. Derrida argued that all criticism is predicated on specific philosophical precepts, () something which now seems self evident to the feminist critic. However, there are still critical texts to be found, based on the liberal-humanist precept, in which no speaking subject declares herself/himself, in which there are claims to be ideology-free and gender-neutral. A feminist poststructuralist stance holds that, No representations in the visual and written media are gender-neutral. They either confirm or challenge the status quo through the ways they construct or fail to construct images of femininity and masculinity. (10)

All this having been stated, I will now return to Wintons first paragraph. As I mentioned at the start, this paragraph contains some interesting language. Several characters are, in fact, introduced here. There is the I, Ort, the child of Dad (incidentally, the first word in this narrative), and there is Mum. Mum is initially described in terms of her bum (it moves around when she laughs, its like an angry mob). In fact, the word bum manages to appear twice in this first paragraph. The word pills (which I take to be a colloquial term for testicles, but for which I can find no corroboration in my dictionary) appears also, but they are owned by Ort and are something which the rooster apparently goes for...when you collect the eggs. We are told it is a mean rooster, so obviously the rooster should not be doing this we thus learn that pills are precious to their owners and should not be attacked.

This type of ingenuous schoolboy language with its traces of gutter humour, congruent as it is with the character of Ort, the twelve year old narrator, has conveniently identified two of the main characters entirely in terms of aspects of sexual dimorphism. And all in the first paragraph.

The word bum makes its next appearance on the following page, where we learn that the name Ort, short for Morton, is also the family name for bum. Tegwyn, Orts older sister, makes her appearance on page 1. After the description of her piano playing and her brown plaits comes the following Shes got big boobs - they look like pigmelons - bigger than Mums. Mums are like two socks full of sand.

What is the feminist reader to make of images of pigmelons and socks of sand? (They are certainly not objects which one might regard as precious, like, for example, the pills mentioned earlier.) I can find no entry for pigmelon in my dictionary, but from having lived for eight years in Western Australia - the setting for this novel - I believe that pigmelons are large fruit resembling watermelons but which are not for human consumption; these useless (to humans) objects are frequently fed to pigs hence their appellation.

At the very least, then, pigmelon is a strange word to choose (and chosen by whom? I/Ort?) for a body part without which the human race would not exist. The counter-argument to this (however implausible) might be that imagery is often randomly chosen. But it should be mentioned here that it is at those borders of discourse where metaphor and example seem arbitrarily chosen that ideology breaks through. (11) The next sexual body part to make an appearance in this text is a penis, on page forty. It is the penis of Henry Warburton. Its his thing, his old fella. Its real big and fat, up out of his pants like a periscope. An interesting choice, periscope a useful instrument, surely, since it gives its user all-round vision.

The scene thus set, Orts own old fella appears two pages later. There it is, me old fella with its nine black hairs, sticking up just like that old mans under the bridge. Ort then spends some time bawling, but shortly after he notices something over the house. Like a cloud. Like a cloud. It glows, just sitting over the roof. Hell! Its bright as the moon. A moment later, Ort is informed by his mother that his father is awake, and some lines later in the narrative his father, awake but totally unable to function independently, is brought home from hospital. Am I to assume some connection between the penises, whatever it is sitting over the roof, and the return of Orts now damaged and dysfunctional father?

I will mention here an interesting structural feature of this novel. It is at the end of chapter five, which is also the end of part I, when Orts mother says that Sam is awake. Chapter six, at the start of which Sam is brought home, is the first chapter of part II. Part II ends with the family, together with Henry Warburton, having Christmas dinner in the bush. Part III begins with Henry, who has now been staying with the Flacks for some weeks, screaming and crying, with his old fella sticking up like a flagpole. At Henrys direction, Ort, who has got up to see what the noise is, goes back to bed in his own room, where light from the full moon and the cloud on the roof come pouring in through the curtains like its milk from a bucket. Again, there is this textual juxtapositioning of an erect penis, a phallus, with this light-producing whatever-it-is on the roof. And this book has three parts in all a trinity.

After Orts father, Sam, is brought home, Henry Warburton appears and says he has come to help them with Sam. His main activity is giving Sam his daily bath. Ort appears to begin to relate to Henry as a father figure Dad looks so small, like hes my little brother now and my new dads taking him to the bath. (p. 7)

On page 87 Henry finally states his purpose I havent meant to be deceitful; God has sent me here. When Ort asks him why, Henry says, To love you. Henry then talks and talks to Ort and his mother, Alice. The content of this talking is related in the words of Ort

He talks and talks about this bloke Adam and this bloke Eve who had no clothes on and it didnt matter cause they ate fruit and talked to a snake and it was a bad thing, and everything went wrong-oh. And how you can see God but you cant. And all these stories about God in burning bushes and piles of fire and tornadoes and little clouds. Stories! Piles of em. He tells stories like youve never heard boy. About God getting sad when no-one loved him, and him just waiting around keeping things going, waiting for someone to like him, and then getting angry and crying and making a flood with his tears. This bloke Noah and his boat...Another one about a kid fighting a monster...All the time hes talking about this bad in people and God wanting people to love him but they cant because of all this black bad in them like in an apple... (p. 8)

Henry then admits that he is an evangelist, and tells Alice and Ort about his life. You could actually say youve SEEN THE LIGHT, Alice says (my emphasis). And it apparently doesnt take long for Alice and Ort to do the same. It is no surprise when, several pages later, on page 5, Henry baptises them in the river ...in the name of the Father, Son and Spirit.

Tegwyn, Orts older sister, is, in her mothers words, a harder nut to crack. Henry spends a lot of his time talking, arguing, fighting with her. Dont try your religious crap on me, boy. Dont come the crapper with me... she tells him on one occasion. (p. 17) Is this supposed to mean she is one of those who ...cant (love God)...because of all the black bad in them like in an apple...? After all, a type of fruit was used as a simile to describe her breasts. (Interestingly, perhaps, I find that a colloquial meaning of melon is a stupid person, or fool.) (1)

But it is possible that all these meanings are, at best, irrelevant, because - as I noted earlier, when I discovered that nearly all the people in this text are characterised in terms of aspects of their sexual dimorphism - Tegwyns most distinguishing feature is her femaleness. It is true that Alice is also female, but she is a wife and mother and therefore - according to Christian ideology - safely domesticated, (1) even asexual (after all, her breasts are socks of sand hardly a sexual image), certainly less sexually female than her daughter, at any rate. She is also pure; she resists the temptation to form a relationship with Henry (pages 116 & 141).

So Tegwyn, defined very early in the text as female, and then characterised throughout by her extreme churlishness (and occasionally, masochism) is a convenient construction in a text which seems to have something to do with getting the characters who people it to see the light. In fact, if the first female, Eve, had not led Adam into original sin, humanity would still be in the Garden of Eden, and no one would need to be shown any light. Within this discourse, according to one critic, this myth of feminine evil (is) a foundation for the entire structure of phallic Christianity. (14)

The word which appeared twice in the first paragraph of this text needs to make a reappearance here, as it does towards the end of the novel. Ort looks in on Tegwyn and sees that she and Henry are in bed together, asleep. Later, when Ort looks in again, he sees Henrys hairy bum up (p. 147) and he hears Tegwyn making a noise and the bed squealing. When words fail, there is always the phallus.

The next day, everyone is very quiet and even Tegwyn sits quietly on the verandah, painting her nails. The day after that, Orts grandmother dies, Henry and Tegwyn have run away, but theres ...this mist...Through all the holes and cracks in this old house, theres stuff coming in. Its like cloud but its light. (p. 14)

And in the midst of all this light, as Ort is rushing about with the bottle of safflower oil and the Bible, tears appear in Sam Flacks eyes. He too, from within his coma, has seen the light. The oil, I imagine, is to anoint, to consecrate Orts father, truly born again.

I will finish my text - but a partial itinerary of the meanings which inhere in another text - with an attempt at the answer to the question I put on page one (Whose ends are being served here?). This answer is perhaps to be found in the meaning of the word consecrate it is to make or declare sacred, to dedicate to the service of a deity. In this case the deity is the father-God of Christianity one of the religions which could be said to help serve our global religion of patriarchy

NOTES

Tim Winton, That Eye, The Sky. McPhee Gribble, 186.

A Kolodny, in Toril Moi, Sexual/Textual Politics. Routledge, 185, p.7.

The Macquarie Dictionary.

Chris Weedon, Feminist Practice and Postrstructuralist Theory. Blackwell, 187, p.18.

Young Winton For Real, The Age, 1..87.

Weedon, op.cit., p.16.

ibid., p.18.

ibid., p.164.

ibid.

ibid., p.101.

Gayatri Chakravorty Spivak, In Other Worlds Essays in Cultural Politics. Routledge, 188, p.77.

The Macquarie Dictionary.

Mary Daly, Beyond God the Father. Beacon Press, 17, p.85.

Julie Garland, Devilish Ms-conceptions, in The Age, 1.4.8.

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Immorality of Gatsby

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The Novel, "The Great Gatsby", was written by F. Scott Fitzgerald. At the time that he wrote this book, the United States was going through what was known as the Roaring Twenty's. This was a time of great economic promise. Organized crime, such as the Mob came about. People were always partying everyday of the week, and affairs became very situations. In the "Great Gatsby" many themes were evident. The theme of immorality is best portrayed through the character of Gatsby.

Gatsby best portrayed this theme of immorality because of how he treated himself, his friends, and his life. Throughout the story, as the reader, we are able to see how different Gatsby really is throughout each chapter. At the beginning of the book, we see Gatsby as a hard working, nice single man who lives in a nice house on the West Egg. Near the end of the book we learn that he is still somewhat of a good man, he has a hidden past that not many people know about.

Since Gatsby was a very wealthy man, he never had to worry about being at work. Instead he would through party after party, never giving up on the chance to have a great time. He did not live a normal life. Gatsby never went to church on Sunday, he would always be partying. You can tell he didn't have a good set of morals because the way he would treat people was just weird. He would let people live in his enormous house for free and let them do what they want. The only exception is that when Gatsby would ask for them to do something for him, they would have to do it. This just seems like something that a normal person wouldn't do.

Another way that Gatsby portrays the theme of immorality is the way he tries going after Daisy. We now know that many years ago in the story, Gatsby and Daisy had a fling at one time. She dumped him because she thought he did not have enough money. Later, though, he finally meets her again and he begins to show off what his life is like now. He shows his huge house, and expensive clothes to make her amazed and want him back. He tries going for Daisy, even though he know that Tom is married to her. He has such a huge obsession with her that he doesn't care if she is taken. This is exactly how it was back in the 10's. It seemed as if everyone was cheating on someone. Maybe it was because they were always drunk and partying all the time. No matter if they are drunk or not, it shows the theme of immorality.

Custom Essays on Immorality of Gatsby

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Traffic accidents

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Drowsiness and lack of alertness while driving are major causes of traffic accidents. An attention support system that detects periods of inattention would greatly improve safety on the roads.

Drunk drivers

Cellphone distractions

Driving with headlights on full

Buy cheap traffic accidents term paper

A Survey of Public Education Literature regarding Driver Sleepiness

D. Flatley and L.A. Reyner of Loughborough University Sleep Research Centre, write that From analyses of various road accidents in the UK (Road Audits) we have found that about 0% of road traffic accidents on motorways and other major trunk roads are caused by driver sleepiness. Drivers in these sleep related vehicle accidents (SRVAs) are more likely to sustain fatal or serious injuries than in road traffic accidents as a whole. Maycock (16), in his postal questionnaire survey of accidents involving male drivers, and the relationship between these accidents and daytime sleepiness, found that % of respondents had felt close to falling asleep at the wheel over a period of 1 months.

Slippery roads

Fog-lack of visibility

Car defects

There are lots of traffic accidents in the world.Generally, negligence causes traffic accidents.For instance, if you drink an alcohol before driving it will probably causes an accident.We mustnt drink before driving.

We can give an example to negligence;racing on main road.Its very very dangerous.Drivers who drink and race on the main road must be fined.I think it will prevent accidents.

All drivers must be educated to be careful when theyre driving.....

Frequency Percentage Mean values

Factor Mild In. Severe Killed

Infraction of a traffic law or regulation 6.111 5,4% 0,6 0,4 0,0

Distraction 1.45 18,0% 1,00 0,41 0,05

Improper speed 14.68 1,4% 1,06 0,57 0,08

No specific opinion 5.65 4,8% 0,0 0,4 0,04

Another factor 4.748 4,0% 0,88 0,40 0,05

Alcohol or drugs .60 ,% 1,18 0,6 0,0

Illness, fatigue or sleep .04 1,% 0,7 0,74 0,17

Inexperienced driver 1.66 1,4% 1,04 0,47 0,04

Road condition 1.67 1,% 1,00 0,5 0,0

Weather condition 1 0,8% 1,14 0,5 0,10

Mechanical fault 550 0,5% 1,1 0,51 0,07

Deficient vehicle state 4 0,% 1,07 0,5 0,0

Defective signals 01 0,% 1,07 0,47 0,0

Work zone on road 17 0,% 1,15 0,51 0,05

Total 118.67 100,0% 0,8 0,40 0,04

A comprehensive study of road safety (Treat et al., 177) found that human error was the sole cause in 57% of all accidents and was a contributing factor in over 0%. In contrast, only .4% were due solely to mechanical fault and only 4.7% were caused only by environmental factors.

People driving down a highway are bombarded with a steady flow of information. Most of the information is visual input, the road itself, other vehicles, pedestrians, signs, the passing scenery, etc. Moreover, the driver may be processing other information sources such as auditory input (listening to the radio, talking on a cell phone, carrying on a conversation with another passenger), or internal input (remembering directions or planning what to make for dinner).

If the visual information flow is low, there may be enough mental resource to carry on all tasks simultaneously. But attentional demands may exceed supply when

the flow becomes a torrent (driving fast)

the information is low quality (poor visibility)

resources must be focussed on a particular subset of information (a car close ahead)

the drivers capacity is lowered by age, drugs, alcohol or fatigue.

The first is perceptual error. Sometimes critical information was below the threshold for seeing - the light was too dim, the driver was blinded by glare, or the pedestrians clothes had low contrast. In other cases, the driver made a perceptual misjudgment (a curves radius or another cars speed or distance). The second, and far more common cause, is that the critical information was detectable but that the driver failed to attend/notice because his mental resources were focussed elsewhere. Often times, a driver will claim that s/he did not see a plainly visible pedestrian or car.

Certainly speed is a factor in accidents. Many accidents happen simply because the driver is going too fast. City streets usually have speed limits of less than 5 miles per hour, and often you will see posted limits as low as 5 or 10 miles per hour. Speed limits are carefully selected to minimize the chances of accidents. When traffic is heavy, there just isnt very much distance between you and the next vehicle to stop. The slower youre going, the less distance it will take to stop. By going slowly, you will also be able to observe your surroundings more easily, taking note of cyclists, pedestrians, and other vehicles. Observing the speed limit is one sure way to reduce your chance of an accident. On rainy, foggy, or snowy days keep your speed even lower.

Perhaps the main cause of accidents in traffic is a simple matter of not paying attention. In traffic, it is easy to become distracted, frustrated, and annoyed. Any of these can cause you to pay less attention than you should, often resulting in rear-end collisions when the vehicle in front of you stops. Running stop lights and stop signs is also a possibility if you are not paying attention.

Fatigue is also a contributor to traffic accidents. After a long days work, or perhaps a morning when you didnt rest well the night before, you are likely to feel tired. Feeling tired causes you to become distracted easily and also slows your reflexes. Dont take chances driving when you feel too tired to be safe. If fatigue is a frequent problem, see your doctor. For occasional fatigue, combat it with adequate rest, nutrition, and exercise.

To drive safely in traffic you must keep your speed down, pay attention, and avoid driving when you are tired. Many accidents and injuries could be prevented by following these precautions. Next time youre in traffic, remember these things and keep yourself safe!

Please note that this sample paper on traffic accidents 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 traffic accidents, we are here to assist you. Your cheap research papers on traffic accidents will be written from scratch, so you do not have to worry about its originality.

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I want to be owner

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Writing a Good Thesis for a Descriptive Essay

 Begin with a subject that interests you

 For example, if you are asked to describe an important place in your life, you could write about your hometown.

 Narrow your subject until you could cover it within your page/word limit

Help with essay on I want to be owner In the paper about your hometown, you clearly could not cover every bit of it in - pages or 400-500 words. Instead, begin to think about one small part of your hometown that was important to you. It could be your bedroom, the woods, a football stadium...anything you want.

 Make sure that your thesis states a dominant impression about what you are describing. Don't worry about refining the sentence right away.

 The statement "The subject of this paper will be my childhood bedroom" is not a good thesis statement. To check if your thesis has a point, ask yourself "so what?" Why does it matter that the subject of your paper is your bedroom? Instead, you should write something about your bedroom. For example, "My childhood bedroom was a warm, safe place."

Proceeding with a Descriptive Essay

After you have a good thesis statement, these guidelines will help you to develop your ideas into an essay

 Make a list of as many details as you can that support the general impression.

For example

Bright colors

Throw pillows

Lamps

Posters

Pictures of family and friends

Stuffed animals

Bookshelves filled with books and games

 Organize your paper according to one or a combination of the following

 Physical order - move from left to right, or far to near, or in some other consistent order

 Size - begin with large features or objects and work down to smaller ones

 A special order - use another order that is appropriate to the subject

 Appeal to as many senses as possible when describing a scene

Chiefly, you will use sight, but try to include touch, hearing, smell, and taste as well.

Remember that it is the richness of your sense impressions that will help the reader form a picture of the scene.

Personal Checklist

Use this checklist to determine if you have fully developed your paper. Make any revisions necessary until each question can be answered "yes."

1 - Unity

• Do you have a clearly stated thesis in the introductory paragraph?

• Does the thesis convey a dominant impression?

• Does each supporting paragraph back up your thesis?

• Is each paragraph necessary for the reader to understand the essay?

- Support

• Are there at least two separate supporting points for your thesis?

• Do you have specific evidence for each of your supporting points?

• Do you have enough specific evidence for each of your supporting points?

- Coherence

• Do you have a clear method of organization?

• Did you use transitions and connecting words?

• Do you have an effective introduction, conclusion, and title?

4 - Audience and Purpose

• Do you have an appropriate audience in mind? Can you describe them?

• Do you have a purpose for the paper? What is it supposed to do or accomplish?

• Does the purpose match your assignment?

5 - Sentence Skills - Consult a grammar guide, such as Harbrace to check for errors in grammar or sentence structure. These typically include

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How I became a Christian

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I knew about Jesus as far back as I can remember. My Father was a Pastor, and my mother had been a religious worker. I was taught Bible stories all of my life, and my parents lived consistent Christian lives that I greatly admired. When I was about six years old I professed my belief in all that I had been taught, and was baptized as a member of the Church. I knew well, and was frequently reminded, how a good Christian should behave, but somehow my behavior was never what I knew it should be. No matter how hard I tried to do right, I always failed. I tried to pretend to be a Christian, and failed at that, too. The shame of my pretense and guilt made me uncomfortable in the presence of real Christians, and by the time I left for College, I had given up any pretense.

After I graduated from College, I married a precious girl who had also dropped out of her Church. We mostly ignored the Church until our daughter was a couple of years old. At that point, I felt that our daughter needed to learn about Jesus, so I began to take her to Sunday school, and did so for several years. I would be careful to take her home before Church Services started, because I was not really interested in attending Church.

One Sunday my Pastor dismissed adult Sunday school and had an Evangelist preach to all of the adults. He preached about People in the Bible who were religious but Lost. He gave examples like Nicodemus, the Rich young Ruler, and Saul, who became Paul. I began to suspect that I might be in that category, so when I got home I asked my wife if I was a Christian or not. She did not know, either, so the next time I went to Church I asked my Pastor. To my surprise, he didn't know either. He simply told me that no one could answer that question for me but Jesus Himself!

Somehow I realized that the Jesus that I had heard so much about is Real, Alive, and anxious to hear and answer my prayer. My only sensible response was to kneel before Him and confess to Him that I did not know whether I was a Christian or not, but that I wanted Him to make me a Christian that He would not have to be ashamed of. As I prayed, Jesus gave me a deep sense of peace that my Salvation was His problem, and not mine. He gave me a hunger to know and to follow Him and a Joy in serving Him that has blessed my life for over 45 years.

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Blessed be the Name of my Lord Jesus Christ.

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Desiree's Baby-A devious Plan

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A Devious Plan

Kate Chopin's "Desiree's Baby" on first reading appeals to readers as a beautiful love story gone horribly wrong. Armand sweeps Desiree off her feet and "she loved him desperately". Their happiness made complete with the birth of their first child, a son to carry on the family name. Ah, but then tragedy struck when both Desiree and Armand realized that the child had Negroid feature's. Armand quickly stopped loving Desiree and turned her and her baby out. "She disappeared among the reeds and willows that grew thick along the banks of the deep, sluggish bayou, and she did not come back again". The ending leaves the reader with a feeling that justice prevails when Armand finds a letter from his mother,

But, above all," she wrote, "night and day, I thank the good God for having so arranged our lives that our dear Armand will never know that his mother, who adores him, belongs to the race that is cursed with the brand of slavery".(Chopin)

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Other readers may very well see this story has having a conscious, that the writer wrote the story to make political and social statements. The theme's of slave owner vs. slave, white vs. black, and women vs. men is apparent throughout the story. Also apparent is one's social standing and the importance of the hierarchy of white, woman and black and their place in the grand scheme of things. However let's look at a completely different twist to this story. (Wolff, Cynthia Griffin)

Louisiana of the time was one of the toughest states for blacks, whether slave or free men of color in which to live in. It was against the law for whites to marry blacks. Children of mixed races were considered illegitimate and forbidden to inherit, even if the child is acknowledged and raised by a wealthy father, upon the father's death, the child would be knocked down the social ladder to a free man of color. A free man of color lived a precarious life, for he was likely to be sold back into slavery for any number of small offences or petty crimes. Louisiana also had the "One Drop Rule" in which any person with even one drop of black blood was considered black. (Margaret D. Bauer)

Armand Aubigny was a "dark faced" man of high social status. His name was "one of the oldest and proudest in Louisiana". He owned a large working plantation and many slaves. In other words, he was a man with a lot to lose. His mother and his father raised Armand in France until her death when he was eight years old. According to psychoanalyst Marjorie McDonald, the capability to distinguish between skin colors exists well before the end of the first year and that the infant raised biracially awareness inevitably comes during the first year. Psychologist Kenneth B. Clark states that racial awareness is present in Negro children as young as three years of age. This knowledge develops in stability and clarity from year to year and by the age of seven is part of the knowledge of all Negro children. (166) If this is true then there can be little doubt that Armand knew his mother was black. Therefore, we can concur that Armand went into his marriage, knowing of his background and yet accused his wife of not being white. Why? (Critical Essays on Kate Chopin)

Armand of the proud name and great land holdings needed to produce heirs to carry on his legacy, but how to accomplish this without his origins exposed if his child displays Negroid features?

Then "as if struck by a pistol shot" he fell in love with Desiree, his neighbor whom he had known since he was eight. Was he struck by love or by inspiration? He knew that Desiree was a foundling and had no idea of her origins before adoption by the Valmondes. Even when this fact was brought to his attention he declared "What did it matter about a name when he could give her one of the oldest and proudest in Louisiana?" What better way to attempt to have children without fear of exposure then to have them with a woman of "obscure origins"? (Margaret D. Bauer)

After the child was born, Armand was happy because the child did indeed look white and expressed that happiness by treating his wife and slaves with tolerance. However, by the third month of the child's life, it began to display Negroid characteristics and Armand instantly fell out of love with Desiree. He accused her of not being white and she was unable to prove otherwise as he well knew she could not. Armand was displeased that his attempts at having a white child where thwarted. Because he had never loved Desiree, he had no further use for her in his life. When the opportunity arose for him to be rid of her and the child, he gladly acquiesced when she asked him "Do you want me to go?' replying, "Yes I want you to go." Desiree then took her child and "was never seen again". So ends Armand's problem of what to do with a woman he had only one use for and child that he could not stand to have remind him of his own origins. He then symbolically purged his life of what he saw as his failure by burning everything belonging to Desiree and the baby. (Margaret D. Bauer)

Armand is definitely a villain in this story, but when faced with losing all that he knew, the only life he ever led and possibly being reduced to a free man of color which was little better then a slave, he chose the desperate actions of any man faced with losing everything. If only his pride and egotism would have let him see that having no children, was a much better course then taking the chance of destroying two human life's he would have been redeemed.(Cynthia Griffin Wolff)

Works Sited

Arner, Robert D. Pride and Prejudice Kate Chopin's "Desiree's Baby" Critical Essays on Kate Chopin. Ed. Petry, Alice Hall. New York. Simon and Schuster. 16

Bauer, Margaret D. Armand Aubigny, Still Passing After All These Years The Narrative Voice and Historical Context of "Desiree's Baby" Critical Essays on Kate Chopin. Ed. Petry, Alice Hall. New York. Simon and Schuster. 16

Wolff, Cynthia Griffin. "The Fiction of Limits Desiree's Baby". Modern Critical Views. Ed. Bloom, Harold. New York. Chelsea House Publishers. 187

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