Is Cell Phone Repair Worth It Essay - 728 Words

Having your handheld device repaired can be better and more cost effective than having to pay your mobile phone insurance deductible. If you take a look at the price of a mobile device out of contract you ll see that these little devices aren t cheap at all, and in fact many of them cost over $500 USD! That isn t the price that you paid for your phone though, is it? That is because the stores that sell mobile phones get paid for every contract that they sign you up for, and if you terminate your contract early they ll still get their money. handheld device insurance can be a good investment if you lose your device, but with sites like eBay, Craigslist, and amazon it can be cheaper to get a new handheld device than making an insurance claim. So, is cell phone repair worth it? Did you break you digitizer by dropping your phone? Many people every day drop their phones on the pavement, in the toilet, and places that are way beyond me. Now, to get your digitizer repaired by a cell phone repair specialist this will cost you under $120 USD on an iPhone 4. The cost to have your insurance replace your iPhone with a refurbished device is $180 for an iPhone 4 if you have your insurance through Assurion. This does not include your monthly deductible that you have been paying every month through your carrier, and they make money off of that too. I ve found that the average monthly premium price is around $10 USD even for your iPhone 4. A little bit of elementary math will show youShow MoreRelatedAdvances in Technology Essay1455 Words   |  6 Pagesdone in minutes rather than sending out a letter to get a response. The possibilities of technology and what they accomplish for a person can save not only time, but also save money in the long-run. Electronics can get expensive, but it can be worth it in time when it makes a lifestyle convenient with tasks to do. 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Saul Bellow Seize the Day the Water Imagery Sample Essay Example For Students

Saul Bellow Seize the Day the Water Imagery Sample Essay Saul Bellow’s Seize the Day is one of the most deeply sad novels to be written since Tender is the Night. On this twenty-four hours of thinking. during the seven hours or so that comprise the action of the novel. all the problems that constitute the present status of Wilhelm Adler descend upon him and oppress him. go forthing him hard up. entirely. and in such profound wretchedness that one can barely conceive of his traveling on. He is. as he says. at the terminal of his rope. This has been one of those yearss. he says to his married woman. May I neer live to travel through another like it. We feel that he may non populate at all. so great is his wretchedness. so wholly has he been destroyed. Yet if we look more profoundly. more accurately. we see that the significance of the novel merely begins here. that beneath this profound and traveling sense of desperation is the birth of a psyche. Wilhelm’s. and that Bellow. far from holding depicted the licking of adult male. h as given us one of his most moving histories of the conditions under which he can trust to be winning. Wilhelm does non emerge triumphantly out of his problems ; but the really sufferings they cause him hold brought his psyche into being: Wilhelm’s Pretender psyche has died. his existent psyche has been born. It may non populate long. Although Bellow takes us no further than the birth. Marcus Klein has pointed out that At the minute of decease. his gesture is toward being. the verve that defines and unites everyone. and his crying is an credence of it and therefore an act of love toward life. Yet this is by no agencies obvious. In fact. on a first or even a 2nd reading. the opposite seems to be true. Wilhelm’s apparently deliberate efforts to destroy his ain life. his ain complete forsaking to cryings at the terminal. both of these seem to indicate more to a love of decease. Merely after we have entered Bellow’s universe. after we have begun to hold on the trade with which this remarkable novel is written. can we understand the truth of Mr. Klein’s statement. The reasoning paragraph of the novel at first deceives but is eventually the important 1 to our apprehension of the work: The flowers and visible radiations fused rapturously in Wilhelm’s wet eyes ; the heavy sea-like music came u p to his ears. It poured into him where he had hidden himself in the centre of a crowd by the great and happy limbo of cryings. He heard it and sank deeper than sorrow. through lacerate shortness of breaths and calls toward the consummation of his heart’s ultimate demand. That demand. the whole of the novel comes to uncover. is the demand non to decease. writes Marcus Klein. But Wilhelm is submerging. The perennial usage of the image merely intensifies the force of the metaphor. and it is non until we discover Bellow’s attitude toward that province that we can accept Mr. Klein’s statement. In fact. merely by a survey of how H2O imagination is employed in the whole novel can the paradox. life by submerging. be to the full understood. Human wretchedness is by and large the consequence of one of two things: being in a status of life that is unbearable or being trapped within a ego that creates its ain snake pit. In the modern universe the assorted societal bureaus aim at relieving the former. the head-shrinker the latter. But when one is in demand of both the societal worker and the head-shrinker at the same clip. the deepnesss of human wretchedness Begin to be seen. Basically this is Wilhelm’s province. and what Bellow is stating is that under such conditions the ego that feels these afflictions from within and without must be destroyed. Nothing can be done for it because it defeats its ain good. Wilhelm is a born also-ran: After much idea and vacillation and argument he constantly took the class he had rejected countless times. Ten such determinations made up the history of his life. Although the conditions of his life are non those that would appeal to the understanding of a societal worker. he is none the less destitute: jobless. homeless. and penniless. On this concluding twenty-four hours in which his wretchedness overwhelms him. he drowns ; but he goes deeper than sorrow and out of this nonliteral decease his psyche is born. Because Wilhelm is barely cognizant of the new life he has entered. the whole action of the novel is dry. What appeared to be the agonizing and progressively bootless attempts to get away devastation become the necessary contractions of birth. The flight turns out to be a pilgrims journey. the victim a penitent. and the descent into hell the necessary enduring out of which the psyche is born. Deep within himself Wilhelm is dimly aware of this. He curses himself for holding fought with his male parent: But at the same clip. since there were deepnesss in Wilhelm non unsuspected by hi mself. he received a suggestion from some distant component in his ideas that the concern of life. the existent concern to transport his curious load. to experience shame and powerlessness. to savor those quenched cryings the lone of import concern. the highest concern was being done. Possibly the devising of errors expressed the really intent of his life and the kernel of his being here. Possibly he was supposed to do them and endure for them on this Earth. At minutes he ceases from flight and prosecute the good. his characteristic self-loathing falls off and he even feels within himself the powers of a Jesus. For case. what truly entreaties to him about going an histrion is that he believes that in this manner he can be a lover to the whole universe. The sense of a cosmopolitan spirit that unites and blesses all world has late come to him as he is walking through a dark tunnel beneath Times Square: A general love for all these imperfect and lurid-looking people burst out in Wilhelm’s chest. He loved them. One and all. he passionately loved them. They were his brothers and sisters. He was imperfect and disfigured himself. but what difference did that do if he was united with them by this blazing of love? And as he walked he began to state. Oh my brothers m y brothers and my sisters. blessing them all every bit good as himself. Although such feelings neer last long and are normally fled from instead than welcomed. on this twenty-four hours of thinking he remembers this experience and thinks. I must travel back to that. That’s the right hint and may make me the most good. Something really large. Truth. like. This avowal. lame as it is. constitutes his ain dim acknowledgment of the salvaging terminal of what more frequently appears to him as a destructive component his ain intensely emotional nature. He continually blames his failures on his strong and frequently unmanageable emotions ; yet we are eventually made aware that it is merely this capacity to experience. more specifically this demand to love and be loved. that makes possible the birth of Wilhelm’s psyche at the terminal of the novel. Ultimately. the clearest indicant that the action of Seize the Day is dry is found in Bellow’s attitude toward man’s emotional nature. non merely as revealed in this novel but throughout his authorship. That Bellow is in the tradition of the great English Romantic poets Wordsworth in peculiar in this regard has been brightly argued by Irvin Stock in . Understanding the construction of Bellow’s novel to be dry. we are now able to province its major subject. Man’s psyche has existence merely when it can love and experience love in return. Modern society. nevertheless. has no usage for the psyche. Kill or be killed is its jurisprudence and that of material life. Most people learn this early and conform to it. They are non even aware that their psyches have died in the procedure. Those few who refuse to abandon the life of the psyche. who still yearn for its fruition. are punished through agony and finally destroyed. unable to contend against what appears to them to be the jurisprudence of nature. Such devastation can merely impact the Pretender psyche. nevertheless. And the existent psyche is born as a consequence. That Bellow should utilize H2O imagination more to the full to render his subject is appropriate sing that H2O and the emotional life have been linked since antediluvian times and peculiarly so within the English Romantic tradition. What is striking. nevertheless. is the attention he has taken to weave his imagination into so much of the novel. to light it on so many different degrees. Our apprehension of how Bellow utilizations H2O imagination non merely underlines for us his thematic purpose. non merely reveals to us the greater significance of inside informations we might ot herwise go through over. but dramatizes for us the workings of a elusive and profound originative imaginativeness. The image. in fact. so strongly is it used. takes on the glow of the symbol ; and like other great symbolist accomplishments. Seize the Day becomes richer with each re-reading. A short novel of merely over a 100 pages. it is a fantastic compaction. an artistic distillment of the sort that attractively demonstrates the strengths of the symbolist technique used at its best. a technique that gives a peculiar sort of enjoyable strength that is non found in novels that employ other methods. The image of the drowning Wilhelm is the commanding one. but because of the book’s dry construction it is an image that maps in two ways. On a first reading. and on each rereading on the surface of our experience. it intensifies our understanding for Wilhelm’s status. Even when Wilhelm is being depicted least sympathetically. when he is most in the incorrect. most the sloven. we are continually made cognizant that we are witnessing the strugglings of a drowning adult male and we want to see him deliver. Thus our understanding is continual in a manner that it is non. for case. with Dostoevski’s belowground adult male. Once the dry construction of the novel has been seen. nevertheless. this same image maps to convey us to an apprehension of Bellow’s existent subject the self-contradictory life by submerging. In the first portion of the novel the image of the drowning Wilhelm is merely hardly suggested and in a manner that would hold small significance if it were non strengthened by the presence of other things: closely related H2O images and figures of address associating his predicament to that of a drowning adult male. At the terminal of the novel. nevertheless. we see him as about literally submerging. unable to breath ; so eventually the suppressed cryings rise to overrun his face ; and so the sense of peace and the dreamy motion of the floating organic structure toward its concluding resting topographic point. All Quiet On The Western Front Essay KatSweetest Sorrow!Like an ain baby I nurse thee on my chest!Why did he retrieve that? Why? In the sense that Tamkin drives Wilhelm farther toward desperation. he turns out to be his destroyer. non his Jesus. though finally. since Wilhelm must be destroyed in order to be saved. we see Tamkin as ironically a savior figure even here. To Wilhelm. nevertheless. Tamkin is at last recognized as the great informer. The concluding subdivision of the novel opens with Wilhelm recognizing. I was the adult male beneath ; Tamkin was on my dorsum and I thought I was on his. While this specifically applies to the fact that Tamkin has lost Wilhelm’s money for him in the stock exchange. it must besides be read as a H2O image. Wilhelm has thought that Tamkin was back uping him in the Waterss of his problems. It turns out that Wilhelm. fighting to swim himself. has been drowned by Tamkin who has been back uping himself on him. The beauty of the wordplay is that it besides applies to Wilhelm’s father whose existent character is shown in the advice he gives his boy earlier in the novel. advice which. because it is so cold-hearted. is what originally drove Wilhelm to seek aid elsewhere: I can’t give you any money †¦ You and your sister would take every last vaulting horse from me †¦ And I want cipher on my dorsum. Get off! And I give you the same advice. Wilky. Carry cipher on your dorsum. If Wilhelm is crushed by the Nietzschean. he eventually discovers the true beginning of his being in something profoundly Wordsworthean. for at the terminal of the novel it is the still. sad music of humanity that opens his bosom. that chastens and subdues. and so gives birth to his existent psyche. Caught by the crowd on Broadway. he moves along within the unlimited current of 1000000s. A series of images conveying Wilhelm to his vision and his birth in which he is imagined as a drowning organic structure traveling with the currents under the sea to its concluding resting topographic point: It was he himself who was carried from the street into the chapel. The force per unit area ended indoors. where it was dark and cool. The flow of fan-driven air dried his face. which he wiped hard with his hankie to halt the little salt scabies. He gave a suspiration when he heard the organ notes that stirred and breathed from th e pipes and he saw people in the church bench. He is caught in the line of grievers traveling toward the casket. and when he reaches it the brooding expression on the face of the dead alien forces him to step out of the emanation. Here once more Bellow uses H2O imagination to give us the deeper significance of the action. for all of a sudden it is the dead adult male who is imagined as holding drowned. non Wilhelm. Wilhelm can eventually take a breath. He even wipes his face to free himself of the little salt scabies. All the imagination points to our seeing Wilhelm as all of a sudden saved from submerging. saved because he can now show his deepest emotions. He can love and commiseration world as a whole. The dead adult male was grey. He had two big moving ridges of grey hair at the forepart. But he was non old. His face was long. And he had a bony nose. somewhat. finely distorted. His foreheads were raised as though he had sunk into the concluding idea. Now at last he was with it. after the terminal of all distractions. and when his flesh was no longer flesh. Wilhelm can at last call. The seas of feeling. that have been welling up within him but have neer found their natural mercantile establishment before. a t last find their release. At the surface degree of intending he can now shout because the funeral is the 1 topographic point where that is non merely allowable but honest. On a deeper degree. nevertheless. he can be drowned in cryings because these are the vitalizing seas of feeling. non the terrorizing Nietzschean moving ridge of life and decease. Soon he was past words. past ground. coherency. He could non halt. The beginning of all cryings had all of a sudden sprung unfastened within him. black. deep. and hot. and they were pouring out and convulsing his organic structure. flexing his obstinate caput. bowing his shoulders. writhing his face. stultifying the really hands with which he held the hankie. His attempts to roll up himself were useless. The great knot of ailment and heartache in his pharynx swelled upward and he gave in utterly and held his face and wept. He cried with all his bosom. What is important here is Wilhelm’s alteration of character. He has abandoned himself to a desperation which is non simply personal. though it includes himself. A mananother human animal. was what first went through his ideas. The fact of decease. another’s decease. has brought him to a province in which he is utterly inactive and wholly dependent. He now exists entirely in his feelings. non because he has chosen to but because all else has been taken from him. He has been humbled by a gr eat fact of nature. His obstinate caput is bowed. He has been forced into dependence on nature. but we see that this dependence brings him into brotherhood with her. for the of import thing is that he is now afloat on a sea of feeling. In Bellow’s ain sense of the Wordsworthean vision. Wilhelm has see into the life of things and go. at last. a living psyche. Furthermore. there is hope that he will be buoyed up in this province and have a return of feeling. His miss friend. Olive. loves him and will get married him if he can acquire a divorce. and it is to her that he gives himself at the terminal. In fact the deduction is that his really life is now in her custodies. What makes this concluding scene so impressive as a literary accomplishment is merely this kind of denseness of significance. Wilhelm is the lone individual shouting at the funeral. yet he is the lone alien. One of the suggestions here is that echt sorrow is impersonal. Another is that merely those in whom the psyche is alive can truly mourn. for merely they are capable of this strength of experiencing. Many other illustrations of Bellow’s usage of H2O imagination to back up and intensify his dry vision of the drowning Wilhelm could be c ited. The fluctuations of the stock market correspond to. and of class to a big extent determine. the alternations of hope and desperation in Wilhelm’s head ; and when the market clangs when Wilhelm’s stocks go down and he loses the last of his money one can about see Wilhelm crushed beneath Tamkin’s moving ridge of life and decease. You have to experience the money flow says Tamkin to Wilhelm when he promises him success in the market: To cognize how it feels to be seaweed you have to acquire into the H2O. The stock market itself is symbolic of all the cold. impersonal forces that Wilhelm and Bellow respect as immorality ; and that Wilhelm is tempted by Tamkin to take the dip. that this crushes him but does no serious injury to Tamkin. emphasizes. among other things. the difference between their two natures. Wilhelm is immediately punished for his wickedness. He had betrayed his psyche. Tamkin has no psyche and so can non be punished in this mode. One of the sarcasms in the novel is that Wilhelm’s male parent. who is the prototype of soulless success. is invariably bathing himself. recommends H2O and exercising as the remedy for his son’s wretchednesss. and eventually rejects him wholly while in the steam baths of the hotel’s wellness nine. Wilhelm himself rarely bathes and garbages to utili ze the hotel’s swimming pool because he is offended by the odor of the chlorinated H2O. What is suggested here is that the Waterss of the Earth can prolong the life of the organic structure. can even be used to convey about that brooding composure that comes from complete withdrawal from the emotions ; but to those whose psyches are alive deeper Waterss are needed. and the Waterss of the Earth are instinctively detestable. Bellow’s great accomplishment in Seize the Day is that he eventually forces us to see Wilhelm as a sort of hero. It is easy to lose his purpose and experience merely unhappiness at the terminal of the novel. Wilhelm may at that place look to us merely as a hapless sloven who is crying at what we dimly sense is truly his ain funeral. But Bellow can do beauty out of ugliness. non merely out of what in the custodies of a lesser creative person might hold been simply the squalor of ordinary life but out of a character who even to himself seems abhorrent. Wilhelm refers to himself early in the novel as a blue-eyed Hippopotamus. and this image is rep eated many times. It is his characteristic manner of seeing himself. Though Wilhelm is ugly to himself and a sloven to others. his true component is. however. the Waterss of the religious life. The load of this life. the enduring it contains. is suggested in the ugliness and bulkiness of the Hippo when out of H2O. The weight is removed. nevertheless. and the ugliness transformed into a sense of rightness that is the consequence of being strongly in harmoniousness with nature when the Hippo is in the H2O. So it is with Wilhelm who at the terminal of the novel seizes the twenty-four hours of his soul’s birth. a psyche whose capacity is every bit limitless as the Hippo is big. and floats for the first clip. buoyed up by the greater life into which he has eventually entered

we beat the street/ queen Nefertiti Essays - Amarna Period

Drs Sampson Davis is a renowed dr helping inner city youth change their directions from heading towards a life in the streets. We are offering a special day of career and educational enrichment for youth ages 10- 18. Challenge participation.We are sorry to inform you that due to budgetary cuts we will no longer provide transportation to and from the program. We would like to continue to provide services to your child and family, which would require parental support in the means of transportation. It may be possible to provide assistance in the form of gasoline reimbursement on a case-by-case basis. If you are unable to provide this support, we will help to refer you to additional services. The Children?s Day Treatment Program staff would like to take this opportunity to thank you for your years of commitment to this program. We hope to be able to continue to meet the needs of you and your family to the best of our ability. Queen Nefertiti !!! Queen Nefertiti was born c. 1390 B.C.E. In the Thebes, Egypt and she Died c. 1360 B.C.E. She was the queen of Egypt she was an Egyptian queen and wife of king Akhenaton who stills remains a mystery to scholars today. (sculpture of a person head and shoulders) of her was discovered in 1913 is one of the most wisely recognized symbols of ancient Egypt. Queen Nefertiti was born around 1390 B.C.E. and some people believe she was of Egyptian blood, but others believe she was a foreign princess. Her name witch means ? ?the beautiful one is come? is of Egyptian origin, and evidence indicates that she had an Egyptian wet-nurse or governess of noble rank and this led to the belief that she was born within the circle of the Egyptian royal court. She may have been a niece or the daughter of Ay, who was a keeper of records under king Amenhotep III. When Nefertiti was fifteen years old, she married Amenhotep IV, who was a year older and became king upon his father death. Then they had six Daughter and , according to some, they had one son. During the first five years of Amenhotep?s r eign queen Nefertiti enjoyed a high profile. Evidence of her political importance is seen in the large number of carved scenes in witch she is shown accompanying him during ceremonial acts. She is shown taking part in the daily worship and making offering And in the fifth year of his reign, Amenhotep changed his name to Akhenaten. He went against. The beliefs of previous kings by announcing that the sun god Aten was the greatest of all Egyptian gods and the only one who should be worshipped, rather than Amen-Ra who had long been considered supreme. Queen Nefertiti shared his belief. Largely because of opposition over this issue., Akhenaten built a new capital called Akhenaten built a new capital called Akhetaten and moved the royal family there.

Take the Paired Conjunction Quiz

Take the Paired Conjunction Quiz Paired conjunctions are often used in both spoken and written English to make a point, give an explanation, or discuss alternatives. The most common paired conjunctions include: both ... andneither ... noreither ... ornot only ... but also When using these forms with verb conjugation make sure to follow these rules: Both ... and is used with two  subjects and always conjugates using the plural form of the verb. Both Tom and Peter live in Los Angeles. Neither ... nor is used with two  subjects. The second subject decides whether the verb is conjugated in the plural or singular form. Neither Tim nor his sisters enjoy watching TV. OR Neither his sister nor Tim enjoys watching TV.   Either ... nor is used with two  subjects.  The second subject decides whether the verb is conjugated in the plural or singular form. Either the children or Peter has made a mess in the living room. OR Either Peter or the children have made a mess in the living room. Not only ... but also inverts the verb after not only, but use standard conjugation after but also. Not only does he like tennis, but he also enjoys golf. Paired conjunctions can also be used with adjectives and nous. In this case, make sure to use parallel structure when using paired conjunctions. Parallel structure refers to using the same form for each item. Pair Conjunction Quiz 1 Match the sentence halves to make a complete sentence. Both PeterNot only do we want to goEither Jack will have to work more hoursThat story wasStudents who do well not only study hardIn the end he had to chooseSometimes it isI would love to take but we also have enough money.neither true nor realistic.not only wise to listen to your parents but also interesting.and I are coming next week.either his career or his hobby.both my laptop and my cell phone on holiday.but also use their instincts if they do not know the answer.or we will have to hire somebody new. Pair Conjunction Quiz 2 Combine the following sentences into one sentence using paired conjunctions: both ... and; not only ... but also; either ... or; neither ... nor We could fly. We could go by train.She will have to study hard. She will have to concentrate to do well on the exam.Jack is not here. Tom is in another city.The speaker will not confirm the story. The speaker will not deny the story.Pneumonia is a dangerous disease. Smallpox is a dangerous illness.Fred loves traveling. Jane wants to go around the world.It might rain tomorrow. It might snow tomorrow.Smoking isnt good for your heart. Drinking isnt good for your health. Answers 1 Both Peter and I are coming this week.Not only do we want to go, but we also have enough money.Either Jack will have to work more hours or we will have to hire somebody new.That story was neither true nor realistic.Students who do well not only study hard but also use their instincts if they do not know the answers.  In the end he had to choose either his career or his hobby.Sometimes it is not only wise to listen to your parents but also interesting.  I would love to take both my laptop and my cell phone on holiday. Answers 2 Either we could fly or we could go by train.  Not only will she have to study hard, but she will also have to concentrate to do well on the exam.Neither Jack nor Tom is here.The speaker will neither confirm nor deny the study.Both Pneumonia and Small Pox are dangerous illnesses (diseases).Both Fred and Jane love traveling.It might both rain and snow tomorrow.Neither smoking nor drinking are good for your health.   If you had difficulties understanding this quiz, brush up on your knowledge. Teachers can use this paired conjunction lesson plan to help students learn and practice these forms.

An Exploration of Matrilineal Art in In Search of Our Mothers’ Gardens

An Exploration of Matrilineal Art in In Search of Our Mothers’ Gardens In the essay â€Å"In Search of Our Mothers’ Gardens,† Alice Walker presents a moving portrait of matrilineal art and creativity extending throughout black history. Following this line, Walker illustrates generations upon generations of lost artists, mothers and grandmothers â€Å"driven to a numb and bleeding madness by the springs of creativity in them for which there was no release† (232). Among her imagined foremothers, Walker conjures the nameless ghosts of unrecognized genius and talent: stifled painters, thinkers, and sculptors emerge as black incarnations in the tradition of Virginia Woolf’s Judith Shakespeare. Walker traces this lineage, suggesting that even when systemically repressed and silenced, this creative spirit has survived, if only to be passed down in the hope of finding expression in the next generation of black women. In her exploration of Walker’s fascination with matrilineal inheritance, Dianne Sadoff notes a certain disparity between Walker’s veneration of her foremothers in certain texts and her anxieties about motherhood in others. Proposing a revision of Sandra M. Gilbert and Susan Gubar’s theory of the â€Å"anxiety of influence† unique to female authors—itself a revision of Harold Bloom’s model of literary influence—Sadoff suggests that although Walker’s conception of matrilineage appears â€Å"not at all melancholy or anxiety laden,† her fixation on the subject â€Å"masks an underlying anxiety that emerges, although disguised, in Walker’s fiction† (7). Indeed, for all Walker’s veneration of mothers—both biological and otherwise—the sacred state of motherhood receives a notably different treatment in Meridian. Walker’s second novel sees motherhood both implicitly and explicitly aligned with necessary and inevitable death. Complete with a cast of corpses both literal and metaphorical, mothers dying both real and symbolic deaths, Meridian presents an unmistakable association between womanhood and death, underscoring a dominant patriarchal narrative in which female martyrdom is privileged at best, and demanded at worst. Silenced by a patriarchal order reflected in a Lancanian conception of paternal structures of meaning, these mothers see their voices stifled and suffocated in their offspring, rather than renewed in the promise of a new generation as illustrated in â€Å"In Search of our Mothers’ Gardens.† Out of this cast of corpses, Meridian’s titular character emerges to break the cycle of silence and martyrdom by refusing motherhood—the most privileged form of female sacrifice. In refusing to accept suffering or to privilege the sacrificial rite of motherhood, Meridian issues a challenge to the patriarchal order, one that parallels a similar rejection of the martyrdom associated with the novel’s conception of collectivist activism. In Meridian, dominant narratives surrounding both womanhood and political collectivism encourage and privilege suffering and sacrifice for an allegedly noble cause. Both as a woman and an activist, Meridian maintains her individuality at all costs, refusing to conform to any collectivist demands that insist she sacrifice her identity or independence. In refusing to conform to these patriarchal standards and rejecting martyrdom, Meridian escapes the narrative of sacrifice that plagues her fellow activists. As Lynn Pifer outlines, Meri dian’s eventual reconciliation of political activism with her need for individualism parallels her gradual reclamation of voice. At the end of the text, Meridian—who spends much of the novel refusing to participate in authorized discourse—at last â€Å"finds her voice and moves beyond her method of strategic silences† (Pifer 88). Meridian’s rejection of motherhood issues a challenge to the patriarchal narrative of suffering, while simultaneously breaking the Lacanian cycle of silence. In rejecting motherhood and martyrdom, Meridian gains the freedom to accept and use language outside the parameters of authorized patriarchal discourse. As noted, motherhood in Meridian is enacted primarily by a cast of dead women. Among the ensemble are literal corpses, along with departed women whose deaths have lived on in folklore, and even still-living women who have suffered metaphorical deaths. To this body count, I offer for comparison the addition of another famous literary corpse mother: Addie Bundren in William Faulkner’s As I Lay Dying. At various points throughout Meridian, the decidedly postmodern novel invites comparison to its modernist predecessors, specifically in its occasional evocation of a distinctly southern gothic grotesque. This Faulknerian imagery is perhaps most evident in the novel’s bizarre opening scene, featuring none other than the novel’s first maternal corpse: the body of the slain Marilene O’Shay repurposed as a carnival attraction. This influence resurfaces later in the novel, with the description of Meridian’s mother bearing prominent similarities to Faulknerâ₠¬â„¢s Addie Bundren. Presenting Faulkner’s Addie as parallel to Walker’s Mrs. Hill, an analysis of the Lacanian significance of Addie’s rejection of language illuminates a similar treatment of language and motherhood at work in Meridian. First, however, it may be helpful to examine the corpse mothers of Meridian exclusively. The novel’s first corpse, the grotesque Marilene O’Shay, functions as a literal embodiment of the dominant female narrative against which Meridian pushes. Pointing to the the three epithets painted on O’Shay’s carnival trailer: â€Å"Obedient Daughter, Devoted Wife, and Adoring Mother (Gone Wrong),† Pifer illustrates the ways in which the corpse â€Å"sums up the narrow possibilities for women in a patriarchal society,† (80). Significantly for Meridian, whose reluctance to submerge or obscure her identity drives much of the conflict in the story, these â€Å"possibilities† all necessarily compromise a woman’s individuality, redefining her identity in terms of her relationships within the patriarchal order. While Marilene’s violent death at the hands of her husband speaks to a recurring motif of sexual violence against women throughout the novel, perhaps of even greater significance is her ability to fall back into her husband’s favor in death. Despite the allegedly universal acknowledgement among authorities and family members alike that O’Shay’s actions against his wife are justified, â€Å"Cause this bitch was doing him wrong,† the wronged husband softens considerably toward his wife in death (Walker 7). When her body resurfaces years later, according to the local legend, â€Å"He’d done forgiven her by then, and felt like he wouldn’t mind having her with him again,† (8). In death, Marilene O’Shay is the embodiment of ideal womanhood: sacrificed, silent, and, as Pifer notes, â€Å"utterly possessed† (81). In her petrified and powerless state, Marilene ascends to such a high rank of patriarchal womanhood that her va lue is literally quantifiable. Deciding his wife’s body could be â€Å"a way to make a little spare change in his ol’ age,† Henry O’Shay effectively commodifies his wife (Walker 8). Marilene’s successors, the novel’s other female corpses, all follow in her footsteps as â€Å"mothers gone wrong,† in some capacity or other. Meridian highlights a narrative in which womanhood is almost synonymous with motherhood, depicting a series of women who simultaneously meet their demise and maximize their societal value as martyrs through motherhood. The Wild Child is the next victim of womanhood to surface in the novel. â€Å"Running heavily across a street, her stomach the largest part of her,† The Wild Child dies largely a victim of her pregnancy (Walker 25). While in life, The Wild Child is rejected by all but Meridian, in death her value increases, not unlike that of Marilene O’Shay. When The Wild Child dies, the same Saxon classmates who previously begged their house mother to have Meridian’s young ward removed from the honor’s house find new appeal in the slain girl, showing up to her funeral in large numbers and prompti ng to Meridian to drily remark, â€Å"I would never have guessed Wile Chile had so many friends† (28). In life, The Wild Child is at best an inconvenience, at worst an abomination. In death, she suddenly becomes an attractive symbol of martyrdom, one the students repurpose for their own misguided and ultimately self-destructive demonstration. Fast Mary is another figure of Saxon folklore whose tragic death, romanticized by the students, renders her a sacred martyr of The Movement. In a particularly gory instance of â€Å"motherhood gone wrong,† Fast Mary is forced to hide a pregnancy from the Saxon administration before dismembering the child and attempting to dispose of it. After getting caught, Mary hangs herself in solitary confinement. Like The Wild Child, Fast Mary owes her popularity to her tragic death, in which she is immortalized as another symbol of martyrdom for the would-be Saxon revolutionaries. As Pifer notes, the students â€Å"relish the story of a girl forced to go to terrible lengths to maintain the college’s demands,† (82). In fetishizing Fast Mary as a tragic and heroic icon, Saxon’s aspiring activists unwittingly fall into the patriarchal narrative themselves by equating Fast Mary’s worth with her suffering. While the deaths of Marilene O’Shay, The Wild Child, and Fast Mary are literal, other living women in the novel suffer symbolic or metaphorical death. As Pifer summarizes, â€Å"Perfect women in this community, as Meridian well knows, are perfectly mindless, nicely dressed, walking corpses† (84). Most notable among these walking corpses is Meridian’s own mother, who compares motherhood to â€Å"being buried alive† (Walker 42). Not unlike the young Saxon women canonizing Fast Mary’s tragedy within their community folklore, Meridian’s mother finds herself trapped in a patriarchal narrative that praises motherly suffering and sacrifice. Although she disdains the shabby outward appearance of other mothers, Mrs. Hill cannot help but imagine in these women â€Å"a mysterious inner life, secret from her, that made them willing, even happy, to endure† (41). Meridian’s mother is so seduced by the glorified image of maternal suffering tha t she decides to join their ranks herself, only to realize that â€Å"the mysterious inner life she had imagined was simply a full knowledge of the fact that they were dead, living just enough for their children† (42). Despite her disappointment, Meridian’s mother completes the patriarchal narrative by ultimately coming to take pride in her suffering and sacrifice, proudly proclaiming that she has six children, â€Å"Though I never wanted to have any,† (Walker 88). Sadoff presents a similar analysis of Mrs. Hill, further contextualizing her inevitable demise from independent woman to walking corpse within the tradition of matrilineal decay: Now anti-intellectual, prejudiced, and blindly religious, Meridian’s mother nonetheless once fought her father’s sexism, her own poverty, and the racist system to become a schoolteacher. The cost: her mother’s life and willing self-sacrifice. As a daughter who becomes a mother and so participates in matrilineage, Meridian’s mother represents the history of black motherhood: a legacy of suffering, endurance, and self-sacrifice. (23). Against this portrait of Mrs. Hill, I present for comparison Faulkner’s Addie Bundren, whose own embodiment of maternal suffering reflects Lacanian structures of meaning that illuminate Meridian’s challenge to the patriarchal order and reclamation of voice. Both Meridian’s mother and the matriarch of the Bundren family belong to the quasi-deceased. While Mrs. Hill finds metaphorical death in motherhood, Addie narrates her sole chapter in Faulkner’s famously polyvocal narrative from beyond the grave. Both women are former school teachers who ultimately feel deceived once persuaded to abandon their teaching posts for marriage. Equal parts unimpressed and violated by their husbands, both women bemoan the false promises of domestic bliss. â€Å"I realized that I had been tricked by words older than Anse or love,† Addie laments, referring to the ancient tradition of the patriarchal order to which she has fallen victim (Faulkner 100). Mrs. Hill, too, blames systems beyond herself in the assertion that â€Å"she could never forgive her community, her family, his family, the whole world, for not warning her against children† (Walker 41). Both women struggle to define and identify with love, and both ultimately end up at lukewarm conclusions; Mrs. Hill settles with a â€Å"toleration for [her husband’s] personal habits that she identified as Love,† while Addie remains skeptical of the concept altogether, mustering only the indifferent claim, â€Å"It was Anse or love, love or Anse, it didn’t matter† (Walker 41, Faulkner 99). Perhaps most significantly, both women feel an intense violation and abstraction with childbirth. Addie remarks that her â€Å"aloneness had been violated† with the birth of her first child, while Mrs. Hill’s first pregnancy finds her â€Å"as divided in her mind as her body was divided, between what part was herself and what part was not† (Faulkner 99, Walker 42). In her analysis of As I Lay Dying, Doreen Fowler identifies another key aspect of Addie’s character, one that surfaces in Mrs. Hill’s character as well: a rejection of language. Addie’s famous, fragmented pronouncement that â€Å"words are no good; that words dont [sic] ever fit even what they are to say at† prefigures her denouncement of each in a series of social constructs— including love, sin, fear, and salvation—as merely â€Å"a word like the others; just a shape to fill a lack† (Faulkner 99). Interpreting this in Lacanian terms, Fowler argues that â€Å"Addie hates language because it is based on separation and difference† (320). In basic Lacanian ideology, as a Fowler outlines, a child enters the realm of the symbolic and acquires language by becoming aware of difference and separating from the mother, reflecting Saussurean structures of language that insist a sign has meaning only in its difference from other signs. If separation from the mother is the key to the symbolic realm, then â€Å"the murder of the mother is constructed as positive step toward establishing identity,† thus providing an explanation of the mother-as-corpse motif prominent in both As I Lay Dying and Meridian (317). However, it is not enough to simply kill the mother. Once the child has achieved this separation from the mother, the child must then â€Å"generate substitutes for her that are permissible within the Law of the Father† (Fowler 320). This production of substitutions is where the previously shared experience of the Lacanian order diverges for sons and daughters. Fowler calls on Nancy Chodorow’s theory of maternity to explain the daughter’s inevitable repetition of her mother’s fate. According to Chodorow, when the child attempts to recreate the initial unity with the mother through replacements, the daughter does so by becoming a mother herself, thus renewing the Lacanian cycle and perpetuating a patriarchal order that in turn demands the new mother’s own death (Fowler 318). Addie hates language because it is made possible by the same patriarchal system that necessitates her death. Parallel to Addie’s rejection of language is Mrs. Hill’ s rejection of creative expression of any kind. Much like the generations of lost artists Walker memorializes in â€Å"In Search of Our Mothers’ Gardens,† Mrs. Hill is aware that â€Å"creativity was in her, but it was refused expression† (Meridian 42). Unlike the silenced foremothers of â€Å"Gardens,† however, Meridian’s mother does not appear to carry any hope of passing her stifled creativity along to the next generation. Rather, her silence is deliberate and in some sense vengeful, â€Å"a war against those to whom she could not express her anger or shout, ‘It’s not fair!’† Finding herself trapped in the living death demanded by the patriarchal order, Meridian’s mother wants to see the same fate inflicted on the next generation. Mrs. Hill vows never to forgive her foremothers for not warning her, and in turn enacts her revenge through silence, refusing to warn the next generation of women. Meridian’s friend, the oft-pregnant Nelda, suspects as much: à ¢â‚¬Å"Nelda knew that the information she had needed to get through her adolescence was information Mrs. Hill could have given her† (Walker 86). A victim of the Lacanian cycle, Mrs. Hill keeps quiet, in her silence willfully allowing the next generation of women to fall victim to the same metaphorical death. In spite of her mother’s influence, however, Meridian successfully refuses motherhood, finally breaking the Lacanian cycle of matricide. In As I Lay Dying, Addie’s revenge by silence comes to fruition, with her pregnant daughter—the teenaged Dewey Dell—failing to procure an abortion and succumbing to her role as the displaced, deceased mother. Meridian, however, suggests a more hopeful future for womanhood. Meridian successfully breaks the Lacanian cycle of martyrdom by refusing motherhood—through adoption, abortion, and finally, castration. In this refusal to privilege maternal suffering or to compromise her identity by allowing her child’s needs to obscure her own, Meridian issues a challenge to the patriarchal order, one she will repeat against the collectivist demands of The Movement. Not unlike her mother, Meridian displays her own complicated relationship with language throughout the novel, preferring silence over blind participation in authorized patriarchal discourse. In her analysis, Pifer parallels Meridian’s successful reconciliation of her political and personal beliefs at the end of the novel with her simultaneous reclamation of voice. Throughout the novel, Meridian flees the erasure of the individual dominant in narratives of motherhood and activism. Aware of the self-destructive powers of collectivism, Meridian repeatedly rejects the authorized discourse of a series of communities, beginning with her childhood church congregation. Meridian’s inability to â€Å"say it now and be saved,† to pronounce empty allegiance to the Christian savior and martyr, resurfaces in her inability to complete the oath promising to kill for The Movement (Walker 16). Rejecting systems that obscure individuality and privilege martyrdom, Meridian pursues a path of independent activism in much the same way as she chooses a single life not submerged in wife or motherhood. She refuses to seek glory as a martyr for any cause, understanding that â€Å"the respect she owed her life was to continue, against whatever obstacles, to live it, and not to give up any particle of it without a fight to the death, preferably not her own† (220). When this understanding leads to the realization that Meridian could in fact kill, it is not for the sake of any blind collectivist doctrine or â€Å"movement,† but rather for her own sake or that of another individual. Pifer’s reading sees Meridian’s transcendence of the â€Å"murderous philosophy of the would-be revolutionary cadre† consummated as she joins her voice in song with the congregation and â€Å"her personal identity becomes part of their collective identity† (88). Meridian’s reclamation of her voice signals an acceptance of language—a reply to her mother’s tight-lipped rejection of creative expression—that breaks with the Lacanian order. In her refusal to have children, Meridian refuses to continue the Lacanian cycle of achieving difference and separation only to submerge it once again in an attempted return to unity through childbirth. In breaking this cycle, Meridian issues a challenge to the patriarchal order. Freed from the obligation to discard her independence and submerge difference—the Lacanian heart of language—in motherhood, Meridian gains full control of her voice. Meridian no longer has to pass the creative spark silently on to the next generation. She does not have to bury her stifled voice in her mother’s garden. Free of the patriarchal order, Meridian finally gives life to the voices of her foremothers. Works Cited Faulkner, William. As I Lay Dying. Edited by Michael Gorra. New York: W.W. Norton Company, 2010. Fowler, Doreen. â€Å"Matricide and the Mother’s Revenge: As I Lay Dying.† The Faulkner Journal 4. 12 (1991). Rpt. in As I Lay Dying. Edited by Michael Gorra. New York: W.W. Norton Company, 2010. Pifer, Lynn. â€Å"Coming to Voice in Alice Walker’s Meridian: Speaking Out for the Revolution.† African American Review, vol. 26, no.1, 1992, pp. 77-88. JSTOR. Sadoff, Dianne F. â€Å"Black Matrilineage: The Case of Alice Walker and Zora Neale Hurston.† Signs, vol. 11, no. 1, 1985, pp. 4–26. JSTOR. Walker, Alice. â€Å"In Search of Our Mothers’ Gardens.† In Search of Our Mother’s Gardens. New York: Harcourt. Brace Jovanovich, 1983: pp. 231-244. Walker, Alice. Meridian. New York: Harcourt, 2003.

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