2016 Issue 2
The
Writers’
INK
A celebration of RAS student writing
Dear Reader,
The
Writers’
INK
A celebration of RAS student writing Issue 2 (June 2016) Editorial Staff: Eleanor Surridge Layout and Design: Soukaina J. Payumo Editorial support: Jessica Bridge Template Design: Michael Conway Copyright 2016 Rabat American School
We are happy to share with you the second annual issue of The Writers’ INK: A celebration of RAS student writing. In this issue we have a varied selection of work produced by students from Middle School to Seniors. We have tried to represent a wide variety of genres and subject areas. After all, writing is a skill that crosses disciplines and the longer pieces published here reflect the different ways in which we write for different audiences and to achieve varying purposes. The Writers’ INK is an annual publication open to all secondary students at RAS. The writing contained in this issue was recommended by teachers and selected by the editors. While the writing is entirely that of the students, some pieces underwent minor edits in order to conform with the requirements of this magazine. Read and enjoy. The Editors
Standard text font: Baskerville
Cover image by Maude Boulais Carbonneau
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Contents 4. Dead Guy Interview: William Shakespeare Zain Qureshi
26. The Two-Faced Man: an Iago Character Essay Elena del Pino
9. Dead Guy Interview: Andreas Vesalius Kenza Lahbabi
29. Cubism: an essay Maude Boulais Carbonneau 35. Is Violence the Key to Success? Da Young Kim
12. Stargirl: Literary Devices Grace Elman
37. 7 faits sur la matière sombre Najem Abaakil
14. To Kill A Mockingbird: Found Poem Anna Schneider
40. Dye and Dyeing Bader Al-Sabbagh
15. To Kill A Mockingbird: Essay Hiba Belghazi
42. A Blind Alley: an English A Written Assignment Lamia Seffar
18. To Kill A Mockingbird: Multi-Voice Poem Taieb Belghazi
46. Cinquains Grade 7 English Students
20. Adora Alone: a short story Ali Idrissi
49. Image Credits 23. The Art of Translating Poetry Grade 10 World Literature Students
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The Dead Guy Interview:
SHAKESPEARE by Zain
Ul Abidin Qureshi -
Shakespeare was the bomb! He wrote thirty-seven plays and a hundred and fifty-four sonnets, even though most of it remains, some of his work has just faded in to thin air. He is the second most quoted writer in the English language according to the Literature Encyclopedia. William Shakespeare is the mastermind of the world’s greatest plays that are still acted out in theaters all over
The most popular plays include Romeo And Juliet, The Merchant Of Venice, Hamlet and The Tempest. An interesting fact is that he never actually attended college. It is very likely that Shakespeare didn’t attend college because of his father’s financial disaster, where his father, John, was in debt. It was so bad that there were four people who threatened “death and mutilation of his limbs”. Instead of going for further education he left his hometown, Stratford, to work as a servant for a family in Lancaster at the age of fifteen. What he did after that is a complete mystery. I’m dead serious right now--haha, see what I did there, ‘dead serious’, ‘dead guy’ interview! Where was I? Oh yeah, Shakespeare was a very mysterious man; we really don’t know much about his life. Shakespeare was a highly important figure in the Renaissance because at his time, few people wrote and acted out plays, so his contribution made all the theaters more popular. Here comes the killer, Shakespeare wrote so many amazing pieces that people actually think that he was a fraud! 4
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Interviewer: Isn’t it a lovely day, William! Perfect day for an interview! William Shakespeare: First of all, who gave thou the right to call me William? If thou call me that again, I will commence to omit this conversation. Thou have to call me, Sir Shakespeare, if thou don’t mind. And, nay, it’s not a lovely day. IV: Oh, ok sorry, Sir. I want to start off with the big question. How did you become
Christopher Marlowe was famous for his own
such an amazing influence without even
works and so was Francis, yet they were
going to college? There are some people
nothing compared to me because I was the
who accuse you of being a fraud, who ask
mastermind of that time. Furthermore, they
how can someone so unprivileged become
can't call me a fraud because I'm the one
such a personality? They also say that it
who has most evidence of writing my own
could have been Christopher Marlowe or
plays. Oh Brother! I wrote the plays! It’s so
Francis Bacon who could’ve written these
much ado about nothing!
works and used your name so they could hide their identity.
IV: Did you know that the American president, Abraham Lincoln, was a lover of
WS: Let me make it clear, thou don’t have
your plays, and Abraham’s assassin was a
to attend college so thou can be a huge
famous Shakespearean actor? What do you
personality with a big influence, ok? How
have to say about that?
many people do we know of who didn’t attend college and became huge? Steve
WS: I have to say that ye are making me feel
Jobs? Bradley Cooper? All thou need is
sad for narry a reason; I have nothing to do
passion. And to those who are calling me a
with that coincidence! If the next question is
fraud, listen.
not stupendous, I will leave. 5
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IV: Right on it, Sir Shakespeare! What did
IV: Splendid! Moving on now, Sir, you
you study in your school life? I’ve heard that
married twenty-six year old Anne
you were a bright student!
Hathaway when you were just eighteen, and that wasn’t normal at
WS: Not just a bright student, I was the brightest of the brightest! Sick, ain’t it? Haha looks like I’m getting used to this 21st
that time, so why did you do it? WS: “Love is merely a madness”. IV: Ok, so after you got married, you
Century English! I studied Latin, Greek Rhetoric, History and Literature. I studied all of them just at the local school!
dedicated your life to your wife and children, although, surprisingly after a few years, no one knew what you were
IV: Can you tell us why you left school at the
doing, but it was clear by 1588 that
age of sixteen and what you did after you
you were in London and you were
left?
looking for jobs in a company of actors. Is this true? And what else
WS: I was actually fourteen or fifteen when I
happened?
left school, and I left because my father, John
WS: Aye, it is true. Before going to
Shakespeare, was in a lot of debt at that
London I was perfecting my dramatic
time, and it was so bad that I even remember
skills and studying and collecting
until this day the four individuals who
sources for plots in plays. Around
threatened "death and mutilation of his
1588, I can’t remember perfectly
limbs". Ooooh, how I wish to go back in time
because I have so many amazing
and write a few tragedies about brutal
ideas, so, aye, around 1588 I was in
murders of all four of those unpleasant
London, and over there I learnt a lot of
individuals. Coming back to thy question,
new ideas, and by 1592 I began
after I left school, I left my home town,
writing my first plays.
Stratford, to work as a servant for The
IV: Going back a little, a lot of people
Hoghton Family in Lancaster. I stayed there
think that Romeo And Juliet was
for a few years so I could help my family with
inspired from your marriage with Anne.
the money I earn’d. 6
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WS: Dost thou think my wife Anne took
twenty that have gone without a trace. Do you
a sleeping potion to avoid marriage with
think that they could have helped you become an
her cousin and do thou think that I saw
even bigger influence?
her and I thought she was dead, so I killed myself because I thought she was dead when in reality she wasn’t; she was just asleep? And when she woke up and saw that I was lying dead next to her, she then killed herself? And then we both died? Do thou think that is true? I think not. So of course, nay, nay, nay, “Romeo And Juliet” is not inspired by mine and Anne’s relationship. People these days! IV: How do you spell your last name, we have one way of writing it, which is probably wrong, and also pronounced wrong too, so please clarify that. WS: I don’t know. I spell my last name however I like, thank thou very much, as long as it sounds more or less like “Shakespeare”.
WS: Considering the fact that I never actually published any of my plays, I mean, they were acted out a lot, but we had the scripts to ourselves. So until one of my friends decided to publish them, I wasn’t so big. I was big alright, but not so big, and guess what? After the publishing I became huge. So, aye, if those plays were not lost, I would be a bigger influence today! IV: Ok, North America has to thank you for the 200 million starlings present in the area of North America. Do you think they should? Why? WS: There was a man named Eugene Schiffelin who came to England on a mission to find all the birds that are mentioned in my works but absent from the United States. He then wanted to take them there, so while this man was searching he probably read “Henry IV, Part 1”, because that is the only place where a starling is mentioned in all of my work. So he got two flocks of sixty starlings
IV: Fair enough, Sir Shakespeare, you
and brought them to the US, and after a hundred
know that a lot of your plays have been
and twenty years or so, the number increased to
lost. Scholars think that you wrote about
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two hundred million starlings. Aye, aye, North America should thank me because if I didn't mention a starling in Henry IV, Part 1, then there would be no starlings in North America today. IV: William Shakespeare is an anagram for “I am a weakish speller” (Gets interrupted). WS: Nay, that’s not funny, and nay it doesn’t mean anything. IV: Shakespeare's Globe Theatre in London only exists because of Sam Wanamaker, who was an American actor and producer. He was such a huge fan of yours that he spent twenty three years fundraising to rebuild the theatre, since it was destroyed later. Do you want to close with what you think this will do in the future and how you will be remembered? WS: I am very thankful for Sam Wanamaker’s hard work to rebuild the Globe Theatre. As I’ve rightly heard that it is one of the most visited places in London today. If actors, producers, and writers all keep an eye out for each other and help each other, I think we can have a very bright future in theatre. The Globe Theatre will hopefully remain there and people will keep reading and acting out my plays and works. And undoubtedly it will create amazing new actors, writers and producers for the future! As I always say, “It is not the stars to hold our destiny but in ourselves”. IV: Thank you, William. WS: Wait, what did thou just call me?
Works Cited “10 Things You Didn’t Know William Shakespeare.” History.com. ABTelevisionNetworks, n. d. Web. 18 Jan 2016. Hillian, David. William Shakespeare: England’s Greatest Playwright And Poet. New York: Rosen, 2005 Print. Netteton, Pamela H. William Shakespeare: Playwright and poet. New York: Compass Point Books, 2003 Print. “Shakespeare Facts: Read Facts About William Shakespeare”. No Sweat Shakespeare.n.d. Web. 12 Jan. 2016. "William Shakespeare." Photos/Illustrations. Perry-Castaneda Library. World History: Ancient and Medieval Eras. ABC-CLIO, 2016. Web. 6 Jan. 2016. 8
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The Dead Guy Interview:
Andreas Vesalius Andreas Vesalius, born in Brussels in 1514 was also known as the father of anatomy. He was the first person to begin dissections on the human body. He wrote a book called The Fabrics of the Human Body, the world’s first medical textbook. Vesalius had a pharmacist for a father. He knew great success because of his book and his discoveries. Unfortunately, his life came to an end in 1564 while coming home from a pilgrimage to the Holy Land. But for now, by Kenza
Lahbabi - Grade
8
let’s find out what he has been through to arrive to such success.
Interviewer: Well, ladies and gentlemen, please welcome the one, the only, Andreas Vesalius! Vesalius: Hello there. Interviewer: You’re quite a legend here. Vesalius: So I’ve heard! Interviewer: Well, I have brought you here to tell us about you and how you became who you are! What was your childhood like? Vesalius: Alright, my father was an apothecary, excuse me, let me correct that, royal apothecary of his highness Charles V.
Interviewer: Yeah, I heard that you followed your father’s steps in a sense, knowing that you studied anatomy and all of that. Vesalius: Indeed! I started my studies in Paris where I was asked to contribute to the translation of the Greek philosopher Galen. I went to the University of Louvian where I did a lot of research. Interviewer: Oh really? I thought you went to the University of Padua. Vesalius: I was getting there. As I was saying, after a war broke in Paris, I had to flee. 9
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Fortunately, I got accepted to the University of Padua. To my surprise, people there knew about me and I was so advanced in my research, they gave me my medical degree two days after I got there.
from University, I decided to begin my own dissections. I found this cadaver of a dead criminal. I decided to steal it and so, to not be seen, I covered my tracks. Interviewer: Ok, so that must have been an interesting experience.
Interviewer: Really! Um, well that must be….. cool. Wait, in two days?
Vesalius: Positively! I revolutionized anatomic teachings and the understanding of the body’s structure.
Vesalius: You heard it kid. Interviewer: Well, what happens next, I want to know.
Interviewer: Uh huh, did you face any challenges?
Vesalius: Well, I don’t want to brag or anything, but at 23 years old, I was already an anatomy and surgery lecturer. I even had the privilege to work with a Padua judge to obtain bodies of dead criminals for my work-
Vesalius: Yes! In fact it was a hard one! In order to show everyone my discoveries, I had to overthrow Galen’s ideas. I was known as anti- Galenic. Galen’s techniques were erroneous because he dissected apes, not humans. The beliefs were that men had one more rib than women. Or that we had five liver lobes. After I started dissecting, I figured he was wrong and making people start to believe me was hard because he had such a big influence on people.
Interviewer: Wait, pause a second, dead bodies? Vesalius: Well, don’t you know what I’m known for? Interviewer: Hmmm, I’ve heard that you were stealing bodies, and stuff like that but I was positive those were just.. I don’t know, rumors. Vesalius: Well, actually, they were not “rumors.”
Interviewer: Wow! You must have been through a lot. So, after you showed your work, were there any successes? Vesalius: Of course. I published The Fabric of The Human Body in 1543. That book was, I believe, the first medical textbook about the human body. It lead, to my understanding, to deeper knowledge, and that is why I wrote it.
Interviewer: Not rumors? Vesalius: Funny story, actually, it was pretty simple. Once I realised I couldn’t learn more 10
“
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I revolutionized anatomic teachings and the understanding of the body’s structure.
”
Interviewer: Yeah, so after all that success, I heard nothing else interesting happened, right?
Vesalius: You heard wrong my friend. After all of that, something big happened. I was noticed by the emperor. He said that my discoveries were so important he wanted me to become his imperial physicist. So I did! Interviewer: Amazing! Amazing! Amazing! But sadly, every success knows an end. So what happened to you, I mean how did... you know... Vesalius: Die? Interviewer: Yeah.
Vesalius: (sighs) Well, you are right, every success knows its end. After everything, I decided to go on a pilgrimage to the Holy Place. It was an incredible journey! But sadly, I didn’t make it back. I died on the isle of Zante in 1564. There was a terrible storm and the ship just didn’t make it. Interviewer: Saddest day the planet has known… Well, that said, ladies and gentlemen, please applause the one, the unique, Vesalius, the father of anatomy! (To Vesalius) I’m a big fan, big, big fan, you are my idol!
Works Cited Andreas Vesalius." Famous Scientists. famousscientists.org. 22 Dec. 2015. Web. 21. Jan. 2016 <http://www.famousscientists.org/andreas-vesalius/>. Andreas Vesalius". World History: The Modern Era. ABC-CLIO, 2016. Web. 15 Jan. 2016.<http://worldhistory.abc-clio.com/Search/Display/306796?terms=vesalius> Dawson, Ian. Renaissance Medicine. London: Hodder Wayland, 2005. Print. Mullins, Lisa. Science in the Renaissance. New York: Crabtree Pub., 2009. Print. Saari, Peggy. Renaissance & Reformation: Biographies. Detroit: UXL, 2002. Print. 11
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Stargirl: Literary Devices by Grace
12
Elman - Grade
8
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To Kill A Mockingbird:
Found Poem
by Anna
14
Schneider - Grade
9
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To Kill A Mockingbird:
Essay
by Hiba
Belghazi - Grade
9
In a place overwhelmed with lies, where truth is rare, how does a child know where to turn? In To Kill A Mockingbird, Harper Lee reveals numerous realities to the reader using Scout as her medium. From quick judgement based on rumours and racist ideologies or perceptions of black people by their positions held in society to the conformity of women to society’s standards, Scout experiences a journey that opens her eyes to the sometimes harsh truths of her life in Maycomb. Torn between strikingly contrasting sides, Scout is surrounded by characters and events wielding enormous influence that bring ethical considerations of life by shaping her character. It is through an ongoing stubborn ideology kept alive by society that Atticus must fight to reach his children and reveal the truth about racism in Maycomb. Scout’s perception of black men and women is shaped by the community she lives in, notably her classmates and Atticus, her father. At school, black people are despised and looked down upon and such hatred is communicated through insults to the black community. At home, black people must be respected just like any other person. Atticus coaxes Scout to understand with statements such as “...Don’t say nigger, Scout. That’s common.” (75), and although she responds with “ ‘s what everybody at school says.” (75), these gentle discussions accumulate to finally have an effect on Scout’s character. These examples epitomize how outside factors influence Scout’s point of view about black people and their negative effects on her perceptions. When Tom Robinson is found guilty, Atticus tells his son, “They’ve done it before and they did it tonight and they’ll do it again” (213). Atticus is defending a negro which is deviating from the ways of Maycomb, but the adamant nature of the citizens is what enables Atticus to stand out. His determination to confront a problem which has been an issue for years allows him 15
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to be even more influential towards his children. In his final speech during Tom’s trial, Atticus shows all aspects of the inane assumptions that are constantly made against black people. He confronts all racist men by saying “...confident that you gentlemen would go along with them on the assumption, the evil assumption that all Negroes lie, that all Negroes are basically immoral beings, that all Negro men are not to be trusted around our women…” (204). This confrontation comes back to Tom to prove that it is just-another-one-of-them assumption. Because Tom is black, the conclusion is that Tom is a liar; that Tom raped Mayella. The clear truth behind Atticus’ words, his abilities as a lawyer and father overcome the ridiculous ideas of society and build his children’s perspectives to match his. He teaches us about the unfair and absurd treatment of black people at the time by bravely and openly defending a negro. Insulted by the word “girl” and feeling secluded for belonging in her father’s world, it is only through her interactions with the ladies of Maycomb that Scout finally learns what it is to truly be a lady. With her thoughtful and observant nature, Scout is quick to pick up that “Ladies seemed to live in faint horror of men…” (234). By spending time with the ladies of Maycomb, Aunt Alexandra, neighbors and friends, Scout encapsulates the effects of stereotypes in one short statement: that women are seen as weaker than men and thus drive further and further away from men’s affairs to the point of developing a fear. This is not an image Scout wants to be attached to so when Jem announces, “...I declare to the Lord, you’re getting more like a girl everyday!” Scout decides that she “had no option but to join them” (52). This incident cements the fact that “girl” is an insult and Scout mustn't be one. However, the more she interacted with these women, the more she understood what it was to be a lady. When news arrives that Tom was shot, all the women concerned must put on a brave face and continue with their conversations, and Scout decides that “After all, if Aunty could be a lady at a time like this, so could I” (237). Rather than listening to snatches of conversations, Scout sits with the women and grows to truly learn what “being a lady” means. 16
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Staying strong during difficult times contradicts Scout’s original beliefs that women only had tea, cooked and talked. Children are often exposed to ideas conceived by adults; in Maycomb, these are often lies and Scout can only uncover the truth through her innate innocence. Scout did not say that for a white man to marry a black woman was unacceptable, she did not say that mixed children were to be cast out but listening to those disputable beliefs inflamed her prejudice. They characterize who she becomes when she meets Mr. Raymond along with Dill and tells us, “ I had a feeling that I shouldn’t be here listening to this sinful man who had mixed children and didn’t care who knew it, but he was fascinating” (201). This portrays the conflict between a child’s innocence and the strong prejudice in the community. Scout only had a “feeling,” a sensation that arose from the lies that surrounded her, a perception fabricated by the adults of Maycomb county. And those assumptions are lies, burrows for the animal that is prejudice. In fact, Scout also contradicts herself by saying that he was fascinating. Prejudice against Boo Radley based on rumors such as “...he dined on raw squirrel and any cats he could catch, that’s why his hands were bloodstained” (9) is a clear example of how ideas are spread all across Maycomb county and are accepted without forethought. That is, at least until Scout meets Boo Radley in person, the moment he transforms from an animaleating monster to not only her lifesaver but a courteous and affable man. She describes “Arthur Radley escorting [her] down the sidewalk, as any gentleman would do” (278). Non-conformist but goodnatured, Boo Radley and Mr. Raymond are both confronted to a dour society, composed of haughty citizens with conformist attributes. Scout is not the only one changed by the story. The reader is exposed to a simple truth that judging someone before meeting them in person and especially based on preconceived ideas is not only morally wrong, it is often inaccurate.
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The Writer’s Ink The Writer’s Ink To Kill A Mockingbird:
Issue 2
Multi-Voice Poem Taïeb Belghazi Issue 2
by
Grade 9
Guilty. I knew it all along.
Guilty. He made me do it. He didn’t deserve death. Tom Robinson was a real man.
He didn’t deserve death. Tom Robinson was a good man. He had a family.
He was the only one that helped me, when he wasn’t even supposed to. His poor wife, Helen, and his children... The ones that were supposed to help did nothing. Even Mr. Link Deas stood up for him. He didn’t even ask for a pay. He understood me better than anyone, He pitied me, I do too.
Tom understood her better than anyone, He pitied her, I do too. You killed him to hide your sin.
It’s not my fault, I was desperate, I was alone. He helped you and you killed him! I was forced to kill him! Dad made me. He said I was a disgrace and... and... and he beat me. Not only dad, all of Maycomb would’ve been on my back. ... All of Maycomb killed Mr. Robinson. How can our society give so much power to such a worthless man?
18
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Humanity is such a mess. And after all this, I am still in the same distress.
Where?
No where!
It seemed like too much to ask! It doesn’t seem like it, yet it is a great burden to bear. Who will be next to phase my dilemma?
Dill: “It ain’t right, somehow it ain’t right to do ‘em that way” Jem: “It ain’t right, Atticus” Atticus: “At first, I thought I’d have more trouble with Scout over all of this”
There is hope nonetheless. Atticus, the only man truly willing to defend a black person was chosen for that task. Yet it is only fair. I think I’ve got an idea:
And after all this, I am still in the same distress.
Nowhere!
Here.
Dill: “It ain’t right, somehow it ain’t right to do ‘em that way” Jem: “It ain’t right, Atticus” Atticus: “At first, I thought I’d have more 19 trouble with Scout over all of this” 19
The The Writer’s Writer’s Ink Ink
Issue Issue 22
Adora Alone by Ali
Idrissi - Grade
9
Photo by Katherine Hage
Adora Young walked down the dim hallway
kitchen and bed facing a view of the Hudson
leading to her polished apartment door, marked
River below. The windows were stained with rain
with the fading numbers 1508. Her new Nike
streaks and the paint was beginning to chip away.
shoes she had gotten for Christmas squeaked as
She set her ear buds on the table where she
she moved on the carpeted floor. The doors flew
always put them after her run in Central Park. Her
past her in a blur:1502, 1504,1506 …. She paused
eyes scanned the empty room, furnished only
in front of her door and sighed. She wondered to
with an uneven legged coffee table with
herself how much she could continue living in
overpriced textbooks and notepaper strewn all
solitude, without any company or comforting
over it. Her phone buzzed around the table,
voice to help her. The one bedroom apartment on
illuminating the picture it was set besides. Adora
the other side of the door was a representation of
peered up and saw the picture of her parents.
her life in New York so far. An empty, dark,
Laughing and holding each other, looking like
dilapidated apartment with a tiny
there could be nothing wrong with the world. 20
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That picture was taken two years ago, before
Adora’s mind kept reverting back to a single thought:
Adora had moved to New York, before that truck ran a red light. That very night, Adora felt something snap inside of her, and she knew she would never be the same.
“I’m alone.”
She turned away from the picture and moved towards her textbooks. She had to keep moving to avoid her grief and growing depression. Her
was at a full sprint. She had to move. To no
eyes darted between the lines but her thoughts
specific destination. But she had to run away from
were elsewhere. Adora’s mind kept reverting back
her thoughts. Adora darted passed multiple bars
to a single thought: “I’m alone”. She had sat in
and restaurants buzzing with laughter. Their
this same spot each day, replaying memories of
laughter rang like a bell inside her ears but she
when her life was “perfect,” but memories cannot
kept running. Adora came to a stop in front of a
be held for too long; they have to be let go.
dark green door. She was confused. Where was
Although, Adora felt she could not be helped, not
she? Adora squinted up at the street sign above
by a guy nor by any number of friends who try to
her and saw that she was on Murray Street.
help. If she had any friends. Everyone she knew
Murray’s Street? She remembered that from
was a moving blur murmuring as she passed. As
somewhere. Her eyes found the placard on the
the night went on, Adora was beginning to think
door. “Jennifer. S. Young.” This is Jen's office.
the scary thoughts floating inside her mind were
Why did I come here? The door opened and her
going to turn into actions. She snapped her
sister stood in the doorway. Both looked at each
textbook shut. It had sat, untouched, on the floor
other with confusion. “Ady, how are you? Your
next to her for hours. She quickly grabbed her
face is flushed, come inside.” Adora stepped up
shoes and ran out the airless apartment.
the steps and froze. What am I doing? She can’t
Adora stood outside the lobby door in the brisk
help me. No one can. Tears filled her eyes.
weather of New York, Manhattan. Her breath rose
“Adora, what’s wrong? Ady?” She turned and
in a white plume in front of her. Then her feet
ran. “Ady!” But she didn’t stop. Tears streamed
began walking, building up pace until she
past her red cheeks. She did not stop until she was
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back inside her apartment, curled up beneath her
where her hallway should have been. Whats
bed.
happening? “Adora….our parents..” Her sister's Her breath came in fits and starts. Adora’s eyes
voice seemed to hiss out of the walls all around
were still brimmed with tears as she followed the
her. She moved outside her door and saw two
curl of dust receding away from her breath. It’s
bright lights approaching from the distance. She
nice down here. Maybe I can just wait here until
turned her head and saw a second pair of lights.
things get better. Ya, I think that's a good idea. She
Adora watched them get closer, waiting for one of
could feel the seductive tendrils of sleep entwine
the cars to stop. But both kept going. Oh no, stop.
her as her eyes closed. Mmm this is nice.
Stop, stop, STOP! “They’re.. gone.” Her sister
Bang! Bang! “Adora, its Jen. Open up.” Ady
concluded.
reluctantly dragged herself out from underneath
Adora’s eyes snapped open. The door was
her bed. Her feet dragged behind her as she made
closed, the walls weren't speaking, but she was still
her way towards the door. But the door was wide
terrified. Rays of sunlight illuminated the interior
open. A glistening intersection illuminated by a
of her apartment. It's morning. She sat up and tried
single light stood in the place
to move, but her hands were in shackles. She was wearing a dotted gown. Adora looked at the mirror near her and saw a pair of crazed eyes staring back at her. She was locked inside a mental asylum.
Photo by Titim Oujamaa 22
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Grade 10 World Literature Students Presents:
Original Latin poem â&#x20AC;¨ by Gaius Valerius Catullus
Odi et amo, Quare id faciam, fortasse requiris? Nescio, sed fieri sentio et excrucior. 23
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I hate and I love her.
I hate, I love.
Why do I feel this way, you
Why am I this way?
ask?
I don’t know.
I do not know,
All I know is that I am being
I hate and I love. Why am I like this, you might ask?
I love her and I hate her.
I don’t know, but I feel like I am on
Why? you ask.
fire
I cannot tell, but it is happening.
Ik haat haar maar toch hou ik van haar Waarom zou ik dit je dan vragen. Ik weet het zelfs niet. Ik ben in vlammen.
그녀를 사랑하고 그녀를 미워한다.
Matan bghish ou tan
나는 도대체 왜 이러는걸까?
bghi.
내 자신도 내가 왜 이러는지 모르는데,
Mat souwelnich.
마음이 타고있는 것처럼…
3lash ana haka?
죽을듯 아프다.
Ana akrihouk wa ouhibouk. Mada afgalou like rubbama tasel?
jIH muS je jIH muSHa’
Manbghiksh oun abghik;
Qatlh jIH vam jIH ghaj Q’o’ qech ach’ ‘oH qen jIH dur oy’
Mashi sokak. Hada houwa 24
lhoub, Goult lihand.
The Writer’s Ink
Issue 2
Je la hais et je l’aime Pourquoi ferai-je cela? Cessez de demander. Je ne sais point. Mais, je brule de souffrance. Je la deteste et je l’aime. Pourquoi demandes-tu? Je ne sais pas, mas cas se passe.
Je hais et j’aime. Peut-être te demand tu pourquoi, Je suis dans cet état? Je ne sais pas, Mais ma souffrance me J’aime ce que je déteste. Pourquoi ferai-je cela, me demandiez vous? Je n’en ai aucune idée, mais ceci me donne une souffrance
彼 ⼥女 を 嫌 っ た り 、 愛 し た り 。 何 故 か と 聞 く だ ろ う 。 分 か ら な い 、 で も 、 燃 え て い る よ う で ⾟辛 い の だ 。
私 は 彼 ⼥女 が 好 き で 嫌 い で 好 き だ 。 「 ど う し て ？ 」 と あ な た は 聞 く だ ろ う ⾃自 分 で も 分 か ら な い た だ ⼼心 が 燃 え る よ う に 熱 い の だ
ﻭوﻣﻛﻳﯾﻥن ﺃأﻧﺎ ﺣﺭرﻳﯾﻥن. ﻻ ﺃأﻋﺭرﻑف،٬ ﻟﻣﺎﺫذﺍا ﺃأﻓﻌﻝل ﺩدﺍاﻟﻙك؟ ﻗﺩد ﺗﺳﺄﻝل.ﺃأﻧﺎ ﺃأﻛﺭرﻩه ﻭو ﺃأﻧﺎ ﺃأﺣﺏب. ﻭو ﻫﮬﮪھﺎﺫذﺍا ﻳﯾﺋﻠﻣﻧﻲ،٬ ﻟﻣﺫذﺍا ﺃأﺷﻌﺭر ﺑﻬﮭﺎﺫذﺍا ﺍاﻻ ﺇإﺣﺳﺎﺱس؟ ﻻ ﺃأﻋﻠﻡم،٬ﺃأﺣﺑﻛﻲ ﻭو ﺃأﻛﺭرﻫﮬﮪھﻛﻲ. ِ ٌ أكرهُك و أ. ال تسئلني. ال أعرف من ثم.حبُك ِملاذا أشعر بل تعذ يب
La amo y la odio. Por qué me siento así? No lo sé yo mismo, Me siento como estoy quemando en el fuego,
Odio e Amore.
La odio y la amo.
Perche dovrei
Por que lo hago,
Fare questo si puo
Y porque ne lo
chiedre?
pides? No lo se,
25
No la so, Ma sento che accade,
The Writer’s Ink
Issue 2Issue 2
The Two-Faced Man by Elena
del Pino
An Othello Character Essay
Grade 10
“There is more than what meets the eye when it comes to people,” as deception and dishonesty in society are very common when it comes to individuals and how they are perceived as just as it is shown in Shakespeare’s play, Othello. Iago is no different from those individuals and thus under his disguise of a trustworthy man, Iago is a wicked and manipulative villain whose goal is to destroy Othello’s life. Shakespeare adds depth to his villain, Iago, by making him depraved and amoral, moving all the essential characters and manipulating them to structure the plot of Othello. Through the use of dramatic irony and asides, Shakespeare conveys the character of Iago as manipulative and deceiving and evokes antipathy from the audience. Shakespeare uses dramatic irony in Othello not only to escalate tension but also to reveal Iago’s manipulative character, thereby provoking a negative and critical reaction from the audience. “This fellow [Iago] is of exceeding honesty” (3.3.255). 26
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The audience knows Iago is deceiving Othello and is trying to persuade him of Desdemona's infidelity. Because of there being a critical and dramatic reaction from the audience due to the obvious irony, this makes part of the monologue become an example of dramatic irony in Othello. “Look to your wife; observe her well with Cassio. Wear your eye this: not jealous, nor secure,” (3.3.194-95). Because of the audience having a third point of view in the story, they know of Desdemona’s innocence in this issue which she’s unwillingly been given. Yet there is an escalating tension because of Othello believing that Iago is correct in his accusations towards Cassio and Desdemona. “Sweet Desdemona, let us be wary, let us hide our loves,” (3.3.426-29). Iago lies to Othello telling him that he’s heard Cassio say these words in his sleep. The effect of this is that it antagonizes Iago’s character to the audience, making the audience critical of his immorality, his corruption and his deceiving nature. This is important because of the dramatic irony clearly revealing Iago’s inner thoughts and how Shakespeare conveys the antagonist of the play. Shakespeare’s use of asides emphasizes Iago’s deceiving characteristics and the duality between what he communicates to other characters and his actual thoughts. The use of asides reveals his manipulative and betraying character and stimulates dislike from the audience towards him. “Oh, you are well-tun’d now! But i’ll set down the pegs that make this music, As honest as I am,” (2.1.218-220). The last section of the aside by Iago, “As honest as I am” tells the audience how Iago is going to make his statement sound like the truth, which comes to a great advantage due to Othello’s view of Iago. Iago’s asides represent his thoughts which help us understand his reasons for wanting to damage Othello’s and Desdemona’s relationship. This is important as it gives insight into his amorality; Shakespeare’s critique of such values is reflected in how the audience responds to Iago’s character and through its dislike and criticism. “Aside, This is the night, that either makes me or fords me quite,” (5.1.310-14). This example of aside reveals Iago’s true intentions and motivation which is his intricate plan to turn Othello against Desdemona and 27
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eventually lead him to murder her. The asides are not to be shown from the characters in Othello which give great dramatic effect and reveal Iago’s secret thoughts which he does not even share with his wife, Emilia. Shakespeare utilises Iago’s asides to reflect his deceiving character as what he may be thinking are horrible ideas that eventually inflict pain upon other characters but which he would never truly say to their faces.
Iago’s character Othello is one of the greatest manipulative and deceiving
villains in all of Shakespeare’s plays as his manipulation of Othello conclusively causes the death of four important characters: Desdemona, Othello, Emilia and Roderigo and causes antipathy from the audience due to the clear literary devices expressed in the play. Iago uses people by lying while making himself seem trustworthy to bring him closer to his goals. Therefore, Shakespeare conveys Iago’s character by thoroughly using dramatic irony and asides to present to the audience how Iago really feels in Othello and how he is shown to be a two-faced villain.
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CUBISM by Maude
Boulais Carbonneau - Grade
10
Cubism originated in Paris between 1907 and 1914 and was created by Spanish artist Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso and French artist Georges Braque. The style got its name from Henri Matisse when the latter rayled Braque’s “Maisons a l’Estaque” as “made solely of cubes”. In truth Cubism, such as it is, was founded upon the notion of a break from traditional realism, nature and perspective as well an emphasis and utilization of the two-dimensionality of their media. Subjects were often painted from different vantage points and then agglutinated in geometrical shapes and arrangements, reminiscent of broken glass. There are two major styles of Cubist expression: Analytic cubism— characterized by distinguishable subjects composed of numerous planes and earthy, unsaturated colours—and Synthetic cubism, using a wider selection of media (mixed media), larger facets with brighter and more saturated colours, bolder lines and simpler shapes. Cubism was in itself a break with century old precepts of art dating from the Renaissance such as realism through perspective, foreshortening, harmonious composition and balanced use of warm and cold colours. Picasso and Braque felt that art was agonising, asphyxiated by the constraints that had bound it for more than 600 years. Furthermore, the invention of the camera by Joseph Niepce (further developed by Louis Daguerre) struck a major blow to realism, as the camera could capture every detail, light and texture as painting could not. Visual art was dying, reduced to a last death rattle by historical constraints and technological advances. Cubism was a rebirth -a reinvention- of art in itself, much like the Renaissance was a gasp of fresh air to the Middle Ages. Nothing had ever rocked the art world so hard. Artists were liberated from the rules that had 29
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gagged them and were free to create and express ideas and subject matters freely without being restricted by reality. Picasso’s (supposed) first words were an attempt to say “pencil” and from then on the child became an art prodigy. Achieving badly in school, the child thrived through painting and drawing. At only fourteen, Pablo enrolled in The Madrid Royal Academy of Saint Fernando, but constricted by the close mindedness and limitations of this institution, he dropped out. The artist then wandered the streets of Barcelona, finding inspiration within prostitutes and beggars, before he moved to France and opened his own studio there. During three years after this change, he was pinned down by an irrepressible depression and his paintings reflected his state of mind: cold colours (mostly blues and greens) and wretched, miserable subject matters that made up what is known as Picasso’s “Blue Period”. This was triggered by the grievous suicide of Picasso’s dearest friend, Carlos Casagemas; feverishly infatuated with Laure (Germaine) Gargallo and repudiated by her, the tortured poet and artist attempts to murder her and finally, turns to himself. Soon after this grim time came the so called “Rose Period”, where the artist—now madly in love with model, Fernande Olivier, and under the Patronage of art dealer Ambroise Vollard—composed his pieces using a warm colour palette and somewhat livelier subjects.
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Georges Braques was born May 23rd 1882 in Argenteuil, France; and as his father and his grandfather before him, he became a house painter. In 1987, he attended the prestigious Ecole des Beaux Arts, majoring in painting. In 1899, the seventeen year old moved to Paris to become apprentice to a master decorator and then moved on to painting at the Humber Academy until 1904. At this point, the young artist became taken with fauvism and painters such as Henri Matisse and emulated the style with considerable success, until that fateful meeting with Pablo Picasso in 1907. Georges Braque met with Pablo to witness for himself the development of the project the latter was working on. This, as you surely guessed, was the groundbreaking “Les Demoiselles d'Avignon” and it blew Braque away. Soon a friendship was struck and the two painters met everyday, comparing respective pieces and conferring upon what would become known as Cubism. At this point, Braque incorporated cubist elements in his paintings, notably in his landscapes—and then took to painting analytical cubist works in symbiosis with Picasso. However, after Georges Braque returned from World War One, he found Picasso had strayed from the “rules” they agreed upon back when they took to forging cubism. Feeling that his friend had betrayed cubism and in some way their friendship, Georges continued his career solo. And yet Picasso’s works still had impact on Braque. For instance, when Picasso started using mixed media in his pieces, Braque followed suit, creating collages as well. He gave this up in 1918, opting instead for still lives in earthy, unsaturated tones. His career then took a turn when he started designing sets for plays and ballets throughout the early 1920s. Nine years from then (in 1929) he went back once more to landscape painting, using large pans of bright colours; then, in 1930, he took to painting stylized Greek deities. August 23rd 1963, Paris. Georges Braque dies at age 81. 31
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Picasso, after World War One, briefly returned to Realism -preoccupied with depicting life as it was. His paintings grew somber as the world sunk further and further into war. He then commenced to create paintings in a freer, more fluid sense of cubism: Synthetic cubism. Outraged by war and the inhumanity of men, he painted one of his best known pieces: “Guernica” (below)—which some deem as surrealism- in monochrome blacks, whites and greys.
At this point, the artist became vocally political, and—having joined the Communist Party —even won the International Lenin Peace Prize in both 1950 and 1961. Fame had caught up to him, though his art was largely ignored during this period, and he was deemed to be the most famous artist still alive. As years went by, Picasso’s work became more and more simplified, even childish. He went on to explain that it took him a lifetime to learn how to draw like children, when at the same age as they, he could draw like a master. The apotheosis of this is certainly his “Self Portrait Facing Death”. Picasso died April 8th, 1973 in Mougins, France. He was 91. 32
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Cubism wrought the emancipation of all artists in subsequent generations. Its tremendous roots reach down to ground artists everywhere today; its essence is in the creativity that springs in all media where there is expression through colour, shape and line with neither rules nor constraints. What more proof do we need that through questioning and challenging established notions and constraints comes progress? Balanced composition was deserted by Cubists, as was balanced use of warm and cold colours. Realism, as a whole, was renounced. Not only did Cubism tear off the hands of past restraints from the precocious necks of artists, but it also erased the purple-laced scars the latter would have left on the face of art.â&#x20AC;Š Bibliography "Pablo Picasso Biography." Bio. A&E Television Networks, n.d. Web. 16 Jan. 2016. <http:// www.biography.com/people/pablo-picasso-9440021#break-into-cubism>. "Cubism." Tate. N.p., n.d. Web. 16 Jan. 2016. <http://www.tate.org.uk/learn/online-resources/ glossary/c/cubism>. "On This Day." New York Times on the Web. N.p., n.d. Web. 17 Jan. 2016. <http://www.nytimes.com/ learning/general/onthisday/big/0408.html>. "Georges Braque." Tate. N.p., n.d. Web. 17 Jan. 2016. <http://www.tate.org.uk/art/artists/georgesbraque-803>. "Georges Braque." The Art Story. N.p., n.d. Web. 17 Jan. 2016. <http://www.theartstory.org/artistbraque-georges.htm>. Bio.com. A&E Networks Television, n.d. Web. 17 Jan. 2016. <http://www.biography.com/people/ georges-braque-9224611>.
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The Writer’s Ink
Is
Issue 2
the Key to
by Da
Written under exam conditions.
John Brown was a white American abolitionist who believed violence was the only way to terminate slavery once and for all. He thought “...the crimes of this[the] guilty land will[would] never be purged away, but with blood” (Video 2). His determination and will to abolish slavery was so strong, he did not have a limit to his actions. On October 16th, 1859, Brown led 21 men, including 5 of his sons, on a raid of the federal arsenal at Harpers Ferry, Virginia. His plan was to seize all the weapons, or at least as many as possible and use them in the slave rebellion he had in plan. Unfortunately, he got caught and got sentenced to death while his sons already died as they were fighting against local farmers and militiamen. Other men were killed or captured and sentenced to death, they all basically had to end their lives. After the failure of John Brown’s raid, he was hanged on the 2nd of December, 1859. Brown’s
Young Kim - Grade
determination and passion to get rid of slavery put his men’s, sons’, and his own life at risk; but it was only the beginning, everything was going to change. Brown was born and raised in a deeply religious Calvinist household, and was taught since young that slavery was wrong. He was told that “slavery violated god’s command” (Video 2) and was forced to keep in mind that he should hate slavery and anyone that was okay with it. Like father like son, he taught his sons as well how horrifying slavery was and how it should not be existent. One of his sons, John Junior, asked him for arms for the slaves to fight back with. From then, he started collecting arms and raised money to buy arms. In May 1856, a “proslavery army sacked the free-soil town of Lawrence; not a single abolitionist dared fire a gun” (The Father of American Terrorism). He decided to gather 35
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volunteers to go on a “secret mission”, which was basically a killing spree. He led eight men towards Pottawatomie Creek, which was full of proslavery people. He killed, cut, chopped off arms and shot the proslavery people that were in three cabins and that was called the Pottawatomie Massacre. Even after that, he collected more money and more arms for a big plan that he had planned. At Harpers Ferry, stealing the arms was supposed to be a silent, but fast movement but eventually, word got out and Brown and his men were completely trapped by local farmers, militiamen and a company U.S. Marines led by Robert E. Lee. The Marines overran Brown and his men; killing more than 10 of Brown’s followers, including 2 of his own sons. John Brown was stabbed and captured, and was sentenced to death. He was tried by the state of Virginia for treason and murder, and was found guilty. Right before his execution on the 2nd of December, he handed a guard a piece of paper that said “I, John Brown, am now quite certain that the crimes of
36
will never be purged away but with blood.” His actions raised the stakes for the 1860 presidential election, and made a gap between the North and the South even more, making it one of the main causes to the start of the American Civil War. However, a lot of people say he was a hero, and not a criminal. Yes, he killed many people. Yes, he used violence. But, he fought for his own belief; he fought for a reason. Even though he got killed before abolishing slavery himself, he started the end of slavery. He fought for his own thinking, although he used the worst way possible. Many people think of this as a reason to consider Brown as a hero but that is only another opinionated statement. There is no proof that he is a hero, unless following your beliefs is considered “proof”. But, there is proof that Brown was a criminal. He killed people— he was a murderer. There could have definitely been other ways to abolish slavery, but Brown decided that violence was the only way, which makes him more of a villain than a hero. To conclude, John Brown was a vicious man. He was someone who strongly believed slavery was wrong, and that strong opinion made him cross the line of humanity and killed many people. Being religious and standing up for yourself is not a bad thing, but using violence and taking away peoples’ lives for the result you want would not necessarily be called something “good” or a “hero”. John Brown continues on being a significant figure that is disputed and argued about, even to this day.
The Writer’s Ink
by Najem
Abaakil - Grade
The Writer’s Ink
10
Issue 2 Issue 2
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In this unit of HL Chemistry we are exploring intermolecular forces of different molecules, atoms or ions. Intermolecular forces are forces of attraction and repulsion between neighboring particles and are weaker than intramolecular forces which is the force to keep the molecule itself together such as ionic (metal and non metal) and covalent (non metal and non metal) bonding. There are three types of intermolecular forces which are dipole-dipole forces, London dispersion forces and hydrogen bonding. Hydrogen bonding is the strongest intermolecular force, followed by dipole-dipole and London dispersion forces. (Wikipedia. Wikimedia Foundation, n.d. Web. 02 Mar. 2016.) The purpose of this lab is to thoroughly understand the significance and importance of molecular structure and polarity in the commercial world through dyes. Cloth is initially made from millions of fibers, and with each fiber there are millions of molecules and chains. Fibers such as silk and wool are identified as natural fibers since they are made from proteins which are typically long chains of amino acids. Amino acids are known to have many polar and ionic cites on them, this makes the fibers have a strong affinity for polar and ionic substances. On the other hand, nylon has very few polar sites so it is difficult to dye due to the lack of intermolecular forces. (Experiment 49 ‘Dyes and Dyeing A Practical Application of Bonding Principles’)
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by Bader
AND
al-Sabbagh - Grade
11
Lab Partner: Kevin Kang
In this unit of HL Chemistry we are exploring intermolecular forces of different molecules, atoms or ions. Intermolecular forces are forces of attraction and repulsion between neighboring particles and are weaker than intramolecular forces which is the force to keep the molecule itself together such as ionic (metal and non metal) and covalent (non metal and non metal) bonding. There are three types of intermolecular forces which are dipole-dipole forces, London dispersion forces and hydrogen bonding. Hydrogen bonding is the strongest intermolecular force, followed by dipole-dipole and London dispersion forces (wikimedia). The purpose of this lab is to thoroughly understand the significance and importance of molecular structure and polarity in the commercial world through dyes. Cloth is initially made from millions of fibers, and with each fiber there are millions of molecules and chains. Fibers such as silk and wool are identified as natural fibers since they are made from proteins which are typically long chains of amino acids. Amino acids are known to have many polar and ionic cites on them. This makes the fibers have a strong affinity for polar and ionic substances. On the other hand, nylon has very few polar sites, so it is difficult to dye due to the lack of intermolecular forces (Experiment 49 ‘Dyes and Dyeing A Practical Application of Bonding Principles’).
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Ever spilled 2,2â&#x20AC;&#x2122;-Bis (2,3-dihydro-3-oxoindolyliden), Indigotin on your wool jacket? You most likely have. This creates a very powerful stain, and this is due to the intermolecular forces that occur between wool and indigo dye. Wool is a fibrous protein (polymer) composed of numerous amino acids (monomers). In a protein there are several functional groups that are common, including an amino group which is a nitrogen with two hydrogens and a carboxyl group which is a carbon, oxygen and a hydroxide as represented in the image (Carbonyl and Hydroxyl group). It also consists of a side chain which is several carbons and hydrogens, depending on the protein. Indigo is a compound that is organic with a chemical formula of C16H10N2O2 and had the strongest dye impact on wool in relevance to the other dyes. Indigo dye is a very strong dye for wool because of the intermolecular forces between the two compounds. There is hydrogen bonding between them, making the wool hold strongly to the indigo dye. Wool has a big amorphous area, which means its flexible and contains many molecules packed so close to each other that it has the tendency to form really strong hydrogen bonds. Due to wools flexibility, wool has weak intramolecular bonds with only a small number of cystine linkages. In addition, in this lab the wool was placed in a solution of malachite green and a few other dyes which makes the fiber even weaker since it becomes wet and the shape becomes instantly distorted leaving much opportunity to form intermolecular bonds and in particular hydrogen bonds. To the right is the image of the results of the experiment after test fabric was placed inside a hot bath of indigo dye. The test fabric includes six different fabrics including wool, acrylic, polyester, nylon, cotton and acetate (in order left to right). The strip on the top is the test fabric without bleach or soap while the one on the bottom was washed with soap and bleach in order to remove the dye. As you can see the bleach had little to no effect on the fabrics. This can be due to the concentration of the sodium hypochlorite or even that the intermolecular forces were too strong to eliminate. As you can see in the results the indigo dye had the strongest impact on the wool due to the intermolecular forces involved.
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A blind Alley by Lamia
Lee Seffar - Grade
The novel Midaq Alley by Naguib Mahfouz depicts the lives of those who inhabit the “now crumbling” infrastructure of one of Cairo’s “gems of times gone by” (1). Mahfouz conveys the experience of the Alley’s citizens during Egypt’s pivotal political moments in the 1940s, when the country is being exposed to Western-influenced modernization that offers both promises and threats. Mahfouz personifies the dark, dank, and isolated setting that is Midaq Alley, and exposes the feelings of suffocation its denizens feel, as it “grinds down its inhabitants... then carries on, indifferent to their plight” (Takieddine-Amyuni). Two of the Alley’s occupants, foster-siblings Hussain and Hamida, hunger for change, but the Alley is determined to maintain its traditional, yet oppressive, social order. This encapsulates the novel’s central conflict; the power struggle between those who yearn for the changes Westernization brings, and those who denounce them. In the opening scene of the novel, within the Alley’s buzzing cafe, an old poem reciter calls upon a youthful waiter to bring him a beverage. In response, the youth “faces slightly towards him and after a slight hesitation, turns his back on him, completely disregarding his request” (4). This interaction reflects the attitude that the youthful, iconoclastic, and arrogant Hussain has towards the ancient Alley, as he feels he owes it nothing because it denies him the opportunity to live as he chooses. For Hussain, the Alley offers a “dreary life” in which everyone can “only make a bare living” (35), and his hatred for his surroundings makes him want to leave, “to be entirely within his own rights," and “lead a different life” (115) away from the poverty stricken neighborhood. This desire brews conflict, as in the traditional nature of the Alley men are expected to financially support their parents as they get older. Hussain rejects his familial obligations and plans to leave the 42
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Alley to pursue a more prosperous existence working for the British Army, one free from the rigid demands of traditional life in the Alley. His frustration with his current situation blinds him from considering what he will do if his plan fails, thus exposing the naïvety of those who have been enticed by promises of riches. The novel’s heroine Hamida feels oppressed within the Alley, as it rejects all modern values being introduced, especially those concerning gender equality. The traditional expectations of Egyptian women included marrying, bearing children, and obeying their husbands, but this changed with the arrival of the British. The novel depicts the tumultuous political and social times in Egypt in the 1940s when: “The state apparatus’s weakness and ineffectiveness allowed women to engage in activity in opposition to that of mainstream society” (Botman), since the penalties for rebellion were unclear and the judicial system was corrupt. At this time, increasing numbers of women were seen publicly fighting to have their worth based on more than just their beauty, purity, and obedience (Botman). Although this was historically the case, this progressive behavior is lacking in Mahfouz’s female characters. This is the result of both an absence of education in those living in the Alley, a factor that is attributed to their low economic class, and “self- perpetuated ignorance” (Hasenfus). The self-centered and ambitious Hamida marvels at the lives of her factory working friends as she walks with them along Sharif Pasha Street each afternoon and “[envies]... their freedom and obvious prosperity” (40). Hamida acknowledges that “her age and ignorance have deprived her of their opportunities” (41), because although she may have a radical way of thinking, without an education there is not much she can do to alter the fact that in the Alley the rights and entire lives of women are determined by men. Hamida has dreams that concern wealth and although she does not necessarily want to be married, she acknowledges that it is the only way she can fulfill her aspirations as long as she is stuck within what she refers to as “Nothing Alley!” (27). She hopes for a wealthy suitor, but settles for the local barber, Abbas, whose “financial state [is] not impressive” (43) but who promises her he will make a fortune by going to work for 43
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the British Army. The engagement is a result of Hamida’s uneducated state and subsequently her inability to make money on her own, not only because of her gender, but also because the Alley is barren of opportunity. Overall, within the Alley Hamida feels oppressed as she is forced to conform to strict societal norms in order to feel as though she belongs. Both Hussain and Hamida support the modernization movement and find themselves “enticed away from the roles natural to their birth and upbringing by the hope of material gains chiefly through work with the British Army” (Gassick), but the results of this are shockingly dire. Hussain joins the British Army and although he knows the war has the risk of only being a temporary source of income, he claims “an arm which can make money during the war can make double that in times of peace” (34). However, he is entirely wrong in this respect as towards the end of the novel, when the British begin to withdraw troops, he faces his downfall and returns home penniless and humiliated, having been “laid off” (209). Similarly, Hamida “[embraces] materialistic values and moral depravity in her rebellion against lower-class life” (Sisken), as she
“Hamida
feels oppressed as she is forced to conform to strict societal norms in order to feel as though she belongs.”
allows herself to be seduced by the luxurious lifestyle that will come with her submission to a pimp who works with the British Army. She moves away from the Alley, to break free from its suffocating social expectations. Although her financial situation improves, she is still subject to objectification and male dominance, and therefore has not been freed from the oppressive plight that women of the Alley face. Her downfall comes at the end of the novel when a glass is thrown at her face by her jealous lover, Abbas. Her beauty, the only thing providing her with an opportunity for a prosperous life away from the Alley, is lost. Hamida has no choice but to return to the Alley and live with her foster mother who “[hopes] to reap some of the profits of this ample 44
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treasure” (285). Both Hussain and Hamida leave the Alley to escape societal obligations and attain wealth but ultimately fail in their quests and must return. The power struggle occurring between the Alley and its progressive youth is symbolic of the Egyptian nationalist movement of the 1940s that worked to rid the country of British colonialism. This battle was being fought mainly by those of the Muslim Brotherhood, and therefore nationalism became the resistance to Westernization and a return to the traditional values of pre-revolutionary Egypt (Hasenfus). The nationalists ultimately prevailed against the British, thwarting all those in pursuit of change, just as the Alley has done, forcing its inhabitants to accept their plight or lose everything trying to escape it. Overall, although Hussain and Hamida may have dreams of attaining social reform, they have found themselves “[trapped] between three walls” (1) that act as their adversary, as the Alley’s crippling neglect seems to battle them not only within its enclosed darkness, but wherever they go. “The alley itself remains triumphant over all adversity” (Sisken), and even when the characters attempt to escape it, its debilitating nature follows them, and they must ultimately return after finding themselves in situations so horrid that the Alley, in comparison, no longer looks so hostile in its dark embrace, but instead seems to protect them from the terrors that lie beyond its three walls. g
Works Cited Botman, Selma. “Women’s Participation in Radical Egyptian Politics, 1939-1952. Libcom.org N.p., 06 Nov. 2013. Web. 16 Sept. 2015. Hasenfus, Stephanie (2013) "Destroy or Be Destroyed: Contending with Toxic Social Structures in Naguib Mahfouz’s Midaq Alley,” The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English: Vol. 15: Iss. 1, Article 7. Mahfouz, Naguib. Midaq Alley. Trans. Trevor Le Gassick. New York: Anchor, 1992. Print. Sisken, Dan. “Midaq Alley.” Washington Report on Middle East Affairs. American Educational Trust, Jan. 1989. Web. 16 Sept. 2015. Takieddine-Amyuni, Mona. “Images of Arab Women in Midaq Alley by Naguib Mahfouz, and Season of Migration to the North by Tayeb Salih.” International Journal of Middle East Studies, Vol. 17, No. 1 (Feb., 1985), pp. 25-36.
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CI ad e NQ 7 Pr es en UAA ts : IINN SS The Writerâ&#x20AC;&#x2122;s Ink
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Gr
Bernie Sanders American runner Talking, boring, snoring My dad likes him Candidate Nicole Bruner and Aiden
Rose Blooming beauties Dancing, coloring, singing Their presence is golden Peaceful
Sophia Tolomeo and Meghan
Vegetable Kidsâ&#x20AC;&#x2122; nightmare Agitating, disgusting, whining Every bite is terrible PETRIFYING
Cupcake Deliciously sweet Waiting, inviting, tempting Melting in your mouth Treat
Ilias Aassal and George Hage
Nicole Bruner and Fatima Al-Sabbagh 46
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Pencil Writing utensil Copying, breaking, sharpening It’s inside your pencil case Crayon
Basketball Scoring hoops Dribbling, passing, guarding Moment you’ve waited for NBA
Isaac Jensen and Takafumi
Danika Boucher and Emma
Gun Dream destroyer Murdering, killing, shooting Pull trigger, end life Weapon Fatima Al-Sabbagh and Anna
ATV Stunt vehicle Falling, drifting, crashing Fun in the dirt Motorcycle
Ferrari So cheap! Calling, paying, towing Money grows on trees! Fab!
Yassine El Hajji and Mary Potter
Cloe Badin and Meghan Mohr
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The Writerâ&#x20AC;&#x2122;s Ink Music
Very Appealing Performing, practicing, synchronizing Master piece of greatness Passion
Music Issue 2 Beautiful sounds Careful your ears Singing, rapping, dancing Cultural
JiHwan Kim and Nassym Aitchitt
Cloe Badin and Youssef
Ocean Blue carpet Swimming, diving, snorkeling The beauty of nature Water Meryem Benhallam and Nathan G. Makeup Colorful, bold Covering, appealing, shining Hiding your ugly face Powder Jack Driehaus and Titim Oujamaa Time Never stops Ticking, passing, recording Made history for everyone Now Isaac Jensen and Takafumi 48
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Image Credits (in order of appearance)
Coloured drawing of Shakespeare. Digital image. N.p., n.d. Web. 25 May 2016. <http:// cdn.spectator.co.uk/content/uploads/ 2015/12/iStock_000023304291_Small1.jpg>.
Picasso, Pablo. Les Demoiselles D’Avignon. 1907. Oil on canvas. Museum of Modern Art, New York City. Georges Braque, Landscape at L’Estaque, 1906. Oil on canvas, 23 ? x 31 ? inches. Merzbacher Kunststiftung © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris
Book of Shakespeare's plays. Digital image. N.p., n.d. Web. 25 May 2016. <https:// learnenglishteens.britishcouncil.org/sites/ teens/files/styles/article/public/ istock_000018699039small_0.jpg? itok=I_0jBwcD>.
Braques, George. Viaduct At L'Estaque. 1908. Oil on canvas. Musée National D'Art Moderne, Paris, France.
Artwork of Shakespeare's plays. Digital image. N.p., n.d. Web. 25 May 2016. <https:// upload.wikimedia.org/wikipedia/commons/ 7/78/ Procession_of_Characters_from_Shakespeare's _Plays_-_Google_Art_Project.jpg>.
Picasso, Pablo. Guernica. 1937. Museo Nacional Centro De Arte Reina Sofía, Madrid, Spain. Guernica by Pablo Picasso. Web. 25 May 2016. <http:// www.pablopicasso.org/guernica.jsp>.
Shakespeare's writing. Digital image. N.p., n.d. Web. 25 May 2016. <https:// upload.wikimedia.org/wikipedia/commons/ thumb/5/5b/Shakespeare-Testament.jpg/ 220px-Shakespeare-Testament.jpg>.
Self Portrait Facing Death, Mougins, 30 June 1972, Pencil and crayon on paper, 65.7 x 50.5 cm, Fuji Television Gallery, Tokyo, Zervos XXXIII, 435
Drawing of Andreas Vesalius over a dissected body. Digital image. N.p., n.d. Web. 25 May 2016. <https://www.nlm.nih.gov/exhibition/ emotions/images/1b123.jpg>.
Paint Streak. Digital image. N.p., n.d. Web. 25 May 2016. <https://cbpofarizonainc.com/ wp-content/uploads/paint-streak.png>. Streak. Digital image. N.p., n.d. Web. 25 May 2016. <http://stambaughpainting.com/wpcontent/uploads/2014/12/stroke.png>.
Stargirl. Digital image. N.p., n.d. Web. 25 May 2016. <http://e08595.medialib.glogster.com/ maxpuppie/media/ 82/8248a9ecdee19d10065135fe0d6d3bf13f3b 2b77/stargirl.png>.
John Brown. Digital image. N.p., n.d. Web. 25 May 2016. <http://a4.files.biography.com/ image/upload/ c_fill,cs_srgb,dpr_1.0,g_face,h_300,q_80,w_30 0/ MTE4MDAzNDEwNDY1MDMxNjk0.jpg>.
To Kill a Mockingbird - Book Cover. Digital image. N.p., n.d. Web. 25 May 2016. <https:// thecreatorsproject-images.vice.com/contentimages/contentimage/no-slug/ 1d38be1be2fee35f1f6c3fcd64d7fb96.jpg>.
Blue Galaxy Background. Digital image. N.p., n.d. Web. 25 May 2016. <http:// www.wallpaperup.com/uploads/wallpapers/ 2015/03/26/646473/ big_thumb_246c532c0876cd404ad4b4265e65 9ace.jpg>.
Creative Man and Woman Silhouettes - Vector Set. Digital image. N.p., n.d. Web. 25 May 2016. <http://images.all-free-download.com/ images/graphicthumb/ creative_man_and_woman_silhouettes_vector_ set_542443.jpg>. Tree Decals Vinyl Trees. Digital image. N.p., n.d. Web. 25 May 2016. <http:// www.vinylsilhouettes.com/content/images/ thumbs/0003379_tree-12-vinyl-wall-decalstree-silhouettes.gif>. Old World Map Copy. Digital image. N.p., n.d. Web. 25 May 2016. <http://traitduniononline.eu/christinehollrotter/files/2010/10/ old-world-map-copy.jpg>. Othello Poster Cover. Digital image. N.p., n.d. Web. 25 May 2016. <https://s-media-cacheak0.pinimg.com/236x/f3/e5/cb/ f3e5cb09118d398f49872ced0f611f26.jpg>. Othello and Iago. Digital image. N.p., n.d. Web. 25 May 2016. <http:// wikidshakespeare.pbworks.com/f/ 1310846065/large-Othello_and_Iago.gif>.
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