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People need a reason

One that they can understand

Perhaps an addiction

Or the colour of a hand

It brings people discomfort

When things are not the same

I don’t have a problem

So whiskey takes the blame

A brown paper bag

And the occasional fall

That’s all I have to do

For coke to turn to alcohol

I pretend so they can rest

But others have no choice

If you happen to be coloured

People take away your voice

A frenzy is created

When it’s black vs. white

But the truth is disregarded

And white is always right

It is ignominious

And I hate the way they hate

They are dangerously blind

Twisting the black man’s fate

I have exiled myself

Not wanting any part

I’m made violently ill

By their strangely fearful heart

The end has been prewritten

Poor Tom will not heard

The town commits the crime

To kill a mockingbird

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        Previously, Jem and Scout have both been depicted with juvenile characteristics. However, Jem underwent a metamorphosis in a short period of time and gained a level of maturity described by Scout as a “maddening air of wisdom,” (Lee 155). As the hysteria leading up to the trial mounts, Jem begins to apprehend the weight of the Tom Robinson trial. At one point Jem cautions Scout to mind Aunt Alexandria. Scout, at this point, is not developed enough to understand what Jem has concluded, that Atticus is encumbered with his duty regarding the trial and frivolous quarrels are more inapposite than ever.  The preeminent difference between Jem and Scout is that Jem understands (or has at least embarked on the path to understanding) while Scout observes, taking cues from Atticus, Jem, Calpurnia and others.

       Scout remains a child. She is irked by Jem’s new unwillingness to play games, and his eagerness to tell her what to do and how to behave. One change that Scout notes in Jem is his motivation for sharing information with her, saying “formerly [it was] because he thought I’d like it; now, for my edification and instruction,” (Lee 184). Scout does not understand the extent of the fury evoked in the citizens of Maycomb and surrounding communities concerning the trial. An instance where this is clearly seen is when Jem, Scout and Dill follow their father one night. From a distance, the three children observe a group of men draw nearer to Atticus. Scout dashes to her father, ignoring Jem urging her to stop. Scout quickly realises that she has hastened into a crowd of strangers. Ignorant to the perilous nature of the situation, Scout strikes up an amiable conversation with Mr. Cunningham. This is a blatant display of her naivety and shows that she does not see the noxious disposition brought out in people when race is involved. Since Scout is the narrator the story, it is important that she remains impartial, allowing the readers to reach conclusions of their own. 

Works Cited:

Lee, Harper. To Kill a Mockingbird. New York: Grand Central, 2010. Print. 

The first bird in the picture represents Atticus. Atticus is feverishly trying to represent Tom Robinson but no matter how hard he tries people are unwilling to listen. The second bird represents the majority of the white community, as they are unwilling to hear what Atticus has to say and how they loudly express their condemnation of Tom Robinson, despite the lack of evidence. The gap between the two birds shows the separation between those who support Atticus and his doings and those who do not approve. 

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           Christmas time in Maycomb brought the Finch family together.  Uncle Jack (Atticus’s brother) came bearing Jem and Scout’s presents from Atticus. Much to their satisfaction, their father had gotten them each an air riffle. However, Atticus forewent teaching Jem and Scout how to operate their guns, and instead bequeathed that task to Uncle Jack. Although, Atticus did warn his progeny that they could “shoot all the bluejays [they] want […] but remember it’s a sin to kill a mockingbird,” (Lee 119).  Miss Maudie confirms this remark by explaining “mockingbirds don’t do one thing but make music for us to enjoy. […] That’s why it’s a sin to kill a mockingbird,” (Lee 119).  These two remarks set in motion the metaphor of mockingbirds as innocence, which is present in different characters through out the novel. The shooting or destruction of a mockingbird is comparable to defamation of character. Boo Radley, is a fair example of the mockingbird metaphor. Although he is vilified and made out to be wicked, Boo Radley does not maltreat, tyrannize nor disrupt anyone’s business.  One instance of where Radley diverges from his persona is during the night when the vehement fire burned down Miss Maudie’s home. He warmheartedly placed a blanket around Scout. This displays his unaccredited decency.

           

            These chapters also illuminate an important concept, courage. An old lady, enervated by old age and a morphine addiction, manages to evoke an uncharacteristic ire from Jem. In response, Jem effectively destroyed the elderly Mrs. Dubose’s garden. To indemnify for his transgression, Jem was sentenced to reading to her for one month. After Jem completed his obligation, Mrs. Dubose died. At this point, Atticus explains to Jem and Scout that the old woman was a morphine addict. The reading had been a tactic used to help her break her addiction before her inevitable death. Atticus used her life and ardent desire to beat her addiction despite knowing the end was nigh as a teaching of what courage truly is. Atticus describes courage as being “when you know you’re licked before you begin but you begin anyway and you see it through no matter what,” (Lee 149). In other words, the test of courage is fighting a battle with a predetermined end. This is comparable to what Atticus is doing by defending Tom Robinson.  It is possible that Atticus felt it exceedingly crucial that Jem and Scout understood what courage was before the brunt of the trial.

Works Cited:

Lee, Harper. To Kill a Mockingbird. New York: Grand Central, 2010. Print. 

This picture represents Mrs. Dubose dying free from her addiction. It also shows the freedom that can come from adhering to true courage. It is metaphoric. 

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In To Kill a Mockingbird by Harper Lee, the people at the cynosure of the story live in a southern town called Maycomb.  The story takes place during the 1930s and ipso facto the members of the community were pauperized. For some families, this time period only amplified their state of pre existing indigence.  The Cunninghams are an example of an expressively poor family. Walter Cunningham, who appeared in Scout’s first grade class (Scout being the narrator of the novel), came to school lacking both a lunch and shoes and instead brought hookworms. Miss Caroline, the grade one teacher, inefficaciously attempted to give Walter money to buy lunch. Scout tried to elucidate to Miss Caroline why Walter would not accept the money and why her attempt was futile by telling her that “the Cunninghams never took anything they [couldn’t] pay back,” (Lee 26). Since the Cunninghams had no money, they paid people in things such as stove wood.  Despite their apparent inability to afford anything, they did their best to remain self sufficient The Cunningham family represents the honest, hardworking and righteous yet poor members of society.

In contrast to the upright demeanour of the Cunninghams is the ignoble Ewell family. One member of the Ewell family, Burris, was also present in Scout’s class on the first day. He, and his family, were characterized as being “the disgrace of Maycomb for three generations,”(Lee 40).  The Ewell family did not conform to the laws and people saw that it was not worth the tribulations that would be caused by forcing them to abide by the law. As a result, Burris only attended the first day of school each year. When Miss Caroline requested that Burris go home and bathe, after a colourful encounter with a louse, both the reader and Miss Caroline are acquainted with the malevolent and rancorous nature of Burris Ewell. In response to Miss Caroline’s entreaty, Burris says “I’ve done my time for the year,” which indicates his fervent disregard to school (Lee 35). This line signifies the Ewell’s attitude and approach to situations involving anything institutionalised. The Ewell family represents another category of poor citizens who do not attempt to overcome their state of destitution. 

Works Cited:

Lee, Harper. To Kill a Mockingbird. New York: Grand Central, 2010. Print. 

   This picture is a metaphor for the curiosity that Scout and Jem have towards Boo Radley and the Radley house.  The house in the picture is clearly uninviting except for the vibrant red roof, which creates a certain level of intrigue. This is a parallel to Jem and Scout’s interest in the Radley place. Also, the growth around the house symbolizes the conversation that is generated by the residence. 

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In Margret Laurence’s short story, The Loons, the two main characters lead vastly varying lives. Vanessa, a middle to upper class member of society, is very removed from the life that Piquette Tonnerre, the other main character, experiences.  The diction used for Vanessa suggests that she is a well-educated person. This is supported by the knowledge that her father is a doctor. When reading Vanessa’s narration, it gives the reader insight into the misunderstandings and preconceived notions that society (specifically the town where she lives) has towards Métis. At one point during the story, Vanessa’s family and Piquette are at Diamond Lake (where they owned a cottage) and Vanessa learns that Tonnerres, “the half breads,” are what she refers to as “Indians, or as near as [makes] no difference,” (Laurence 112).  This vibrantly displays the lack of sufficient knowledge regarding the Métis. Vanessa continually displays her naivety as well as an insouciant attitude towards Piquette.

            Piquette Tonnerre is a Métis girl that appears to be impassive and farouche. She took care of her family and also had tuberculosis of the bone. As a result she was often times unable to attend school. Her apparent lack of schooling is clearly displayed through her diction. When she speaks it comes across as dispirited and desolate. During the same visit to Diamond Lake as mentioned previously, Vanessa asks Piquette if she would like to play with her and Piquette responds dispassionately with, “I ain’t a kid,” (Laurence 112).  This phrase is an embodiment of her life, as Piquette was never given the opportunity to be a kid because of misfortune circumstances. Her retort also demonstrates the differences between her and Vanessa. While Vanessa is eager to explore and discover the world around her, Piquette lacks interest perhaps because she has been exposed to an unsympathetic world. Piquette’s evident sense of hopelessness and sullenness is continuous throughout the story with one exception. At one point Vanessa sees Piquette with filled with hope, however this is short lived. This adds to the contrast between Vanessa’s life and Piquettes anguished and tortured existence.

Image:

The above picture was created by the Métis artist, Ayla Bouvette. I chose this image as a symbolic representation of The Loons. In the story, the loons are used as a symbol for the Métis. The loons are descried as having a mocking and plaintive cry. At the end, Vanessa notes that Piquette "may have been the only one [..] who had heard the crying of the loons," meaning that the suffering that Piquette experienced as a Métis was expressed or shared by the loons (Laurence 120).

Works Cited:

Laurence, Margret. A Bird in the House.  Toronto: McClelland and Stewart Inc., 1963