My Mom, My Hero, My Best Friend

My mother is definitly my closest companion. She has been here for me through think and flimsy, great and terrible, and high points and low points. At the point when I was seven my dad died who was there for me and my sister ? My mother she was my mother and my father for some time untill one day she met a man who has been my father for as far back as 12 years couldnt request a superior father then the one she found. My mother has helped me through such huge numbers of things throughout my life pushed me through school a went over and past to ensure I had all the assistance I expected to ensure I graduated. What's more, I did in 2006 gratitude to her and my father I graduated. She has been there for me when I was heart broken a felt just as my reality was self-destructing she helped me see the promising finish to the present course of action. A quarter of a year prior I turned into a mother to a delightful infant kid. Furthermore, who was there at the emergency clinic day a night the entire time I was there my mother helping me through everything. I supplicate each day that im just a large portion of the mother she is. It is highly unlikely I would ever take care of her for all the things she has accomplished for me a she dont anticipate that me should however this would be extremely ideal to give her. She truly is my MOM MY HERO AND MY BEST FRIEND. My closest companion is Sara Lopez. She’s sixteen years of age and she lives in Empuriabrava. Sara is an individual that is meager and not high. Before she was taking the long hair of orange shading, yet one day chose to trim it in a matter of seconds and now she has a dull hair. Her eyes are lovely, are green and comparative with a feline. She has a straight lips and she has them delicate. Sara has a white skin and furthermore delicate. She dresses basic and alright with pants, wide T-shirts†¦ Sara is keen and prepared, she have an excellent grades in a school. She likewise is very mindful yet some of the time not. She is a decent individual and encourages me generally that I need and when is fundamental. She don't have two-faces since she is earnest with the individuals. My closest companion Probably my closest companion is one of my classmates. Her name is Marcela and we have known each other since we were 8 years of age. If I somehow happened to depict what she looks like, I would state she is lovely. She has short earthy colored hair, earthy colored almond-molded eyes, a little nose and a little pointed jaw. She isn't tall yet not short either and she is very thin. She doesn't prefer to spruce up so I as a rule see her wearing pants and a T-shirt or sweater. It appears as though she and I are continually talking or giggling about something. She has an exceptionally pleasant character and a great comical inclination however she can likewise get somewhat discouraged now and again. I can generally rely on her to be completely forthright and to offer me the best guidance. We are keen on huge numbers of similar leisure activities. We both appreciate music, playing the guitar and singing. We like setting off to the film yet now and then can't concur on which film to see. At times we simply stroll around, attempting to locate another zone of the city to investigate. We both like voyaging, perusing, and swimming. At times throughout the mid year, I go with her and her family to their late spring house which is situated close to a huge lake. We as a rule go through a large portion of the day swimming or investigating the region yet once in a while we take a little paddle boat and go angling. In the nighttimes we may stroll into town and see a film or remain at home and sit in front of the TV. Whatever we're doing, it's consistently amusing to be with her. I realize I can depend on her. In any event, when our lives get occupied we despite everything make time to see one another. I can't envision going to class and not having her there. Since I am better in math and science and she is better in English and dialects, we can generally help one another on the off chance that we get befuddled about a troublesome schoolwork task. We are fortunate that we supplement each other so well and that we get along so well. I trust that our companionship will proceed and be similarly as solid after we move on from secondary school. We might want to learn at a similar college. My Best Friend I have a genuine closest companion Nora is my closest companion. She is consistently there for me. She has a deep understanding of me; even my insider facts. I can’t keep anything from her, she is the individual who will help me when I am down, flip around my grimace, and cause me to feel better about myself. I can’t envision any better of a companion Nora and I are in every case together; regardless of where we are! We go to places like the shopping center and films, to the mountains and lakes together we go most all over the place, A couple of days prior we got Pose pictures together we generally go out on the town to shop I am so fortunate to have her and I was unable to live without her. Elusive a companion that way. Without her I would not be as cheerful as I am currently. Through great and terrible occasions, I’m positive that eternity we will at present remain companions. She is a companion that I could and will always remember. Nora can tell if Im lying regardless of whether I am keeping a straight face I do know how she does it We suspect as much indistinguishable and it’s like were speaking with our brains, simultaneously were continually thinking something very similar or have a similar thought. Regardless of whether I tried to mislead her, she realizes me so well; she could tell I was lying. You may simply have old buddies that you can rely on at times, yet to be trustworthy on an individual and realizing they will be there for you, it’s elusive somebody like that. She causes me through my hardest occasions, and is there for my best occasions together and she encourages me select what and what not to purchase together we are relentless we additionally help each other with homework, and loved ones issues. It’s elusive a companion that way. We have such a significant number of inside jokes that no one would comprehend except if they were there, or on the off chance that they were simply us Not every person gets our inept jokes, and they may believe that there youthful and infantile, however together we make them interesting and receive a decent chuckle in return She is the sort of individual that I would never mislead. Our companionship is solid to such an extent that we can overcome anything. She additionally knows every one of my demeanors and how I sound when I am hyper, disappointed, discouraged, irritated, or upbeat.

How to Make Glow-in-the-Dark Drinks

Step by step instructions to Make Glow-in-the-Dark Drinks Have you ever wantedâ to make a sparkling mixed drink? There isnt a protected concoction you can add to make a savor gleam the dim on its own. There are a few eatable substances that sparkle splendidly from fluorescence under dark light or bright light. To do something amazing, just add dark lights to light your own sparkling creations. Key Takeaways: Glow in the Dark Drinks There is no synthetic that might be securely blended into beverages to make them sparkle in the dark.However, numerous sheltered fluids gleam (fluoresce) under dark or bright light. Of these, the most splendid shine is delivered by tonic water, which shows up blue.Without a dark light, beverages might be made to seem to sparkle utilizing introduction stunts. You can utilize a gleaming glass, ice 3D shapes containing little lights, or utilize a shine stick as a stirrer. In the event that you need to cause sparkling beverages, to get a pocket-sized dark light (bright light) and take it shopping with you. Sparkle the light on items and search for a gleam. Note that the gleam might be an alternate shading from the item. Additionally, you will find numerous plastic holders are exceptionally fluorescent. Here is a rundown of drinks and added substances that supposedly sparkle in obscurity under dark light. Absinthe and Blue Curacaoâ„ ¢ contain liquor, yet different things can be utilized for any event. Some fluorescent and luminous substances will gleam for a few seconds after the light source is evacuated. Blue raspberry Little Hugsâ„ ¢ (kiddie delicate drink)Mountain Dewâ„ ¢ and Diet Mountain Dewâ„ ¢Ã‚ Tonic Water (or any beverage containing quinine shine blue)Many sports drinks (particularly those with B nutrients, for example, Monsterâ„ ¢ vitality drinks)AbsintheBlue Curacaoâ„ ¢Some splendid food colorsCertain kinds of gelatinVitamin B12 (gleams brilliant yellow)Chlorophyll (like from spinach juice, sparkles blood red)Milk (yellow)Caramel (pale yellow)Vanilla frozen yogurt (pale yellow)Honey (brilliant yellow) Of these choices, tonic water shines the most brilliantly under dark light. Cranberry juice isn't fluorescent, yet it might be blended in with tonic water to counterbalance the flavor and color the blue so it seems purple or ruddy. Clear soda pops ordinarily seem to shine under a dark light on the grounds that the air pockets from the carbonation reflect back the noticeable part of light from the light. <img information srcset=https://www.thoughtco.com/thmb/kKmT13QTn0WXGcRRMUJaIve5XiU=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyImages-8424686341-aba9470b1bd04c70b26198364f78823d.jpg 300w, https://www.thoughtco.com/thmb/ - yhZzy0CnnYbzcg065uZAJ8HOgA=/729x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyImages-8424686341-aba9470b1bd04c70b26198364f78823d.jpg 729w, https://www.thoughtco.com/thmb/WmOtNJE1eWSk9Pf1trVSJqrO6q4=/1158x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyImages-8424686341-aba9470b1bd04c70b26198364f78823d.jpg 1158w, https://www.thoughtco.com/thmb/sB_EqPt8xSuRYFYeQYyk3d5CBz4=/2017x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyImages-8424686341-aba9470b1bd04c70b26198364f78823d.jpg 2017w information src=https://www.thoughtco.com/thmb/r8YDQ8E0AZCdF-6wrdCK04Ntt04=/2017x1486/filters:no_upscale():max_bytes(150000):strip_icc()/GettyImages-8424686341-aba9470b1bd04c70b26198364f78823d.jpg src=//:0 alt=Tonic water under dark light class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-11 information following container=true /> Tonic water shine brilliant blue under dark light. Photograph by Cathy Scola/Getty Images Cause Drinks To seem to Glow You can make any drink seem to sparkle by utilizing gleaming items: Use shine sticks as mixed drink stirrers. Essentially snap the sparkle stick before serving the beverage. The gleam from the stick will light up the fluid. Presently, while the sleek fluid inside gleam sticks is ostensibly non-poisonous, it tastes really dreadful. Check the gleam stick for harm before putting it in a beverage. Likewise, don't microwave the stick preceding use. A few people do this on the grounds that the warmth makes the gleam more brilliant (despite the fact that it doesnt keep going as long). Microwaving shine sticks can make harm the machine and may make the stick break open.Add a sparkling ice solid shape. On the off chance that you have a dark light, attempt ice solid shapes made utilizing tonic water. Tonic water fluoresces splendid blue. Another alternative is to freeze a little light into the water to make a genuine shining ice 3D shape. A basic strategy is to encase a LED glowie inside a little zipper plastic pack. All you need is a coin battery, a LED (in t he shade of your decision), and a little sack. Another alternative is to utilize a sparkling plastic ice solid shape. These are accessible in certain stores and on the web. Fundamentally, you cool the ice 3D square and turn on the light before adding it to a mixed drink. Two preferences are that the brilliant 3D squares are re-usable and they dont liquefy and weaken the beverage. A few kinds of LED gleam shapes can show various hues or even transform between them. Utilize a gleaming glass. With a dark light, just utilize a fluorescent plastic glass. These are broadly accessible at staple and alcohol stores. You could likewise add a light to an ordinary glass or buy extraordinary glasses that contain lights.Add glowing items to the beverage. There are numerous plastic sparkle in obscurity protests that might be added to drinks. Stars are the undeniable decision! Source Zhejiang Guangyuan Toys Co., Ltd. Sparkle Stick Light Material Safety Data Sheet.

Dieting in America and Obesity Essay Example | Topics and Well Written Essays - 500 words

Consuming less calories in America and Obesity - Essay Example The proof from observational examinations is clashing: a few investigations have demonstrated weight reduction to be related with expanded mortality, yet this could be on the grounds that separation was not made somewhere in the range of deliberate and inadvertent weight reduction. Robotic speculations can be raised for both helpful and destructive impacts of weight reduction. (Ryan) Therefore, the clinical, mental and social dangers of heftiness and abstaining from excessive food intake offer a significant purpose of examination between the two and there are different perspectives on this inquiry. Investigating the dangers associated with heftiness, it becomes clear that there are various infections and wellbeing dangers brought about by corpulence which incorporate hypertension, coronary illness, stroke, type 2 diabetes, malignancies, nerve bladder ailment, glucose prejudice, respiratory ailments, osteoarthritis and so on. Notwithstanding, it is significant understand these dangers with regards to the social and mental viewpoints, alongside the clinical perspectives. Regardless of the dangers identified with weight, it is an error to overstate those dangers.

The Health and Safety Laws in the USA Assignment

The Health and Safety Laws in the USA - Assignment Example Discussion Paper on Civil Liability for Unsafe Products introduced by The Law Reform Commission of Hong Kong, Product Liability sub-advisory group (1998) under 2.10 states, â€Å"Provided the shopper has a direct legally binding nexus with the merchant, the buyer is qualified for harms if the other party has broken an express or suggested term of the contract.† In the current case, however the confirmation of Edward, â€Å"rich individuals from the PRC had an arrangement to buy old style oil compositions from Hong Kong soon for resale in the PRC† was excluded from the understanding, it is inferred that the oil painting is of merchantable quality. As indicated by area 11(2) of the Control of Exemption Clauses Ordnance, even the risk for penetrate of inferred state of merchantable quality can't be avoided or confined by an agreement term. Edward further said that there would be an extraordinary interest for this specific old style oil painting possessed by him and along these lines an energy about in any event multiple times in an incentive inside a half year. In the long run, no rich individuals from the PRC bought the old style oil painting. The old style oil painting in truth devalued in esteem. Along these lines, there is a case for risk for penetrate of suggested state of merchantable quality. Likewise, Edward has prompted Fred to purchase the oil painting through his confirmation and figure which could be understood as carelessness in giving affirmation or anticipating thankfulness in the estimation of the oil artistic creations.  In expansion to the suggested state of merchantable quality, the Control of Exemption Clauses Ordinance (Cap. 71) likewise manages risk in tort for carelessness.

How to Bring Clarity to Business Writing

Step by step instructions to Bring Clarity to Business Writing Lucidity in business composing permits your plans to be handily seen, liberated from add-on words that make a sentence dim and tangled. There are a few expository systems to accomplish lucidity, yet here are three strategies that best compass away the swell to allow your plans to sparkle. Business Writing Clarity Strategy #1: Unsmother Your Verbs Concentrate on verbs.They are the activity of a sentence, and the best chance to improve lucidity. Envision viewing a Bruce Willis film that shows Bruce snoozing or weaving or shaving on a recreation center seat for an hour and a half... Exhausted at this point? So too are perusers if your composing has little activity or weak action words. Unsmother your action words. Covered action words are so normal in business composing that they feel right when you use them. Be that as it may, a covered action word includes only swell and the tone feels both hesitant and exhausting to a peruser. This article will clarify covered action words in detail. You will cut at any rate 25% of pointless words by basically unsmothering action words. Let the action word carry out its responsibility in a sentence without covering add-on words. The effect on business composing lucidity is astonishing. Business Writing Clarity Strategy #2: Avoid Adverbs Pick incredible action words that imply meaning, which needn't bother with a second changing word to carry out their responsibility! For example: The specialist yelled boisterously. The specialist yelled, is an ideal sentence. Boisterously is induced and unessential. The official ran rapidly into the meeting room. Ran rapidly is inefficient. Pick a superior action word. The official ran into the meeting room is brief, visual, and energetic. Business Writing Clarity Strategy #3: Recognize the Power of Short Words. A long time back, some business journalists felt they passed on their insight more by dropping long words, when short words really worked better. Logically, this has never been acceptable composition. Long words don’t make you sound keen except if utilized ably and wisely. In an inappropriate circumstance they’ll have the contrary impact, making you sound bombastic and egotistical. They’re additionally more averse to be comprehended and progressively clumsy to peruse. I've constantly cherished Hemingway's reaction when Faulkner condemned him for his restricted word decision: Poor Faulkner. Does he truly plan for an impressive future feelings originate from large words? He thinks I don’t realize the ten-dollar words. I know them good. Be that as it may, there are more established and more straightforward and better words, and those are the ones I use. Model: Fine, yet can be improved: It has never been a decent composing practice to utilize enormous words unpredictably. Better: It has never been a decent composing practice to utilize enormous words unnecessarily. (Unnecessarily is shorter and easier than aimlessly.) Best: It has never been a decent composing practice to swell with enormous words. (All the more remarkable action word swell rather than dubious action word use takes out the requirement for changing intensifier unnecessarily.) Recollect this maxim:Write to communicate, not to intrigue. Great business journalists utilize short words well. Richard Lederer sings the gestures of recognition of the short word to upgrade clearness in his book, The Miracle of Language: Here is a sound principle: Use little, old words where you can. On the off chance that a long word says exactly what you need to state, don't dread to utilize it. Be that as it may, realize that our tongue is wealthy in fresh, lively, quick, short words. Make them the spine and the core of what you talk and compose. Short words resemble quick companions. They won't let you down. Peruse increasingly about the force ofshort words. An unmistakable business report permits an official to effectively comprehend a proposal. A clearbusiness email permits all the perusers to rapidly comprehend. A recommendation that unmistakably communicates your worth successes the deal. Apply these lucidity standards, and we're all ready to see each other better. Appreciate this article? Buy in to this blog.

Wollstonecraft, Barbauld, and the Proto-Feminists - Literature Essay Samples

The Romantic period was one marked by turmoil and deep unrest within England. The morality of the slave trade was questioned, the Industrial Revolution deepened the rift between the working class and aristocracy, and the French Revolution was on the rise in France, drawing the attention of those in England who felt oppressed. In the midst of these various revolutions and uprisings, women also began to question their place in society, aligning themselves with slaves and the implications that came with being deemed property. Two women, Mary Wollstonecraft and Anna Letitia Barbauld, took to writing in order to proclaim their incredibly opposing views on the topic of women’s rights. While Wollstonecraft argued for education of women in A Vindication for the Rights of Woman, Barbauld used her poem â€Å"The Rights of Woman† to outline the consequences of ambition. In A Vindication for the Rights of Woman, Wollstonecraft emphasizes the need for female education in order to be tter unite men and women. This idea is made clear from the beginning of A Vindication for the Rights of Woman when Wollstonecraft states in her dedication, â€Å"if [woman] not be prepared by education to become the companion to man, she will stop progress of knowledge and virtue,† making the claim that both the hindrance of comprehension and moral indecency are caused by the poor education women receive (211). She also highlights the fact that women are not properly cultivated to be companions to man, but that an education would allow man and woman to better connect. The highlights of a woman’s education do little in regard to preparation to share a life together as partners, but focus on being a submissive showpiece. Wollstonecraft describes the characteristics girls are taught to adopt: Women are told from their infancy, and taught by the example of their mothers, that a little knowledge of human weakness, justly termed cunning, softness of temper, outward obedience, and a scrupulous attention to a puerile kind of propriety, will obtain for them the protection of man; and should they be beautiful, every thing else is needless, for, at least, twenty years of their lives (217). Emphasis of female education, which is passed along by an equally uneducated mother, includes shallow traits that breed girls into docile women who do not question their place in society. Furthermore, beauty is held in high regard, meaning that beautiful girls need not acquire any knowledge, but rather focus on maintaining their beauty, as it will bring them the protection and affection of a husband. Wollstonecraft goes on to condemn the infantile education women receive and how that futile education leads to infidelity in marriage. She compares the effectiveness of the skills women learn to the passing of the seasons, indicating that they are not life skills, but a form of flattery that soon becomes ineffective. The diminishing effectiveness of charm is outlined when Wollstonecraft writes, â€Å"the woman who has only been taught to please will soon find that her charms are oblique sunbeams, and that they cannot have much effect on her husband’s heart when they are seen every day, when the summer is passed and gone,† indicating that the inability to be anything but endearing will soon be ineffective in maintaining the relationship between husband and wife (224). Once charm no longer woes the husband, women possess no other skills or intellect to keep their husband’s loyalty, and the husband may become unfaithful. The inability for a couple to communicate on a more intimate level eventually leads to infidelity by the husband and unwavering compliance by the wife, further weakening the marriage. According to Wollstonecraft, the way to combat this phenomenon is to educate women. She gives the advice, â€Å"Strengthen the female mind by enlarging it, and there will be an end to blind obedience; but, as blind obedience is ever sought for by power, tyrants and sensualists are in the right when they endeavor to keep women in the dark, because the former only want slaves, and the latter a play-thing,† simultaneously advocating for the education of women and addressing the misogyny present in society (Wollstonecraft 221). In this passage, Wollstonecraft is drawing attention away from women, and to the patriarchal structure that leads to oppression, and how that structure is corrupt. The use of the words tyrant and sensualist are extremely powerful accusations because they indicate moral indecency in a society that holds virtue in such high regard. Barbauld uses her poem â€Å"The Rights of Woman† as a response to Wollstonecraft, arguing that if women were to attain more rights, they would reign over men, causing a reversal of roles, rather than a gaining of equality. She takes an extreme stance, essentially claiming that men and women cannot obtain equality in society because male rights would diminish if women were to attain more liberties. This ideology has the implication that rights are limited in quantity, and that granting one group of people more rights would result in fewer rights of another. This belief can be seen when Barbauld writes, â€Å"Go, bid proud Man his boasted rule resign, / And kiss the golden sceptre of thy reign† indicating that men would have to forfeit their liberties in order for women to be of equal standing (7-8). This passage also addresses the way Barbauld believes Wollstonecraft views men, which is as tyrannical rulers who dominate over women rather than as people she wishes to cal l her equal. Furthermore, Barbauld argues that women wishing to become educated and the counterpart of men are simply following a whim of fancy, and that the aspiration of equality will soon pass. She indicated that the nature of women is to be â€Å"Subduing and subdued, thou soon shalt find / Thy coldness soften, and thy pride give way,† indicating that the longing for equality is a fleeting emotion rooted in pride (Barbauld 27-28). The use of the words subduing and subdued also imply that the negative emotions being felt by women such as Wollstonecraft are irrational and can be overcome by the comfort and convincing of other women who do not agree with movement for women’s rights. Moreover, Barbauld accuses women that long for more freedom to be cold, which is not a quality women would wish to possess since men sought tender and affectionate women to make their wives. While Wollstonecraft used images of the home in her works, Barbauld describes violence and war throughout her poem in order to discourage readers from partaking in a potential movement for women’s rights. The third stanza of â€Å"The Rights of Woman† are particularly evident of violence when Barbauld writes, â€Å"Go, gird thyself with grace; collect thy store / Of bright artillery glancing from afar; / Soft melting tones thy thundering cannon’s roar, / Blushes and fears thy magazine of war,† depicting a battle scene in which women, plated in armor, use weaponry to demand their rights from men (9-13). Aligning the movement for a better education with war, particularly at the time, will be incredibly effective in turning people away from the movement because of the vio lence that occurred during the French Revolution. By aligning Wollstonecraft and the other women seeking quality education with the Revolutionaries in France, both women and men alike will be reluctant to join the movement since the Reign of Terror specifically caused many Englishman to lose support in the revolution. As with all movements, two distinct sides surfaced, one being that of Mary Wollstonecraft, in favor of the education and empowerment of females, and one being that of Anna Letitia Barbauld who believed that a movement for women’s equality would result in a violent revolution headed by irrationality. Nearly 200 years later, women must still fight for equality in a patriarchal society. While women are better educated than they have been in the past, double standards, societal expectations of gender roles, and inequality in the workplace are dominant issues that plague females throughout the United States. On a global scale, women struggle throughout the world to gain control of their bodies, education, and to find worth in society. While women have come a long way since Wollstonecraft and Barbauld, without the unrest of Wollstonecraft, or the resentment of Barbauld, women may not be able to experience all the freedoms that they do in the twenty-first century. Works Cited Barbauld, Anna Letitia. â€Å"The Rights of Woman.† The Norton Anthology of English Literature. Ed. Stephen Greenblatt. New York: W. W. Norton Company, 2012. 48-49. Print. Wollstonecraft, Mary. â€Å"A Vindication for the Rights of Woman.† The Norton Anthology of English Literature. Ed. Stephen Greenblatt. New York: W. W. Norton Company, 2012. 211-239. Print.

Contempt and Descent in The Bluest Eye - Literature Essay Samples

In Toni Morrison’s novel The Bluest Eye, Morrison examines what the degradation of people, by society, can result in. She sets her story in Lorain, Ohio in the 1940’s, which is a society with white ideals and standards of beauty. Morrison demonstrates the effect such racist ideals can have on the people who do not live up to them, through her authentic style, her honest language, her ability to relate to her readers, and her specific structure which persuasively points the blame at not only society, in general, but the readers themselves. Using examples of both characters who fall victim to the society, and other characters who attempt to protest the unfair ideals, Morrison creates a moving story of the mental breakdown of a vulnerable girl, and the society and world which allowed her to descend.The honesty of Morrison’s writing in The Bluest Eye, which is blunt and occasionally vulgar, is crucial to the development of the society in which the novel is set, and a lso to the development of characters and descriptions of their actions. The blunt approach which Morrison takes in The Bluest Eye commonly causes sentences to be direct and simple. However, there are also, at certain points, detailed descriptions and complex ideas, but such things still tend to be written in a simple manner. Morrison writes affectingly in â€Å"the freshest, simplest, and most striking prose† (Critical Perspectives 4). Morrison’s careful attention to both the connotations of words and also the cadences of language allow the despair and oppression of the characters to be evident through their thoughts, words and behaviors (Critical perspectives 60). Although Morrison admits to having emphasized in her book â€Å"codes embedded in black culture (Bloom 3), The Bluest Eye is written in an authentic voice that allows many identifiable themes and ideas to resonate to people of all races, genders, and ages.Morrison conveys her understanding of a young girlâ €™s resentment towards a society which shuns her, through writing about girls like Claudia, who, although they are able to protest the black world’s emulation of the white world by dismembering their white dolls, they cannot â€Å"destroy the honey voices of parents and aunts, the obedience in the eyes of [their] peers, the slippery light in the eyes of [their] teachers when they encounter the Maureen peals of the world (Baum 12). Although this merely means that people who are opposed to the racism of their societies cannot rid the societies of their white ideals, Morrison depicts this idea in a â€Å"strangely familiar [yet] uncanny† way (Modern Critical Views 11). She does so by alluding to a specific person, whom any reader can call to mind, who is admired for things which are beyond his or her control, and therefore, beyond the control of anybody who does not possess them to attain them. Morrison writes with the rightful assumption that nearly all people have known a Maureen Peal. Morrison skillfully criticizes society for the unfair advantage and treatment it gives to the Maureen peals, by describing relatable â€Å"honey voices of parents† and â€Å"slippery lights† in the eyes of teachers.Through her diction in The Bluest Eye, Morrison shows the insight of a naà ¯ve young girl, Claudia, and in particular, uses her insight to criticize society. Before the novel introduces Pecola’s family, Claudia’s family situation is revealed through her own narration, which depicts her family as a sharp contrast with the â€Å"Dick and Jane† primer story which precedes it. Claudia’s family is portrayed as cold and unloving until she says â€Å"And in the night, when my coughing was dry and tough, feet padded into the room, hands repined the flannel, readjusted the quilt, and rested a moment on my forehead†Ã¢â‚¬ ¦Ã¢â‚¬ So when I think of autumn, I think of somebody with hands who does not want me to die† (Morrison 12). At such a young age, Claudia is only able to describe love in these limited terms, but it nevertheless evokes a feeling of warmth and family love. Morrison refers to Claudia’s mother as â€Å"somebody with hands who does not want [Claudia] to die† in order to deliberately describe love in an ineloquent manner, which ultimately describes the kind of love which Mrs. MacTeer gives her daughter. The diction through which Morrison has Claudia narrate shows Morrison’s understanding of the desires of a young girl in Claudia’s situation. The specific words demonstrate Morrison’s ability to identify with her characters and readers alike. When describing her resentment for white baby dolls, Claudia shares that â€Å"Had any adult asked me what I wanted, they would have known that I did not want to have anything to own, or to possess any object. I wanted rather to feel something on Christmas day. The real question would have been â €˜Dear Claudia, what experience would you like on Christmas?’ I could have spoken up ‘I want to sit on the low stool in Big Mama’s kitchen with my lap full of lilacs and listen to Big Papa play his violin for me alone’†(Morrison 21-22). Morrison, through the voice of Claudia, writes about Claudia’s desires, and is especially effective in arousing feelings of childhood happiness. By the engaging of the senses, Morrison calls upon the memories of the reader, and the reader, in turn, related to Claudia.Throughout the novel, Morrison writes through the voices of different narrators. However, many aspects of her writing style—such as her bluntness, and tendency toward simpler sentences—are consistent throughout. A prominent characteristic which can be attributed to a great deal of the novel is also the raw, bold way in which Morrison writes. In the section where Pauline Breedlove gives past accounts of her life and describes the st art of her unhappiness, she says â€Å"I don’t believe I ever did get over that. There I was, five months pregnant, trying to look like Jean Harlow, and a front tooth gone. Everything went then. Look like I just didn’t care no more after that† (Morrison 123). Morrison is blunt in her choice of speech for Pauline, and she is bold in the extremes Pauline uses to speak about the effect of losing her tooth on her life. The boldness of Morrison’s style is also apparent in her choice to make Pauline’s tooth loss the beginning of her unhappiness (Critical Interpretation 91). For Pauline, however, â€Å"the easiest thing to do would be to build a case out of her foot. This is what she herself did. But to find out the truth about how dreams die, one should never take the word of the dreamer. The end of her lovely beginning was probably the cavity in one of her front teeth. She preferred, however, to think always of her foot (Morrison 110). The honesty whic h Morrison writes with eliminates any form of discretion. Morrison writes, perhaps in the bluntest manner of the entire novel, about Cholly’s rape of Pecola. Morrison does so by denying the reader â€Å"the cover of metaphor and confronts the reader directly with Cholly’s violation of Pecola.† She uses precise diction when she describes the beginning of the rape by saying â€Å"The confused mixture of his memories of Pauline and the doing of a wild forbidden thing excited him, and a bolt of desire ran down his genitals, giving it length† (Modern Critical Views 7). Morrison’s writing in The Bluest Eye demonstrates her fearlessness as a writer, and as evidenced by her style, Morrison’s honest and fearless way of writing gives her work an authentic voice, which is of major importance in The Bluest Eye.The structure of The Bluest Eye, which Morrison executed in a very unique way, contributes immensely to the novel as a whole. The structure of th e novel is not only very fragmented with a lot of juxtaposition between adjacent sections, but it also features looping narrative lines, flashbacks and anticipatory predictions [which] similarly veil and qualify meaning (Bloom 69). The Bluest Eye follows a structure of ironic counterpoint. The novel begins with a Dick and Jane childrens story that serves mainly for its contradiction with the daily lives of the MacTeers and especially the Breedloves (Bloom 22). The story begins with Here is the house. It is green and white. Here is the family. Mother, Father, Dick and Jane live in the green and white house. They are very happy (Morrison 1). Sections of this story serve as titles that introduce their counterparts in the racist setting of 1940s Lorain, Ohio. The green and white house of Dick and Jane introduces the Breedloves irritating and melancholy storefront apartment, and the family in this apartment could not be any different from the family in the story. While the father in the story is strong and smiling, Cholly Breedlove is a bitter alcoholic. The happy family in the story contrasts with the poor and miserable Breedloves (Bloom 22). The Dick and Jane primer is important not only because it provides a particular set of expectations of modes of behavior, but because it locates these expectations and behaviors in a realm of immutable archetypes equivalent to the Platonic idea of real (Critical Perspectives 62). Therefore, since no such family and home can exist, Morrison repeats the same text twice more, first eliminating the punctuation and uppercase letters, and next eliminating all of the spaces as well. Morrison does this to break up and confuse the story (Bloom 50). The primer story which Morrison uses as the first part of text in The Bluest Eye effectively serves to juxtapose the real lives of the people in Lorain, Ohio, as it directly precedes a short italicized passage in which Claudia narrates, in retrospect, recalling to memory the events of the novel. In this section, Claudia remembers but so deeply concerned were we with the health and safe delivery of Pecolas baby we could think of nothing but our own magic: if we planted the seeds and said the right words over them, they would blossom, and everything would be all rightIt never occurred the either of us that the Earth itself might have been unyielding. Although Claudia, in this section, reveals the fate of Pecola and her baby to the reader, Morrisons objective in the novel is to focus on the questions of process, not of the final causes (Peterson 53). Morrison proves this motive through writing There is really nothing more to sayexcept why. But since why is difficult to handle, one must take refuge in how. Thus, Morrison sets the stage for the structure throughout the rest of the novel.Morrison is effective in dealing with the how by breaking up the novel into sectionsboth fragmented by seasons, and by the narration of a young Claudia. Such a structure as the one she use s allows the novel to delve deeper into the mind of the characters and allows the reader to understand the psyche of even the most antagonistic characters. The novel has this structure for a very particular reason; Morrison aims to explore the social and domestic aggression that could cause a child to literally fall apart by facing Pecola with a series of rejections (some routine in nature, and some exceptional), all the while trying to avoid complicity in the demonization process Pecola was subjected to (Morrison xii). Morrisons structure accomplishes this. By describing the early lives of Pecolas parents (those who contributed to the falling apart of Pecola) and all of the demoralizing and dehumanizing experiences that Pecolas parents were faced with, Morrison takes part of the blame off of them. Similarly, Morrison goes into detail about the lack of caring that Juniors mother had for him, and explains that she had more affection for the cat as Junior grew up. While she in no way attempts to justify their wrongful treatment of Pecola, Morrison establishes an understanding in the reader, that each of Pecolas parents was no less of a victim than Pecola was (Bloom 78). Pecola was doomed for this sort of a fate, as a result of the way were parents were similarly doomed. Since Pecolas father had never experienced, and therefore never understood, the love of a parent, especially that of a father, he had no way of knowing how to treat his daughter. Cholly loved his daughter, but he was a dangerously free man: Free to feel whatever he felt fear, guilt, shame, grief, love pity (Morrison 159). Cholly was alone in his own perceptions and appetites and they alone interested him (Morrison 160). Directly before Cholly rapes his daughter, he wonders What could he do for herever? What give her? What say to her? What could a burned-out black man say to the hunched back of his eleven year old daughter (Morrison 161). The description of Chollys life and the way in which he cam e to be the way he presently is in the novel, leads up to the moment where he wonders these things. The years of degradation, abandonment and humiliation lead Cholly to wondering how to treat his own daughter, and what he could do for her. The breaking down of Cholly by society, which is demonstrated prior to the rape, wreaks its havoc in the end of the section, when he desperately wonders how he, as a father, should treat his daughter (Peterson 32). Morrison attributes the blame to the people and society who did the trashing of Cholly, because he ends up a character for whom ultimately no glory is possible (Critical Perspectives 2). By structuring the novel in such a way that the reader is shown early glimpses into the lives of characters who seems evil and antagonistic later on, such as Junior, Pauline and Cholly- glimpses which demonstrate the racial self contempt which they have suffered, or general self contempt and anger- Morrison effectively points the critical finger at the society which did the smashing.Another important element of the structure of The Bluest Eye are the fragments narrated by Claudia MacTeer. These fragments serve two purposes; they provide a timeline by the seasons of the year, which parallel the collapse of Pecola, and they also provide a more sturdy foundation and interesting view of the events which happen to Pecola. The narrative starts in the fall, when only small bits of Pecolas racial self-contempt can be detected. At this early stage in the novel, it is not even seen as self-contempt; it is seen merely as the desire for blue eyes, and the admiration of Shirley Temple. However, Pecola is aware all along of her apparent ugliness. She sees support for it leaning at her from every billboard, every movie, every glace. Pecola later becomes aware that it is her blackness that accounts for, that creates, the vacuum edged with distaste in white eyes (Critical Perspective 28). Pecolas inherent belief in this idea throughout the novel c ocntinually breaks her down more and more. The breakdown of the seasons is not only for movement and passage of time. The seasons provide ironic and brutal comments of Pecolas descent into madness (Critical Perspectives 61). Her collapse is not only the result of her rape and her baby that dies, but also the small commonplace circumstances along the way, such as the way the shopkeeper looks at her when she buys the Mary Jane candy, the way students at school always target her, through tormenting her and bullying her, and the way that her mother abuses her, yet shows affection to a young white girl. As the seasons progess, Pecolas dejection becomes more apparent. Evidence of her coming collapse could be seen even before she is raped by her father, when she stands with her back hunched over the sink, and her head to one side as though crouching from a permanent and unrelieved blow (Morrison 161). Claudia is a necessary and powerful element in the novel, because of the perspective she offers. Although it seems as if Pecolas story takes a back seat to that of Claudia for most of the novel, Claudias input and narration are necessary and effective. Centering the weight of the novel on such a delicate and susceptible character as Pecola would not have been a successful means of structuring the story, because the reader would be persuaded into pitying Pecola, rather than examining themselves for doing the smashing (Morrison xii). Therefore, Morrison invented the character of Claudia, to serve as someone who observed the change in Pecola throughout, and whose perspective is important in the final analysis of Pecola. The use of Claudia as the child narrator of Pecolas Descent into madness seems to be one of Morrisons most brilliant strokes. Obviously Pecola does not have the necessary distance, space or time to know what is happening to her. She cannot look at her own story in hindsight, for she goes mad (Critical Perspectives 62). As a result of Claudias narration, Cla udia, in a way, becomes a grieving voice to the graveness of Pecolas situation (Critical Perspectives 64). The breakdown of the structure of the novel into the seasons and narration by Claudia, is essential to the progression of the novel.Many elements of Morrisons technique in The Bluest Eye serve to enrich and enhance the novel. A prominent technique in The Bluest Eye is Morrisons use of the perspectives of children. In several situations, Morrison portrays children as naive and unknowing, but their comments and questions always hold a certain profundity in their essence. For instance, Like many children, Pecola asks questions that are disconcerting for both their naivetà © and their insight. She poses one such question at the age of eleven: How she asks Frieda and Claudia, Do you get somebody to love you?† (Peterson 22). Although this question seems naive, in its nature, it demonstrates irony because it is actually an essential question that many of the novels characters a re faced with. While the children cannot think of an answer, they do not realize that the novel provides a number of exemplary answers, through the neighborhood whores caustic camaraderie, her parents desperate fights, the sterile nesting of bourgeois black women, and most destructively, Pecolas rape by her father (Peterson 22). Through Morrisons technique, she also incorporates small comments from main characters which are strewn in the narrative in a deliberately brief manner, but which lend a great deal of importance to the readers understanding of the characters perception of certain things, and also cause the reader the think further about what was said. An example of such a comment is when Pecola decides Maybe that was love. Choking sounds and silence (Morrison 44). The fact that Pecola perceives love in such a way reveals that she has been exposed to circumstances in which love was tainted or corrupt. After all, Pecola has been exposed, mostly to the love of her parents, and love is never any better than the lover. Wicked people love wickedly, violent people love violently, weak people love weakly, stupid people love stupidly (Bloom 72). Therefore, it is likely that Pecolas views of love would be skewed, as her only exposure to adult love has been skewed. The naivetà © of the young characters in the novel, which is important throughout the entire course of the novel, can also be observed in the decision that Frieda and Claudia make, of how to help Pecola. When their seeds to not grow, it does not occur to either of them that the Earth itself might have been unyielding. [They] had dropped [their] seeds in [their] own little plot of black dirt, just as Pecolas father had dropped his seeds in his own plot of black dirt. [Their] innocence and faith were no more productive than his lust or despair (Morrison 1-2). The idea that perhaps the Earth was unyielding is a more radical interpretation than the idea that is was merely by chance. The darkness that is a ssociated with the Earth being unyielding toward certain types of seeds, further ingrains the loss of innocence in the novel, and the darkness which the world can harbor. Morrison uses a technique of youth losing their innocence through tragic and traumatic events. With the use of this technique, she is able to point the finger at society, for destroying innocence in children, through the likes of their racial contempt and prejudice. Morrison has an ideological design upon us, her guilty readers, white and black, male and female (Bloom 48). The technique of emphasizing the innocence and naivetà © in children is also effective because it is juxtaposed against the terrible things which eventually happen. The coming to terms, of Claudia and Frieda, with the darkness which they encounter is a symbol of their despair.â€Å"The Bluest Eye launches a critique of perceived norms of beauty and morality† (Peterson 56). The norms of beauty and morality, and the ideals which society pro jects onto its victims are what lead to the tragic end of the novel, the eventual descent into madness of Pecola Breedlove. The novel deals mainly with the way that people can be impacted by racial contempt and by the feelings of inferiority which are a result of such contempt. Morrison develops this theme by examining the effects that racial contempt (and rigid ideals of beauty and worth in a society) have on the most vulnerable possible character, young Pecola. To emphasize the societal discrimination, Morrison incorporates Maureen peal, a â€Å"high-yellow dream child† who â€Å"enchanted the entire school,† to serve as a means of juxtaposition against Pecola. Maureen is adored by teachers and adults, unlike Pecola, and she is liked by all of her classmates. These things are true, merely because Maureen has the appearance of having come from a wealthy, together family, and because she has expensive clothing, and lighter skin. The extent to which Morrison describes t he admiration of Maureen truly describes the society of Lorain, Ohio in the 1940’s. The society adores people like Maureen Peal, who have money and beauty (according to its ideals), and scorns people like poor Pecola, who has nothing in her life, and who is oppressively â€Å"ugly†. The theme of the entire novel is found in this simple juxtaposition (Peterson 120). The theme goes deeper than merely society’s impact. The closing paragraph of the novel says: â€Å"This soil is bad for certain kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear, and when the land kills of its own volition, we acquiesce and say the victim had no right to live. We are wrong, of course, but it doesn’t matter. It’s too late.† The closing paragraph addresses the very core of the theme of The Bluest Eye. The soil is bad for certain kinds of flowers, causing the seeds to not grow. However, there is a parallel between this stated fact, a nd Pecola’s circumstances in her life (Critical Perspectives 92). She can be compared to the seeds which the soil does not nurture, in that her life does not allow her to be happy, to succeed, or even just simply to be. The Earth does not nurture Pecola, or the marigold seeds, in the way it nurtures other flowers, and other people. Claudia, in retrospect looks back and recalls how people had decided that since Pecola’s baby died, it did not deserve to live, and she knows that it is not true. Pecola was never nurtured or treated fairly by the people of Lorain, and Claudia knows that her baby deserved to live, but it is also clear that Pecola’s treatment by the people will inevitably never change. The paragraph closes with a tone of despair, when Claudia decides that it does not matter. Once Pecola is driven to insanity, Claudia and Frieda do not see her anymore because their feelings of having failed her are too painful and shameful to cope with. Their attitudes, which progress from ashamed almost to indifference are similar to the way that the Earth will not nurture Pecola or her baby. Morrison writes about other characters in the novel who the Earth will not nurture, such as Pauline and Cholly, but both of these characters found their own comforts; Pauline’s focuses on her housekeeping and Cholly turns to alcohol. However, Pecola’s passive and vulnerable nature as a character allows for only one possibility; her descent into madness. A major and underlying theme in The Bluest Eye is the hostility of nature and of the world, in general, toward some people, and their impossibility of reaching ultimate glory. Morrison writes this novel with the purpose of criticizing the society and people who create, admire, and live by these certain ideals which are unattainable by many people. Through her use of a fragmented structure, simple diction, and of the exposure of the naivetà © of characters, Morrison brilliantly and movingly pain ts a picture of a young girl who is the victim of a society, of the loss of the innocence of girls who believe they can help this victimized character, of the most crushing and impossible combination of circumstances for a vulnerable girl to withstand and come out okay, and of what generations of racial self-contempt can cause. Morrison writes crushingly and convincingly of a young girl who has no chance to be happy in a society in which she is not accepted.Works CitedBloom, Harold. Toni Morrison. New York: Chelsea House, 1990. Print.Gates, Henry Louis. Toni Morrison Critical Perspectives past and Present. New York: Amistad, 1993. Print.Morrison, Toni. The Bluest Eye. New York: Knopf, 2000. Print.Peterson, Nancy J. Toni Morrison: Critical and Theoretical Approaches. Baltimore: Johns Hopkins UP, 1997. Print. BibliographyBloom, Harold. Toni Morrison. New York: Chelsea House, 1990. Print.Bloom, Harold. Toni Morrison. Philadelphia: Chelsea House, 2005. Print.Gates, Henr y Louis. Toni Morrison Critical Perspectives past and Present. New York: Amistad, 1993. Print.Mbalia, Doreatha D. Toni Morrisons Developing Class Consciousness. Selinsgrove: Susquehanna UP, 1991. Print.Morrison, Toni. The Bluest Eye. New York: Knopf, 2000. Print.Page, Philip. Dangerous Freedom: Fusion and Fragmentation in Toni Morrisons Novels. Jackson: University of Mississippi, 1995. Print.Peterson, Nancy J. Toni Morrison: Critical and Theoretical Approaches. Baltimore: Johns Hopkins UP, 1997. Print.