Inner Workings, Outer Stasis by Eric Gasper

Inner Workings

Outer Stasis Eric Gasper

Contents Foreword…………………………………………………………………………………..3 Compare and Contrast-TTTC and SH5……………………………………………………4 Position Paper- Short Stories…………………………………...…………………………6 Frankenstein Essay………………………………………………………………………...8 Compare and Contrast- Whitman and Hughes…………………………………………..10 Position Paper- Drama Elements- Helen………………………………………………...12 Othello Literary Criticism………………………………………………………………..15 “The Pawnbroker” Group Essay…………………………………………………………16 Prose Response…………………………………………………………………………..19 Open Ended Question……………………………………………………………………21 College Essay…………………………………………………………………………….23

Foreword Looking back on the past year of work, I have begun to see the effects of time on the efforts of a high school senior. I notice a trend in the writings, beyond the obvious fact that each is similar in concept and meant as a tool for learning. I find that the repetitive dissection of literary works into their use of figurative language, diction, syntax devices, and the like has led to repetition on my part as well. Words, thoughts, and layout find themselves being recycled over and again in my works. Be it a lack of interest in literary analysis, built up through years of schooling, or a case of the dreaded “senioritis,” my writing has suffered a progressive downward spiral in quality. Perhaps this in itself is only my harsh self-criticism as a writer, but I find myself time and again asking, “What was I thinking?” Simply put, it is not that I am completely unsatisfied with my work, but rather that I feel it could have been much improved if more effort was put into the pieces. Granted, this collection is a very limited sample of the full spectrum of my writing abilities. If nothing else, I myself am aware of my capabilities as a writer, and I know that they extend far beyond the confines of literary analysis. This awareness is what gives me the will to continue writing on a broader range of subjects, in a style that is more suitable to my tastes both as a reader and a writer. My only wish as the author of this collection is that you, the reader, accept it for what it is: the efforts (or lack thereof) of a high school senior in a literature class. With that, please enjoy and maybe even take something out of the fruits of my past year of writing.

Traditionally, effective endings in novels are characterized by explicative and definite closure. This gives a sense of peace, and the idea that everything afterwards is irrelevant to the plot. However, some novels, such as The Things They Carried and Slaughterhouse-Five end abruptly, uncertainly, and ambiguously. Even so, the endings appropriately conclude their respective works. In both novels, the main character is left with unresolved problems and inner torment. In The Things They Carried, the narrator Tim O’Brien does find some degree of closure, and elaborates on his thoughts. In Slaughterhouse-Five, on the other hand, Billy Pilgrim is left in a state of total uncertainty, but shows little concern for his predicament. O’Brien, is still haunted by his experiences in Vietnam, and his future is thus constantly adversely affected. He still questions his own past; he is “forty-three years old, and a writer now, still dreaming Linda alive in exactly the same way” (pg. 273). Similarly, Billy Pilgrim is left in the ruins of Dresden, still unstuck in time and no more emotional than at the beginning of his experiences. Both main characters obviously have many more stories that remain untold, and both of their stories end with a feeling of uncertainty. Although both novel’ endings are similar, on other levels they greatly diverge. In the case of Tim O’Brien, the ending is slightly more satisfactory; he discovers his purpose in writing, and this in turn helps him cope with his memories of the war. “I realize it is as Tim trying to save Timmy’s life with a story,” he finally concludes (pg. 273). Less fortunate is Billy Pilgrim, who remains stoical and unfeeling throughout the novel, even in the end. While his life and death are revealed at varying points in the novel, his situation in the ruins of Dresden give a felling of uncertainty. To further

complicate the ending of the novel, the narrator presents his own problems in addition to Billy’s predicament. The narrator states, “My father died many years ago now… he left me his guns. They rust,” as if to compliment the troubles of Billy Pilgrim (pg. 210). While both The Things They Carried and Slaughterhouse-Five end in unconventional ways, they tie in with the themes of the novels, and are thus appropriate conclusions. The Things They Carried consistently touches on the subject of truth in stories, so with the revelation of the meaning of a story comes a partial solution to the author’s intended question of the meaning of truth. Tim O’Brien the author gives ample examples from which to conclude the importance of truth in itself. On the other end of the spectrum is Slaughterhouse-Five, which is already confusing in its science fiction themes. The ending derives its effectiveness from those fantastic plot techniques; it is uncertain, out of chronological order, and ends without a feeling of content on the part of Billy Pilgrim. Both novels were written to be thought provoking, deep, and even confusing. Thus, their ambiguous endings are appropriate in that they leave some plot lines unresolved and some questions unanswered. The seemingly hasty and mediocre endings serve their authors’ purpose well by evoking thought and interpretation. Without their uncertain endings, neither novel would have the effect that its author intended.

Humans often dream of what it would be like to be unable to feel pain. The main character of T. Coraghessan Boyle’s “Sin Dolor” lives out that dream despite his will and shows that it is in fact not a glorious as it is often imagined to be. This is the very message that the authors trying to convey; people are often unsatisfied with their own position in life and will go to unreasonable and unthinkable extremes to change their situations. Through an intricate weaving of literary elements, the author presents his purpose for writing the story with multi-faceted characters and fantastic yet at same time believe plot. In “Sin Dolor,” Boyle creates characters that are easy to sympathize with, yet also can evoke feelings of disdain. The prime example of this is the Doctor. His ambitions of being a widely recognized doctor and living in an easy to identify with because almost all people naturally wish to be noticed and able to live comfortably how they please. At the same time, the doctor acts selfishly by clearly manipulating Damaso, who is known as “Sin Dolor,” to fulfill his own desires. The father is also displayed as a self-centered and pompous individual, even more so than the doctor. He simply uses his own son as a sideshow attraction to make a little extra money, something that even the doctor recognizes as cruel and immoral. Damaso is obviously intended to be the main object of sympathy and the leading method of revealing the authors purpose. He is the one who is constantly taken advantage of, but remains true to his family and considerate of those who to try to imitate his fears of self-mutilation. The author develops his characters in a way that adds to his point in a positive way. The doctor comes to truly care for Damaso and recognize what the boy tells him: that he does indeed feel pain I his heart. By the end of the story Damaso also develops in that he is more open about his own feelings and his

consideration for the children of the town where he is displayed. The characterization makes it painfully obvious that the author is trying to convince people to simply be content with the way they are in life. To date, science has in no way proven that a natural ability to not feel physical pain is feasible. Thus, the main source of conflict for the characters is an obvious and fantastic plot mechanism. Still, such an unrealistic element to the plot seems more believable simply because it cause normal human problem for the characters. Thus, the story just seems like it could be realistic, and might even be mistaken to be a work of nonfiction. This method of developing the plot is essential to the author’s purpose. He makes the story seem real so that others may in some way relate it to their own life and find deep and personal meaning behind it. Generally, Boyle conveys the idea that people must find satisfaction in their lives, even in trying situations. Otherwise, they may end up like Damaso; not in his exact situation, in a similar state of perpetual dismay and selfloathing. The final plot twist, Damaso’s death (most likely suicide), is an exaggerated but powerful means of displaying the outcome of a low sense of self worth. Thus, the author has a perfect control over the emotions that are connected with his work and can use this control to easily convey his message. It is said that all writing is meant to advertise something. In some cases this may be a product, in others a lifestyle, and in others a simple yet powerful message. Writers of thoughtful fiction advertise the latter, each in their own way and with their own subtly ideas.

The laws of cause and effect often have tragic implications beyond the scope of human control. This fact is frighteningly displayed in the novel Frankenstein by Mary Shelley, wherein a man by the name of Victor Frankenstein brings life to a creature that soon proves to be his downfall. Although he is undoubtedly an instrument of great suffering, Frankenstein’s monster also reveals himself to be a tragic figure who is in many ways more deserving of sympathy than his impulsive creator. The true tragic vision of the fiend’s tale is that his complete and utter loneliness cause him to lead a life of evil deeds. The monster’s crimes are have both physical and spiritual outcomes; he murders those close to Victor and thus mentally and emotionally tortures his creator. The creature’s tragedy begins with his creation on a stormy night at Victor’s college apartment. Abandonment is the most painful negative emotion, and one that the creature feels immediately from the time of his unnatural birth. By bringing physical suffering on those who are related to his despised maker, the monster hopes to ease his own pain, but by fulfilling his own desires he brings the ultimate pain to others. These situations are both ironic and tragic. For the creature, the only way to ease suffering is by bestowing it upon his creator, and thus his creator’s relatives, but as an old saying goes, “two wrongs do not make a right.” Herein lies the tragedy of the fiend’s existence: his lack of applicable worldly understanding and his constant questioning of his own existence only allow him to find relief from his own pain by wreaking havoc upon his enemies, whom he extrapolates to include all of humanity. The pain that the monster inflicts reflects his own pain, making his story ironically tragic. Through the misdeeds of his monster, Victor Frankenstein himself is a victim of his own misguided knowledge and imprudent work. The synthetic being tortures his

creator ceaselessly, whether intentionally or simply through the fact of his existence. The tragic vision of the novel, from the standpoint of the creature, is thus realized in that the being has no control over his life, but nonetheless his existence is a burden, if not a cataclysm, to everyone around him, particularly Victor. The recurring theme of misguided knowledge applies not only to creator, but also to creation. After gaining the ability to think logically and communicate, the creature becomes a true instrument of suffering, and has the ability to rationalize his actions. While he appears at first to be a cruel instigator, the monster reveals himself to be a tragic figure by relating his own emotional pain, relating his nefarious actions and deplorable existence in a way that fosters both disdain and remorse in his multiple audiences. Throughout the novel, tragedy and horror blend perfectly to create a tale that evokes emotions from terror to sympathy to grief. Contrary to first impressions, the most grievous of all those involved in the tale of Victor Frankenstein is the creature, who suffers endlessly and, consequently, inflicts suffering on those he believes to be his enemies. Such common emotions as rage, dejection, and vengefulness are signs that Frankenstein’s creation is more “human” than many believe him to be, thus making his life of exclusion all the more tragic. Even until the last moments of his known existence, the monster is rejected, and he comes to accept that as his only lot in life. The creature’s life ends just as it began: ambiguously, without meaning, and uncared for. An amalgam of science, foolishness, and death, Frankenstein’s monster will forever stand as a symbol, albeit a fictional one, of the consequences of unthinking actions, the suffering they cause, and the tragedy that will inevitably ensue.

Throughout its history, America has had both ardent supporters and staunch critics, many of whom have chosen to express their ideas through poetry. The poems “I Hear America Singing” and “I, Too, Sing America,” by Walt Whitman and Langton Hughes respectively present two dissimilar viewpoints are expressed through each poet’s use of diction, syntax, and rhythm. Both poems express an attitude of acceptance with the situation of America. They are observant and understanding of the situation of the country. However, the two attitudes diverge in how they respond to their observations. In “I Hear America Singing,” the speaker is content with the way things are, and grateful for the songs he hears from every distinct person. The speaker in “I, Too, Sing America,” while he has come to accept his situation as “the darker brother” whom “they send… to eat in the kitchen,” has an attitude of hopelessness about the future. He clearly expresses his belief that the way things are is not always the way they will be in the future. In away, his attitude is somewhat spiritual toward the system he is inevitably a part of. The most obvious technique that Whitman’s and Hughes use differently to express their attitude is diction. Whitman’s word choice is bright and more complex, with descriptions of “carols” that are “blithe and strong.” Conversely, Hughes uses darker, simpler words to express his shortness and discontent. Both poets use the fact that words are the first part f poetry to be noticed to their advantage and thus effectively express their individual attitudes. Syntax is a technique that both poets use in a similar fashion to express their common attitude of acceptance. Both authors employ the use of commas and hyphens to keep the sentences within their poems running long but smoothly. These long sentence

imply acceptance by the words used within them. “I Hear America Singing,” the longer of the two poems, uses extended sentences to show that the speaker has less to prove and more to just say than the speaker of “I, Too, Sing America,” who has a point he feels must necessarily be conveyed. To present their individual attitudes of either contentment or hopefulness, the poets make use of different rhythms in their two distinct poems. Whitman’s work has long lines that often contain a complete thought, while Hughes writes shorter lines with sentences that may carry over three or four lines. Hughes rhythmic style in particular is effective in conveying his hope for change in the future. By making the lines in his poem short and precise, each one has a powerful impact, while still being part of a complete sentence. Thus, Hughes conveys his message more powerfully, while Whitman simply wishes to share in his love and contentedness with America. This country’s past is indelibly marked with both good and bad times, and the poetic work of this past give a deep insight to these two opposing situations. By understanding both the positive and negative aspects of past American society through the emotional stream of consciousness of poetry, a greater respect for the advances of the country can be achieved. The poets of the past prove that their art form can be just as educational as strict historical study, and thus that language is the key to social connection.

Among ancient Greek dramatic playwrights, few are more respected and read than Euripides, author of the timeless drama Helen. Over the years, various translators have adapted the works of Euripides, each putting their own style into the plays along the way. In Rachel Hadas’ feministic translation of Helen, Hadas uses believable characters, a feminist thought process, and modernized diction to tell the story. The characters in Rachel Hadas’ translation of Helen, although sometimes eccentric and seemingly old-fashioned, have been given modern and more believable personas. Being a feminist, Hadas uses her characters to represent certain characteristics that further her viewpoint. Throughout the play, the character of Helen is seen as a strong and dependant woman, while at the same time self-pitying and unsure of how to solve her problems. After living with the king of Egypt over the course of the events of the Trojan War and then discovering her husband Menelaus is alive, she plots to escape from the Egyptian King Theoclymenus and, in a brilliant display or wit and deceit, she escapes with her true husband. This event at the end of the play shows Helen’s ability to think and act for herself, a trait rarely seen in women of her time. Menelaus is represented as the war-hero husband, bettered by his respect and undying love for his wife after seventeen years of being separated from her. Although we think of these modern characteristics as commonplace, the fact that Hadas is translating a work from over two millennia ago shows some insight to her feminist viewpoint. She creates a somewhat idealistic ancient world in which men and their wives are on an almost equal standing, and women have wide influence on their own. The feminist thoughts and themes presented in Hadas’ translation of Helen, while now accepted as natural gender roles, give a more positive outlook into the time in which

the story takes place. To convey her positions, Hadas uses a combination of many other elements of the story, most noticeably plot and characters. The idea that the entire Trojan War was sparked by the kidnapping of Helen, while always accepted in Greek mythology, is a good start for Hadas’ message that women have profound impacts on the lives of men. The characters of Helen and Menelaus complement each other to show how an ideal lasting relationship should be, something that may not have been so expressly stressed in Euripides’ original. The common theme of escaping a predicament through power of wit and trickery is shown differently in that two women, Helen and the King’s sister Theonoe, collaborate for the good of one. Although much of the play does use an older diction style, in many places Hadas has chosen to update her translation to include much more modern and informal language. This helps readers of her work since its publication in 1998 to better understand her re-writing of an antiquated piece of literature and thus more fully grasp her message. Helen, being the lead character and most obvious choice for supporting feministic ideas, speaks to her messengers and her husband in casual language that did not even exist to be translated in the 400s BC. While it is true that Hadas is not remaining completely faithful to the original text by strictly translating it, this fact is trivial when considering her goal in translating the work. Writing to a modern audience requires Hadas to make some exceptions in her work, and this is truly for the better to reach her ends of conveying a feminist theme. The natural order of the world demands that old things must be renewed, and one of the most artistic ways to reinvigorate a respect for the past is to retranslate old literature. Modern translators have their own messages to convey, in addition to the

themes presented by the original authors, making translating one of the most intricate forms of writing. Through this, though, people can read literary masterpieces of the past and get a current lesson at the same time, without even realizing it.

Al-Amin, Zakia. “Othello: The Tragedy of Human Nature.” Othello Research Paper. 5 May 1999. 13 Feb. 2009 <facstaff.gpc.edu>. This is a good source because it provides a detailed viewpoint that is not generally considered. It calls Iago the protagonist of the play, and criticizes Othello the character throughout. It gives an opposing argument and says that it is Othello’s own fault that he is manipulated and eventually driven to madness. The author is totally unsympathetic toward Othello even in his death. The essay is well thought out, as it must be to provide such a unique viewpoint, and would thus be a good source to use when writing a paper.

“Othello- A Tragedy Without Meaning?” Echeat. 5 July 2004. 22 Feb. 2009 <echeat.com>. This is a good source because it is a simple and practical analytic essay over the play as a whole. It describes the reasons for Othello’s downfall in a conventional, three-point method, which is easy to read and understand. It thoroughly analyzes not just Othello, but also all of the play’s characters in general, arguing that setting has a major influence on the characters’ actions. It makes the point that love, while usually thought of as a positive characteristic, is the cause of downfall for many characters in the play, not just Othello. The essay’s use of quotes to back up its argument demonstrates that it would be a viable and useful source for a research paper on Othello.

Throughout “The Pawnbroker” by Maxine Kumin, the speaker addresses her inner and outer worlds and the conflict between the two. She is dealing with the death of her father and managing her feelings about the event. In her life, her father was a constant stress. He brought the family negative attention with his crude speech and actions. The speaker was constantly haunted by the decisions of her father all during her childhood. Now, however, she is freed by his death. He is no longer there to make rash decisions negatively affecting her image. Although she is relieved to be free from this attention, she still feels some loss simply because the man is her father. Through her reflections, the speaker comes to terms with her inner turmoil but has yet to resolve her external. Although an emotional time for the speaker, the death of her father is somewhat a cleansing experience. While she was growing up, the speaker’s father was a constant let down to her. From his politically incorrect speech to his lowly job, he was a constant cause for public scrutiny. The speaker uses verbal irony by saying everything she owned was secondhand in the beginning and restating that the only thing she was given firsthand was a love for her father. Even this, though, she says was only a “love ingrown” because he was her father. He was never a positive role model for her and the negative attention he brought to her family could not have done any good. After his death, she was finally free from any lingering judgment passed to her by her father. In spite of her father’s external flaws, the speaker has “an ingrown love” for him. Although she has suffered with his choices and actions in his life, he has always loved her as his daughter. These two opposites of blatant disregard for those whom he feels superior and his unconditional love for his family love have clearly caused an internal

struggle within her. The disdain the speaker has for her father’s action has been at constant battle with the deep love she has for her father because he is her father. However eventually, her love for him proves stronger than her disapproval through the metaphors she uses to describe him shortly after his death. He is her “lifetime appraiser” and “first prince.” Even after his death, she will continue to seek his love but will no longer have to overlook the imperfections of her father. Despite being closely interrelated, the speaker’s external and internal struggles are starkly contrasting in some aspects. Externally, she never truly comes to terms with her father and the many struggles his actions put her through during his life. Internally, however, she has always had an endearing love for the man. With his passing, she and her siblings felt something of a cleansing, alluded to in religious terms. The scotch that the speaker drank after her father’s death is the symbolic reprieve from her internal struggles with the idea of her father, “the sacrament of closing down the hatch/ the sacrament of easing down the ways.” Her external unrest is similarly expressed in religious terms. She reminisces on “the grace of work, the sweat of it, the bone-tired unfolding down from stress.” Thus, using religious symbolism, the speaker contrasts her internal and external qualms. Throughout “The Pawnbroker” the speaker conveys her mixed feelings about her father in a way that portrays him as both loving and callous, hardworking and ignorant. Her final resolve to forgive and love her father, despite the fact that he is no longer alive to know what forgiveness, is a mature and moving choice that establishes her as a strong person. She is relatable character that faces struggles similar to those of many people,

and her final decision to move on from her past struggles makes her an example for those who share her pain.

Joy Kogawa, in her novel Obasan, creates a narrator who reflects on the experience of Japanese Canadians during World War II in a way that is relatable while at the same time somewhat childish and confusing. Through the brilliant usage of changing point of view and structure, and ample details, the narrator becomes almost too believable, recounting events with striking clarity and a sense of innocence that belittles her situation. Although the same narrator tells the story throughout, she changes her perspective at several points in the passage. She begins talking in the first person plural, speaking for everyone around her as they make the journey to the internment camps which will be their homes for an indefinite time period. She then changes to first person singular, giving her own unique perspective on events that have occurred in her life. Finally she looks on as her Obasan does an act of kindness for a poor single mother. This changing of perspective gives the idea that the narrator is not quite sure how to look at her current situation; she cannot decide if she should act as a group with others, deal with her problems herself, or simply be removed from everything and watch what happens around her. On the other hand, the narrator does not switch constantly through different viewpoints. Her thoughts are structured in this way, proving that she understands her surroundings well, but cannot decide how to act on what she is feeling. Kogawa uses a unique and effective style in crafting her story and its narrator. There are many rich details throughout the passage, showing that the speaker is highly attentive and has strong opinions regarding her surroundings. Conversely, there is relatively little figurative language, suggesting the naïveté of the narrator. This is what

gives the impression that she is a relatively young child; she sees things in detail but cannot express how they play into a situation which she cannot fully understand. The details that are used are simple ones. They describe objects rather than feelings, further evidencing the idea that the narrator is a child who is confused as to where she is being taken in her life. Using these changes in perspective and a simple yet meaningful style, Kogawa shapes the narrator of her novel into a girl with complex, unresolved emotions about the past. While she is still clear thinking and highly perceptive, she cannot fully grasp where she is going or why she is being taken there. She is a very human character, one who is believable and complex, and thus able to be sympathized with.

Throughout As I Lay Dying, one character is a constant and driving presence, yet appears in only one chapter. Addie, the mother, wife, and uniting member of the family, dies very early in the novel, yet it is she whose presence drives the action and development of the story and its characters. After Addie’s death near the beginning of As I Lay Dying, the other characters have one goal in mind: finding her a suitable burying ground. To achieve this end, they face many hardships and struggles, both external and internal. Although Addie, being dead, has no direct role in the action, it is all based on her. The fact that her family goes to such great lengths to ensure her safe rest after death shows what a profound impact she had on them before she passed away, and before the novel even began. Thus, a character who appears very little in As I Lay Dying has more of an impact on the action than any of the characters that make frequent and regular appearances. Another way that Addie shapes the story of As I Lay Dying is by fueling the development of the other characters. Her death has a particularly strong effect on Darl and Jewel, two of her sons. Over the course of the novel, both of these characters experience a sort of reversal personality-wise. Darl goes from being the levelheaded, sympathetic son to the unstable, violent arsonist, while Jewel changes from an unsympathetic son to a second father figure for his younger siblings. As the characters themselves realize, these dramatic changes were brought about by the death of the boys’ mother. In this way Addies’s presence affects the development of other characters, in one case for the better and in the other for the worse. In his novel, Faulkner shapes a character who is so influential and omnipresent that even after her death she is the driving force behind every major character and event

in the book. The actions of other characters begin to shape an image of what Addie was like during her life. She was a loving mother, an understanding wife, and a source of strength for her whole family and even some others, which is why she is given the best treatment after her death. Faulkner changes the pace only once by having Addie narrate the story, seemingly from beyond the grave, thus forming the most well rounded characterization of her. This very brief appearance allows her to be more humanistic and less of an idol on a pedestal, which, from the way she is described and the effect she had on her family, she could easily be mistaken for.

Throughout my life, music has played an integral part in developing me into the person I was, am, and will be, whether I chose to let it do so or not. My father has been an avid fan of rock and roll music since the days of his childhood, and to this day is involved prominently in a church choir. My mother dedicated every spare moment of her high school and college years to performances of musicals and operas that ranged from small-scale student shows to big-time local theatre productions. Naturally, I have inherited my parents’ taste and appreciation for the art, science, and wonder that is music. Thus, one of my most rewarding achievements has been teaching myself to play the bass guitar. I received my first acoustic guitar at the age of eight as a Christmas present from my father, who had himself never learned to play the instrument, despite his deep yearning to do so. Over the next few months I strummed aimlessly at that stringed beauty that I could only fathom playing. Years passed and still I had not learned to create music. I outgrew both my guitar and my desire to tap into its beautiful music-making capabilities. Then, in my eighth grade year, I watched idly two of my closest friends taught themselves to play the guitar, almost literally right before my eyes. It was those friends that convinced me to again take up the instrument, and six years after receiving a half-sized acoustic, I was gifted with my first full-sized electric guitar. Even so, an obstacle stood in my path to learning the instrument. I had started high school, and academics, extracurricular activities, and new friends drastically cut into my free time. I again regressed to the mindset that I would never learn to play the guitar. It was not until I matured as a person and regained the passion for music thanks to the guidance of my friends that I made a promise that I would teach myself to play the

instrument that had come to entrance me. I received a bass guitar as a gift from a friend who had lost interest in the instrument, and thus began the summer after my junior year of high school. After practicing rigorously throughout my summer days, I became a bassist with skills comparable to those of seasoned players. I learned from this experience that to achieve a goal, I must be aware of my own abilities and unwilling to compromise in my endeavors. I discovered that when I dedicated myself fully to an activity or skill, I become a highly focused individual and an unusually quick learner. Perhaps it was my parents’ music-laced genes that helped me to acquire a skill that I had always desired, or perhaps it was my own dedication. Either way, my learning to play the bass has been a personally enriching and mentally reassuring achievement, and one that I am infinitely proud of. I currently play bass in a band with the friends who reintroduced me to the magic of the guitar, and I hope that with them I will continue to build and develop my love for music. Through my own efforts I have made for myself a niche in life where I can continually be enriched and rewarded, and that is one reward that is utterly irreplaceable.