Eating Too Much Meat Will Kill You Essay Example for Free

Eating Too Much Meat Will Kill You Essay Bill Cosby once stated, â€Å"Did you ever see the customers in health-food stores? They are pale, skinny people who look half dead. In a steak house, you see robust, ruddy people. They’re dying, of course, but they look terrific.† On average, Americans consume about 8 oz. of meat a day, twice the amount as the rest of the world; about one-sixth of the total meat consumed, U.S being less than one-twentieth of the population. Meat is generally delicious, contains rich sources of proteins and minerals. Some nutritional diet programs like the Atkins Diet have linked certain types of meat-based diets to weight loss. On the contrary, eating too much meat has been linked to certain type of cancers, high cholesterol and an increased risk of contracting a foodborne illness. Americans need to recognize that diets high in meat increases the cancer risk and other health issues. Evidence suggested that consuming meat could damage the body. In a country known for its love for hamburgers and steak, consumers need to cut down on their meat for a healthy life. Consumers also need to understand grilling meat increase the risk of cancer. Part of the solution is eating healthy, but consumers also should be aware of what they’re eating. The big issue in America is quantity. Eating meat and fast-food meat on a daily basis for seven days a week, 365 days a year, is a big reason why the risk for cancer and other health diseases is dangerously high in U.S. United States slaughters more than 10 billion land animals every year (Freston 802), and the market research firm Packed Facts stated Americans spends 142 billion dollar on beef, chicken, pork, lamb at market retails. Eating too much red meat has been linked to increased risk of death from cancer and heart disease, according to a study from American Cancer Society, the more red meat you eat will increase the risk for cancer. A Journal published by the American Medical Association reported a 20-year study of nearly 149,000 adults between the ages of 50 and 74. Researchers examine the risk according to how much red meat, poultry, or fish the people had eaten. Researchers looked at how many people develop colon cancer after the study. The results were 30% to 40% are more likely to develop cancer in the lower part of the colon. People who ate the most processed meats were 50% more likely to develop colon cancer (Parish 6). Eating just three ounces meat a day increases the consumer’s chance of dying by 13 percent, and 20 percent increase if eating processed meat, like bacon and hot dogs. But it doesn’t mean we should completely cut out meat in our diet; these statistics demonstrates that the less meat you eat, the better. Consuming meat damages the body. According to Dr. Oz, from the Dr. Oz Show, eating a steak dinner can take two to three days to get out of your intestines (par. 3). Red meat takes more than 24 hours to completely digest. In the mean time, it is in your intestine rotting at 98 degrees, sending toxins through the body. Eating any food that does not completely digest will ruin your health. What happens is that the human stomach acids are not made to break meat down efficiently because of its high fat and protein contents. The body lacks the enzymes that digest proteins in the stomach. Protein digestion mainly takes place in the first section of the small intestines where the pancreas secretes the types of digestive enzymes to help break down nutrients into energy and allow the nutrients molecules enter the bloodstream. Hence, meat takes longer as it has to pass into the stomach and the intestines, opposed to carbohydrates, which are broken down easily by saliva and the stomach. Although red meat is digestible than any other food sources such as rice and vegetable, it remains in the digestive system for a longer period of time, leaving the meat to rot in your intestines. Dr Klein believes that animal protein is the primary cause for the inflammation of the intestines because meat rots in your stomach (4). It explains why eating animal protein for a long period of time can increase the risk of colon cancer. Also the kidneys work to remove excess protein from your body. Eating too much protein can stress out the kidney, leading to kidney damage. Grilling meat is a method that most people are familiar with. Grilling is part of American culture; it brings family and friends together for the holidays like Independence Day. Grilling is a method of cooking food hot and fast on your grill. Burgers, poultry, beef, seafood are typically grilled. Grilling is actually a much healthier option than frying food because it is low fat and you can grill food without adding oil on them. But unfortunately, grilling food may potentially introduce the risk for cancer. Those juicy hamburgers, especially the charred ones contains cancer causing chemical called carcinogen. When you grill meat, some of the fat drips down to the charcoal or flame and the smoke carry the carcinogen known heterocyclic amines (HCA ) and polycyclic armomatic hydrocarbons (PAH) to form. These compounds have been shown to affect our DNA and might cause cancer. PAH is the same smoke from forest fires, coal burning, car exhaust and smoking. Exposure to high amounts of PAH is dangerous to your health and long term exposure increase the risk of cancer. According to 2007 study in Epidemiology, women with high intakes of grilled, barbecued or smoked meats over their lifetime had a 74 percent chance of developing breast cancer (373). It is also important to not that these women has low intake of fruits and vegetables. Most people are not aware of the carcinogen when they are grilling the meat. But let’s face it, grilled meat taste good and people should not give up on their grass fed steak or burgers from the grill. There are couple ways to grill safely and reducing carcinogen. 1. Marinating meats for at least several hours that contains herb and spices can dramatically reduce HCA. Herbs/spices is highly potent antioxidant that helps prevent HCA formation. 2. Pre-cook the meat in either the oven or microwave and finish it on the grill to decrease the amount of the carcinogen. 3. Pick leaner cuts like skinless chicken, lean beef or pork; it decreases the fat from dripping down on the open flame. It also important to remember that well-done meat has a higher concentration of carcinogen. Medium-rare, or medium cook is healthier choice than well done. These tips to reduce and prevent carcinogen is a safe way to consume grilled meat, but what about restaurants that serves grilled meats? Unfortunately, the meat holds carcinogens. Study shows restaurant meat such as burgers, ribs, and chicken carry substantial amounts of carcinogen. Few years ago, KFC calls their new Grilled Chicken â€Å"the better-for-you chicken for health- conscious customers.† But a PCRM a test shows the grilled chicken contains a high level of carcinogen (Sullivan 12). Consumers eating grilled chicken from popular restaurant chains are exposed to substantial level of carcinogen. A study published in Nutrition and Cancers show that an independent laboratory examined one hundred samples from seven popular restaurants, and Phip, a carcinogen, was found in all the samples (33). These findings clearly show that eating grill chicken can potentially cause cancer. Consumers deserve to know what they’re eating is just as worse as a greasy high-fat fried chicken. It misleads consumers to think grilled chicken is healthy diet but in actuality a grilled chicken salad can increase the risk of breast cancer, prostate cancer, and other dangerous health disease. If that the case, shouldn’t the government or chain restaurant provide warning labels on their product? Since Tobacco Company labels their pack with a warning that cigarette causes cancer; restauran ts serving cancer-causing meat should do the same. When parents cook chicken for their children, they try to be health conscious. If people knew there were high levels of carcinogens in their grilled chicken, they may not choose it as a healthy alternative. Meat is part of American culture; Western men often forge a strong link between eating meat and masculinity. Eating too much meat is a common problem in American Society. I believe most Americans don’t realize that they’re eating too much meat. When comparing the size of the burger we’re eating today to the past decades, our burger has gotten bigger. Bacon is a big part of American culture today. It brings child-hood memories of how mothers cooked bacon for their children. It is also a common breakfast food and is often associated with family gatherings. But, eating bacon every single day of your life has life threatening repercussion to your health. Most processed meat like bacon or hot dogs contains sodium nitrate. Sodium nitrate is a food additive used in m any processed meats. It increases shelf life, gives any meat a fresh appearance, improves the smoky flavors of bacon, and slows the rate of the foul smell, and reduces bacteria (Kortboyer 5). It seems sodium nitrate is a great additive but it is widely regarded as a toxic ingredient. It is a highly carcinogenic chemical and once it enters the human digestive system; it release toxin to a number of internal organs including liver and pancreas. USDA tried to ban sodium nitrate in the 1970’s but was vetoed by food manufacturers who complained that they are trying to ban bacon from America and insisted the additive was safe. The sodium nitrate is found in almost every meat package. It’s listed right on processed meat products like bacon, turkey, hot dogs, and meats in canned soups. If it’s so dangerous, why does food manufactures use it? It sells more meat products because it makes the meat appear fresh and vibrant. Consumers are often influenced by the appearance of the meat, and sadly they will buy meat that looks fresh because of the additives, but in reality, the meat could be months old. A proven strategy to help combat sodium nitrates is to consume large doses of vitamin C and E before your meal. Another safe alternative is purchasing nitrite-free meat to reduce the exposure to sodium nitrate. But, meat without nitrates is prone to spoilage. I believe meat industry uses the saturated fat argument to distract consumers from real issues like cancer. Fruits with high saturated fat like coconut juice wont increase a person risk of cancer to jump up 50%. The real issue is what’s added to the meat during processing and packaging. While eating too much meat can be dangerous, the solution is to consume less. Meat is rich in protein and the body needs protein to maintain cellular tissue. Reducing meat intake benefits the bones. According to Dr. Campbell of Cornell University, animal sourced proteins extract more calcium from the bones, causing the bone to weaken (par. 4). Another good benefit of cutting back on meat is it that makes the consumer eat more nutritious foods. A study from American Journal of Clinical Nutrition reported that participants who were served a meal with less meat ate more vegetables (Rolls 916). Eating small portions of good quality meat can help curb meat cravings and will not jeopardize the health. Many health education websites like Meatless Mondays offer idea of cutting back on meat consumptions. Another healthy alternative is replacing meat with non-meat sources of protein. Small red beans, black beans, legumes, dairy products are all good source of protein. While fish and seafood are technically meats, they do not carry the same risks as red meat, chicken, and pork because they contain low saturated fat and cholesterol. Non-meat protein not only has low saturated fat and cholesterol, they contain healthy fats, vitamins and minerals the body needs. Besides, the average person only needs about eight grams of protein per 20 lbs of body weight. Make no mistake, Americans love eating meats. Meat is essential part of a healthy diet, but over consumption of meat will kill you. America spends hundred of billion dollars on meat and it’s no wonder why cancer is epidemic in United States. Meat is considered a luxury in other country’s, but meat in America is readily available anywhere and consumers need to learn self-restraint. Meat like hot dogs and bacon is part of American culture, but consumers need to understand that meat industry’s uses dangerous additives like sodium nitrate and eating it for a long period of time will have repercussion to your health. Strong evidence claims that not only the harmful sodium nitrate harms the body, but also eating meat in general will damage the body. There are other healthy options like non-meat protein. But the solution to the problem is consumers need to be aware of what they’re eating and learn self-restraint.

Experiment to find the concentration of the ethanedioic acid Essay Example for Free

Experiment to find the concentration of the ethanedioic acid Essay I can use a gas collection to find the overall concentration of the acid mixture, and as I already have the concentration of H2C2O4 , I can simply minus that from the total concentration to get the concentration of the H2SO4. Both strong and weak acids will react with a metal, therefore I will react the acid mixture with magnesium metal. Quantities of chemicals to use As I have been told that the concentrations are approximately 0. 1 mol dm-3 H2C2O4 and 0. 2 mol dm-3 H2SO4, I can say that the total concentration is approximately 0. 1+0. 2=0. 3 mol dm-3. I am going to use 25cm3 of the acid mixture, therefore total moles of acid mixture is 0. 3 x 0. 025 = 0. 0075 moles H2SO4 + Mg == MgSO4 + H2 and H2C2O4 + Mg == MgC2O4 + H2 I need these in one equation so I can get the molar ratios, therefore I formed this ionic equation. 4H+ + 2Mg == 2Mg2+ + 2H2 The molar ratio between the acid mixture hydrogen is 4:2(2:1), therefore (0. 0075/2)x24000=90cm3, this is less than 250cm3, so will fit into the measuring cylinder. I must ensure the Magnesium is in excess. So if I use approximately 0. 1grams, moles of Mg = 0. 1/24. 3=0.0042moles but 1:2 ratio so multiply by 2 to get 0. 0084moles, therefore there is more moles Mg than acid so it is in excess. Ethanedioic acid is a highly poisonous carboxylic acid. It is corrosive and may cause burns. If it comes to contact with skin rinse with plenty of water immediately. Wear a lab coat to prevent exposure to skin. Specimen calculation If 22cm3 of KMnO4 was needed for the redox titration, then 0. 022 x 0. 05= 1. 110-3 moles of KMnO4 . Using 5:2 ratio of 5C2O42- 2MnO4- moles of H2C2O4 is (1. 110-3 /2) x5=2. 7510-3 moles, and finally to get concentration 2.7510-3 /0. 025=0. 11 mol dm-3. Which is almost 0. 1mol dm-3 as suggested the concentration was approximately. The above was all from experiment 1, and now to get the concentration of the Sulphuric acid was experiment 2. If the volume of gas collected was 80cm3, then moles of Hydrogen would be (80/1000)/24=0. 0033moles, however 4:2 ratio with acid so multiply by 2 to get 0. 0066moles, and as I used 25cm3 acid, concentration is 0. 0066/(25/1000)=0. 27mol dm-3. To get the H2SO4 concentration minus the H2C2O4 concentration (0. 11), 0. 27-0. 11=0. 16mol dm-3, this is close to 0. 20mol dm-3

Critiquing Cosmetic Progression

Critiquing Cosmetic Progression Part One: About a decade ago, Dove Corporation released a controversial video, which, quite successfully, was able to subliminally banter the modern fashion industrys notorious inclination of distorting physical complexion for increased product marketing. Perhaps even more impressively, they accomplished this in less time than it takes to re-heat a leftover plate of spaghetti. Enter Dove: Evolution. Clocking in at just over a minute in length, this advertisement has achieved widespread appraisal for its unparalleled ability to challenge contemporary plights related to self- esteem (particularly in women) as a result of the constant degrading stimuli being solicited through media outlets. Upon watching this clip myself, I experienced an array of emotions ranging from calm, to apprehension, and even mild bewilderment. As the brief video has no dialogue, the importance of background music is noticeably enforced. At the opening, were presented with soothing classical piano chords, as our female su bject takes a seat before the camera inside of the contextual production studio. Alarmingly, the tempo begins to quicken; introducing heavy pulses of bass rhythm while simultaneously, bright lights are introduced as a means of hastily diminishing the facial blemishes of the woman. Her initially optimistic demeanor begins to steer toward that of a nerve wracked teenager as the videos speed becomes digitally modified cosmetologists bustle about, enhancing her hairstyle at an inhuman pace, while a quick series of bright camera shots catches the viewer off guard with a semi-photo sensitive intensity. Never ceasing in its rapid course, the video transitions to a final still-frame of the physically enhanced woman, at which point an Adobe PhotoShop heads-up display is introduced. Following a painstakingly meticulous series of alterations lip saturation, eye widening, shadow exaggerations, and a neck extension, the camera angle slowly pans outward; causing the viewer to witness a suburban street with our main characters revised complexion strung upon a billboard. A pair of young women, observe this obstruction in passing prior to the screens final fade to black. Subsequently, a credit appears to company, along with a statement concerning warped bodily perceptions. Theres meaning in the text and images here beyond what may be immediately apparent: theres a rhetorical framework and a message that suggests something more significant and complex than what observers may see on a first look. Part Two: Breaking down the advertisement further, it becomes quite apparent that a pathodic appeal to personal emotions is invoked on multiple levels. From the outset, the music puts us at ease, before abruptly shifting to incorporate drums and additional rock-based instruments on a dual track layer. Personally, this technique, coinciding with the changing facial expressions the woman was undergoing, resonated a sense of alarm within me (as if I was about to witness a pending act of brutality). With that said, I think any viewer experiencing similar emotions at this point would have found it appalling how relentlessly the hairdressers went about their business, seemingly void of any compassion. Maybe this was the directors intention, because a resulting feeling of sympathy for this woman blossomed in my soul. By now, Dove has its audiences feelings on autopilot, and is able to orchestrate them befittingly for the duration of the editing sequences. Im inclined to deduce that the photo-shopping was revealed in an attempt to drive the hammer into the nail of what we already knew this entire time nobody is naturally that attractive! That isnt to say, though, that the closing act couldnt be reaming with hints of ethos in addition to the aforementioned rhetoric. I noticed that the billboard hosting the end product pointed to another popular brand in the skin care sector. Do we sense a conspiracy at work amongst the conglomerates? Im going to circle back to this revelation later, as I believe its important to factor into the grand scheme of whats transpiring. Part Three: In continuance to the closing statement I made in the previous paragraph, there are a number of admonishments Id like to point out to my readers, in order to address the more metaphorical aspects of this video (or what may potentially be interpreted as such). First, something that caught my attention early on, was that the correction of facial blemishes on the subjected woman were given utmost priority to any other items on the touch-up task list. I would infer that on a larger scale, this hints at a hierarchical approach the fashion industry adopts when evaluating beauty. Following that logic, we could conclude that a raw human face warrants correction prior to any makeup, hair, or airbrush modifications conducted by modeling agency experts. Bluntly theyre judging your primary feature with heightened scrutiny. Secondly, the overall pace of the advertisement, as I previously mentioned, was extremely swift. Coupled with the background tunes, this probably assisted in delivering the broadest possible range of emotionally triggering stimuli to target audiences in the designated timeframe undoubtedly a premeditated play. The objective of this ad was essentially to call out the elephant in the room, (or in this case, perhaps the one in Hollywood) and in order to do that, Dove knew that relying on a pathos-based approach would prove to be a strategic ally to influence viewers with the desired message. Finally, the billboard itself was placed in a neighborhood which appeared to be centered on either: working-class citizens, high-school youth, and/or single parents aspiring for more. I gleaned this demographical hypothesis by noting the surrounding environment composed exclusively of brick apartment complexes, wire fencing, and used cars. Suffice it to say that if this is indeed a factual theory, it would correlate nicely with the idea that Dove wants to spread its agenda like a wildfire throughout the general consumer populace; many of whom may have otherwise remained in blissful ignorance to the proceedings commencing behind closed doors. Part Four: Primarily, I fathom that women of Millennial and X generations would be the most heavily impacted audience after watching this advertisement. Furthermore, I would ascertain that those impacts have mostly positive connotations, superseding the manipulative (unethical?) bodily practices exposed therein. In support of this claim, I located a research study conducted by Stephanie L Quigg in 2010. The purpose was to identify how a brief ad could mitigate the negative effects imposed on self-esteem through traditional media propaganda. The study consisted of exposing groups of women to one of three variants: a music video padded with standard commercials, the same music video padded with intervention commercials, and TV with non-human focused commercials. The outcome determined that seeing the music videos ultimately led to lower levels of self-satisfaction in test subjects, in contrast to the group that didnt. Interestingly though, in her subsequent book titled Body Image, Quiggreveals e xposure to the intervention commercial counter-acted this effect. Demonstrating the extent which media portrayals of women are artificially enhanced can mitigate detrimental effects on female appearance satisfaction (135-142). Earlier, I mentioned Id be elaborating on the concept of concealed marketing loaded inside of well-intentioned messaging. Taking a tip from Bob Garfield, a journalist reviewing the Ogilvy Mather Agency, (who represent the film) I quickly uncovered another mind who shares my chilling proposition. Quoting his article specifically, the bonus is, if they stay with this message come what may, theyll also turn over lots of whatever it is apart from the uncomfortable truth theyre selling (Garfield). That statement really makes me wonder if any act of good nature is pure these days; or is everything simply a clever ruse to boost a bottom line? Part Five: To culminate my analysis, Id like to reiterate to my readers, the importance of executing caution in response to all sources of mainstream advertising, regardless of implied positive messages. In this discussion, Ive brought to light how what was formerly thought to be a feat of goodwill by Dove, might actually constitute as a turncoat for a corrupted motive, depending on the eye of the beholder. Its crucial that we embrace this somewhat harsher truth going forward. In order to be competent citizens, its dire that we examine each aspect of a message. Otherwise, we become vulnerable to intelligently situated reverse psychology governing our buying impulses. Works Cited Quigg, Stephanie L., Stephen C. Want. Highlighting Media Modifications: Can a Television Commercial Mitigate the Effects of Music Videos on Female Appearance Satisfaction? Body Image, vol. 8, Elsevier, 2011, pp. 135-42. Science Direct, Elsevier, 2011, doi:10.1016/j.bodyim.2010.11.008.Accessed 6 Mar. 2017. Tackling Ugly Truth, Dove Effort Evolves Beautifully. Review of Dove: Evolution, by Bob Garfield, 2006. Advertising Age, revision 2015, Crain Communications, 29 Oct. 2006, www.adage.com/article/ad-review/tackling-ugly-truth-dove-effort-evolves-beautifully/112837/.Accessed 6 Mar. 2017. Unilever Group. Dove: Evolution. The Evolution Video: The Use of Photoshop and Airbrushing in the Media, Unilever, 11 Jan. 2016, www.dove.com/uk/dove-self-esteem-project/help-for-parents/media-and-celebrities/the-evolution-video.html.Accessed 6 Mar. 2016.

All About HIV and AIDS Essays -- The AIDS Epidemic 2015

AIDS (Acquired Immune Deficiency Syndrome); HIV is the etiological agent of AIDS leaving the body vulnerable to a variety of life threatening diseases (8). Transmission: AIDS is transmitted from the HIV virus through blood, semen, vaginal secretions, and breast milk to others from infected host (1). The virus can be spread through sexual contact by oral, vaginal, or anal sex; receiving a blood transfusion, injection involving needles, artificial insemination and organ transplants from an infected donor. Transmission from mother to child during pregnancy (intrauterine) from shared blood circulation while in fetus, delivery, or after pregnancy when nursing infant from breast milk of infected mother (9). The exact mechanism of mother to child HIV/AIDS transmission is still unknown (9). Reservoirs: Infected human. Latent reservoirs include CD4 and T-Cells. Reservoirs are still not fully understood (1). General Characteristics: The stages leading to diagnosis of AIDS include Acute HIV infection detected within a few weeks to months, asymptomatic HIV infection having no symptoms, early symptomatic HIV infection, to advanced HIV infection known as AIDS (13). A CD4 count test resulting in less than 200 cells/mm3 is used for diagnosis of AIDS even when the patient shows no symptoms (8). Specific illnesses found only in patients that have AIDS are used to determine further testing for a positive diagnosis. Tests for HIV can be used to identify AIDS. HIV is diagnosed by blood tests involving two or more positive ELISA tests that have been confirmed by a Western blot assay (6). Test include third-generation, fourth-generation, rapid tests, HIV RNA tests, confirmatory tests, STARHS and home sampling tests (6). Once conf... .... http://www.who.int/hiv/data/2011_epi_core_en.png http://www.who.int/topics/hiv_aids/en/ 11. United States. â€Å"Texas HIV Slide Set 2010.† Texas Department of State Health Services. 2010. Web. 4 May 2012. http://www.dshs.state.tx.us/hivstd/reports/default.shtm 12. Goodman, Brenda MA. â€Å"Most Americans with HIV Don’t Have Infection Under Control.† WebMD. 29 Nov. 2011. Web. 6 May 2012. http://www.webmd.com/hiv-aids/news/20111128/most-americans-with-hiv-dont-have-infection-under-control 13. Dugdale, Vyas, Zieve, ADAM. â€Å"AIDS.† MedlinePlus. 9 June 2011. Web. 6 May 2012. http://www.nlm.nih.gov/medlineplus/ency/article/000594.htm 14. Department of Health and Human Services. â€Å"HIV/AIDS.† National Institute of Allergy and Infectious Diseases. 05 Jan. 2009. Web. 6 May 2012. http://www.niaid.nih.gov/topics/hivaids/understanding/howhivcausesaids/Pages/howhiv.aspx

Crime and Punishment: Rodion Romanovich Raskolnikov Essay -- conflict,

Throughout the novel of Crime and Punishment, and any work of fiction at that, the characters exhibit specific personality traits that dictate their make-ups, social interactions and behaviors. These characterizations control the overall development of the story. Characters’ personalities play a vital role in analyzing and understanding character development as well as underlying themes, especially in the novel at hand. Specifically, the central character Rodion Romanovich Raskolnikov illustrates the conflict between good and evil in one’s personality. Raskolnikov’s personality conflict is so extreme in duality that he can be identified as both the protagonist and antagonist of this story. From this point comes the question of to what extent does the personality conflict of Raskolnikov dictate his beliefs, actions and therefore contribute to overall plot development? Due to Raskolnikov’s contradictory nature, he demonstrates intense levels of egoism and self-absorption alongside madness and agony. These aspects lead him to commit heinous criminal actions which physically and emotionally hurt others. Ultimately, he commits the greatest damage to himself through a descent into madness which he disavows. Raskolnikov’s personality can be summed up by the meaning of â€Å"Raskol† in Russian which translates to â€Å"split†. Raskolnikov personifies an individual demonstrating antithesis in both his actions and thoughts. The author Fyodor Dostoevsky also incorporates symbolism of the number two throughout the story to further signify this duality of personality. Examples include Raskolnikov not eating for two days, two children being saved from a burning house, and two gates and two courtyards at the house of the pawnbroker Alyona Ivanovna, wh... ...ntually express remorse for his crime. Raskolnikov's dual personality also is the primary force which drives the plot of this novel. The action and events occur as a result of the character’s personality driver. When the focus of his internal personality is egocentric, the external action reflects this viewpoint. His internal examination of consciousness leads the plot to moving in that direction. The plot of Crime and Punishment seems to be an external mirror which reflects the continual inner conflict of Raskolnikov's dual personality. Works Cited "Rodion Romanovitch Raskolnikov." Shmoop. N.p., n.d. Web. 17 Jan. 2014. . Swinson, Stephanie. "Motives for Murder in Crime and Punishment." Watermarks 2002. N.p., n.d. Web. 15 Jan. 2014. .

Christianity and 18th Century British Literature :: 18th Century British Literature

Christianity and 18th Century British Literature "...no matter what kind of pleasure may await his senses, unless it serves exclusively the glory of God, he needs to cut it off of him, giving it up out of his love towards Jesus Christ..."1 I. Taking its time to establish a radically theological point of view, this essay aims to apply it to the body of novel literature in 18th century England, probing and inquiring it whether it is in support of Christianity as laid down in the New Testament or not. It assumes the stance of an advocate of "the narrow path", the strict and unforgiving measuring scale of those few taking the Christian way of life truly seriously. Thus, the arguments and deductions featured herein - which are the actual purpose of the piece - may well strike materialist and novel-advocate minds as unnotable and subjective. The author, on the other hand, is firmly convinced - on the grounds of faith - that the conclusions to come are as objective as it is possible, being based on the revelations of the Holy Trinity. All views and opinions featured are his own except where signified. First of all, we may start the discussion with an analogy that sets the mood and aligns the frame of mind to the possible uncommonness of the argument system to be introduced. The images of this analogy will also come handy later and might ease the essay's overall understanding for those unaccustomed to the exclusively religious take on life. Picture, if you will, a high wall and thousands of bricks it is comprised of; now picture one of the single bricks coming to life, finding itself as part of the wall. This brick in the wall is unable to measure the dimensions of the structure it was built inside. In case it could come loose and jump out of the wall with the help of a supernatural force, it might be frightened at the sight of the oppressive building it used to support for long - and vow never to return to it, but serve its saviour instead. The only means of establishing a distance between the Truth and human culture's tailormade 'truth' we indulge in does not seem to be any of the traditional manmade tools for extracting and gathering knowledge: psychology, sociology, philosophy and their clever alloys leave us running in circles when seeking the cure for all the ominous signs and phenomena in our society.

The Lust Lizard of Melancholy Cove Chapter 11~12

Eleven Catfish Catfish awoke to find a paint-spattered woman padding about the house in nothing but a pair of wool socks, in which she had stuck several sable brushes that delivered ochre, olive, and titanium white strokes to her calves whenever she moved. Canvases were propped on easels, chairs, counters, and windowsills – seascapes every one. Estelle moved from canvas to canvas, palette in hand, furiously painting details in the waves and beaches. â€Å"Y'all woke up inspired,† Catfish said. It was past dusk, they had slept away the daylight. Estelle painted by the light of fifty candles and the orange glow that washed from the open doors of the wood stove. Color correctness be damned, these paintings should be viewed by fire. Estelle stopped painting and raised her brush arm to cover her breasts. â€Å"They weren't finished. I knew something was missing when I painted them, but I didn't know what until now.† Catfish cinched his pants around his waist and walked shirtless among the paintings. The waves writhed with tail and scale and teeth and talon. Predator eyes shone out of the canvases, brighter, it seemed, than the candles that lit them. â€Å"You done painted that old girl in all of 'em?† â€Å"It's not a girl. It's male.† â€Å"How you know that?† â€Å"I know.† Estelle turned and went back to her painting. â€Å"I feel it.† â€Å"How you know it look like that?† â€Å"It does, doesn't it? It looks like this?† Catfish scratched the stubble on his chin and pondered the paintings. â€Å"Close. But it ain't a boy. That ol' monster the same one come after me an Smiley for catchin its little one.† Estelle stopped painting and turned to him. â€Å"You have to play tonight?† â€Å"In a little while.† â€Å"Coffee?† He stepped up to her, took the brush and palette from her, and kissed her on the forehead. â€Å"That sho' would be sweet.† She padded to the bedroom and came back wearing a tattered kimono. â€Å"Tell me, Catfish. What happened?† He was sitting at the table. â€Å"I think we done broke a record. I'm sore.† Estelle smiled in spite of herself, but pressed on. â€Å"What happened back then, in the bayou? Did you call that thing up out of the water somehow?† â€Å"What you thinkin, woman? I can do that, you think I be playin clubs for drinks and part the door?† â€Å"Tell me how you felt back then, when that thing came out of the swamp.† â€Å"Scared.† â€Å"Besides that.† â€Å"Wasn't nothing besides that. You heard it. Scared is all there is.† â€Å"You weren't scared after we got back here last night.† â€Å"No.† â€Å"Neither was I. What did you feel back then? Before and after the thing came after you.† â€Å"Not like I'm feelin now.† â€Å"And how is that?† â€Å"I'm feelin real good to be here talkin to you.† â€Å"No kidding. Me too. How about back then?† â€Å"Stop doggin me, girl. I'll tell you. But I gots to go play in an hour and I don't know that I can.† â€Å"Why not?† â€Å"The Blues ain't on me. You done chased 'em off.† â€Å"I can throw you out in the cold without a shirt if you think it will help.† Catfish squirmed in his chair. â€Å"Maybe some coffee.† Catfish's Story After we gets some distance from whatever chasin us, we stop the Model T Ford and me and Smiley put that big ol' catfish thing in the backseat – his tail hangin out one side an' his head out't'other. Now this ain't at all what I expected, and Smiley ain't got the Blues on him, but I'm gettin me a grand case myself. Then I realizes we got us five hundred dollar coming, and them ol' Blues done melt right away. I say, â€Å"Smiley, I believes we should have us some celebratin, startin with some liquor and endin up with some fine Delta pussy. What you say?† Ol' Smiley, like usual, don't wanna piss on the parade, but bein who he is, he point out we aint got no money and Ida May don't approve of no pussy more'en a hundred yard from the house. But he feelin it too, I can tell, and before long we headed down a back road to find a bootlegger I know down there name of Elmore that sells to colored folk. That ol' white boy ain't got but two teeth, but he grindin 'em when we pulls up, all mad and wavin his shotgun like we come to bust up his still. I say, â€Å"Hey, Elmore, how your lovely wife and sister?† He say she fine, but lessin we shows some money quick, he gonna shoot him some niggers and get back to her before she cool off. â€Å"We a little short,† I say. â€Å"But we have us five hundred dollar come morning iffin you kind enough to give us a jug on credit.† An' then I shows him the catfish. That boy liked to shit his pants, and I was hopin he would, just to cover the smell comin off him natural, but instead he say, â€Å"I ain't waitin 'til mornin'. You want a jug, you give me a hunk o' that catfish right now. A big hunk.† Smiley and I thinks it over, and before long we got us a half-gallon of corn mash and ol' Elmore got hisself enough catfish to feed his wives and children and them-thats both for a week or more. Up the road a spell and this old whore name of Okra givin us the same speech about money, plus she sayin we need to take us a bath before she let us anywhere near her girls. And I comes back with the five-hundred-dollar story. She say five hundred dollar tomorrow and we can come in tomorrow, but if we want some pussy tonight, she want a hunk of that old catfish in the back. Them hos can eat some catfish too, I'm tellin you. I thought Smiley finally gettin the Blues on him when I hears him sayin how he give up a hundred dollar worth of catfish just for a bath. But that his choice. He wait in the car 'til I'm done and we head off to find a place to sleep 'til morning when we can cash in the fish. We pulls down a side road into some bushes, and we commencin to get us some sleep after a drink or two, when who come out the woods but a whole bunch of boys wearin them white sheets and pointy hoods, sayin, â€Å"Nigger, I guess you didn't read the sign.† And they tie us up to that ol' catfish and make us drag it back in the woods to a big ol' fire they got goin. That sho' a chill, I gots to tell you. To this day I can't walk by sheets hangin on a line without my backbone freeze up. I knows we sho' gonna die now, sayin my prayers and all best I can, while them boys kickin me in the mouth an' such while eatin catfish pieces what they roasted on sticks. Then I feels it and the kickin stops. I see ol' Smiley lyin in the dirt, coverin his head with his arms, one ol' bloody eye lookin' over at me. He feel it too. Them Klansmen staring into the woods like they long-lost momma gonna come out, big ol' grins on they faces, half of 'em rubbin they dicks through they pants. And she come out, all right. Big as a train, a howl like to make your ears bust and bleed. She take two of them in the first bite. I don't have to write Smiley no letter. Before we can say somethin, we up and runnin, still tied up to what left of that catfish carcass, running back for the road. We finds us a knife in the car and we gets loose lickety-split – Smiley crankin that ol' Model T and me behind the wheel workin the choke. Hollerin and screamin comin out the woods sounding like music now, them Klansmen gettin all eat up. Then it get quiet, just the sound of our breath and Smiley crankin the Model T. I'm yellin for him to hurry, I can hear that thing crashin though the woods. And finally, the Model T cranks over, but I can hardly hear it, 'cause that old dragon thing done broken out the woods and lets go a roar. I tells Smiley to get in, but he run back to the back of the car. â€Å"What you doing?† I say. â€Å"Five hundred dollar,† he say. And I see he throwing the catfish in the backseat. That stinky thing ain't nothin but a head now, so Smiley throw it in by hisself. Then he makes to jump on the running board and I looks over and he just snatched out the air. Gone. And them jaws coming down for the second time when I pull that ol' Model T in gear and take off. Smiley gone. Gone. Next day I find that white man say he pay five hundred dollar for the catfish, and he look at that big fish head and jus laugh at me. I say I lose the best friend I ever had, he better give me my goddamn money. But he laugh and tell me go away. So I hit him. Took that old fish head to court with me, but it don't make no difference. That judge give me six months in jail – hittin a white man and all. He tell the bailiff, â€Å"Take Catfish away.† They call me Catfish since. I don't tell the story no more, but the name still there. Had the Blues on me ever since, but they ain't no makin amends. By the time I get out, Ida May die of grief, and I ain't got a friend alive. Been on the road since. That thing on the beach, make that sound, she lookin for me. Catfish â€Å"It's a male,† Estelle said. She didn't know what else to say. â€Å"How you know?† â€Å"I know.† She took his hand. â€Å"I'm sorry about your friend.† â€Å"I just wanted him to get the Blues on him so we can make us a record.† They sat there at the table for a while, holding hands. Catfish let his coffee go cold in the cup. Estelle ran the story around in her head, both relieved and fearful that the shadows in her paintings now had a shape. Somehow, as fantastic as it was, Catfish's story seemed familiar. She said, â€Å"Catfish, did you ever read The Old Man and the Sea by Ernest Hemingway?† â€Å"He that boy write about bullfights and fishing? I met him once, down Florida way. Why?' â€Å"You met him?† â€Å"Yeah, that sumbitch didn't believe that story neither. Said he like to fish, but he don't believe me. Why you ask?† â€Å"Never mind,† Estelle said. â€Å"If this thing eats people, don't you think we should report it?† â€Å"I been tellin folks about that monster for some fifty years, ain't no one believed me yet. Said I was the biggest liar ever come outta the Delta. I'd have me a big house and a stack of records if not for that. You call the law and tell them 'bout this, they gonna call you the crazy woman of Pine Cove.† â€Å"We already have one of those.† â€Å"Well, ain't no one gonna get eat but me, and if I lose this gig 'cause they thinkin I'm crazy, I have to be movin on then. You understand?† Estelle took Catfish's cup from the table and placed it in the sink. â€Å"You'd better get ready to go play.† Twelve Molly To distract herself from the dragon next door, Molly had put on her sweats and started to clean her trailer. She got as far as filling three black trash bags with junk food jetsam and was getting ready to vacuum up the collec-tion of sow bug corpses that dotted her carpet when she made the mistake of Windexing the television. Outland Steel: Kendra's Revenge was playing on the VCR and when the droplets of Windex hit the screen, they magnified the phosphorescent dots, making the picture look like an impressionist painting: Seurat's Sunday Afternoon on the Island of Le Grande Warrior Babe perhaps. Molly froze the frame on the gratuitous shower scene. (There was always a shower scene in the first five minutes of her films, despite the fact that Kendra lived on a planet almost completely devoid of water. To address this problem, one young director had gotten the bright idea of using â€Å"anti-radioactive foam† in the shower scene and Molly had spent five hours with whipped Ivory Snow suds being blown on to her by an offscreen Shop-Vac. She ended up playing the rest of the film in a Bedouin burnoose to cover the rash that developed all over her body.) â€Å"Art film,† Molly said, sitting on the floor in front of the TV, dowsing it with Windex for the fiftieth time. â€Å"I could have been a model in Paris in those days.† â€Å"Not a chance,† said the narrator. He was still around. â€Å"Too skinny. They liked fat chicks back then.† â€Å"I'm not talking to you.† â€Å"You've used half a bottle of Windex for this little trip to Paris.† â€Å"Seems like cheap travel to me,† Molly said. Even so, she got up and took two glasses from the top of the TV. She was taking them to the kitchen when the doorbell rang. She opened the door with the rims of the glasses pinched in one hand. Outside, two women in dresses and heels and lots of hair spray were standing on her steps. They were both in their early thirties, blonde, and wore stiff smiles of either insincerity or drug use, Molly couldn't be sure which. â€Å"Avon?† Molly asked. â€Å"No,† the blonde in front said with a titter. â€Å"I'm Marge Whitfield, this is Katie Marshall, we're from the Coalition for a Moral Society. We'd like to talk to you about our campaign to reinstate school prayer. I hope we haven't caught you at a bad time.† Katie was in pink. Marge in pastel blue. â€Å"I'm Molly Michon. I was just cleaning up a little.† Molly held up the two glasses. â€Å"Come on in.† The two women stepped in and stood in the doorway as Molly took the glasses to the sink. â€Å"You know, it's interesting,† Molly said, â€Å"but if you put Diet Coke in one glass, and regular Coke in another, and let them sit for, oh, say six months, then come back, there will be all sorts of green stuff growing on the regular Coke, but the Diet Coke will be as good as new.† Molly returned to the living room. â€Å"Can I get you two something to drink?† â€Å"No thank you,† Marge droned in robot response. She and Katie were staring at the paused image of a wet and naked Molly on the television screen. Molly breezed by them and flipped off the television. â€Å"Sorry, an art film I made in Paris when I was younger. Won't you sit down?† The women sat down next to each other on Molly's tattered couch, their knees pinched together so tight they could have crushed diamonds to powder. â€Å"I love your air freshener,† Katie said, trying to pull out of her terror. â€Å"It smells so clean.† â€Å"Thanks, it's Windex.† â€Å"What a cute idea,† Marge said. This was good, Molly thought. Normal people. If I can hold myself together for normal people like these, I'll be okay. This is good practice. She sat down on the floor in front of them. â€Å"So your name is Marge. You don't hear that outside of detergent commercials anymore. Did your parents watch a lot of TV?† Marge tittered. â€Å"It's short for Margaret, of course. My grandmother's name.† Katie jumped in. â€Å"Molly, we're very concerned that our children's education is totally without any spiritual instruction. The Coalition is collecting signatures for reinstatement of prayer in school.† â€Å"Okay,† Molly said. â€Å"You're new in town, aren't you?† â€Å"Why, yes, we've both moved here from Los Angeles with our husbands. A small town is just a better place to raise children, as I'm sure you know.† â€Å"Right,† Molly said. They had no idea who she was. â€Å"That's why I brought my little Stevie here.† Stevie was Molly's goldfish who had died during one of her stays in County. Now he lived in a Ziploc in her freezer and regarded her with a frosty gaze every time she retrieved some ice. â€Å"And how old is Stevie?† â€Å"Uh, seven or eight. I forget sometimes, it was a long labor.† â€Å"He's a year behind my Tiffany,† Marge said. â€Å"Well, he's a little slow.† â€Å"And your husband is†¦?† â€Å"Dead.† â€Å"I'm so sorry,† Katie said. â€Å"No need, you probably didn't kill him.† â€Å"Anyway,† Katie said, â€Å"we'd really like to have your signature to send to the state senate. Single mothers are an important part of our campaign. And we're also collecting donations for the campaign to have the Constitu-tion amended.† She put on an embarrassed smile. â€Å"God's work needs funding too.† â€Å"I live in a trailer,† Molly said. â€Å"We understand,† Marge said. â€Å"Finances are difficult for a single mother. But your signature is just as important to God's work.† â€Å"But I live in a trailer. God hates trailers.† â€Å"Beg pardon?† â€Å"He burns them up, freezes, them out, tears them up with tornadoes. God hates trailers. Are you sure I wouldn't be hurting your cause?† Katie giggled. â€Å"Oh, Mrs. Michon, don't be silly. Just last week I read where a woman's trailer was picked up by a tornado and dropped almost a mile away and she survived. She said that she was praying the whole time and that God had saved her. You see?† â€Å"Then who sent the tornado in the first place?† The two pastel women squirmed on the couch. The blue one spoke first. â€Å"We'd love to have you at our Bible study group, where we could discuss that, but we have to be getting along. Would you mind signing the peti-tion?† She pulled a clipboard out of her oversized purse and handed it over to Molly with a pen. â€Å"So if this works, kids will be able to pray in school?† â€Å"Why, yes.† Marge brightened. â€Å"So the Muslim kids can turn to Mecca seven times a day or whatever and it won't count against their grades?† The blue and pink pastel ladies looked at each other. â€Å"Well, America is a Christian nation, Mrs. Michon.† Molly didn't want them to think she was a pushover. She was a smart woman. â€Å"But kids of other faiths can pray too, right?† â€Å"I suppose so,† Katie said. â€Å"To themselves.† â€Å"Oh good,† Molly said as she signed the petition, â€Å"because I know that Stevie could move up to the Red Jets reading group if he could sacrifice a chicken to Vigoth the Worm God, but the teacher won't let him.† Why did I say that? Why did I say that? What if they ask where Stevie is? â€Å"Mrs. Michon!† â€Å"What? He'd do it at recess,† Molly said. â€Å"It's not like it would cut into study time.† â€Å"We are working on behalf of the One True God, Mrs. Michon. The Coalition is not an interfaith organization. I'm sure that if you had felt the power of His spirit, you wouldn't talk that way.† â€Å"Oh, I've felt it.† â€Å"You have?† â€Å"Of course. You can feel it too. Right now.† â€Å"What do you mean?† Molly handed the clipboard back to Katie and stood up. â€Å"Come next door with me. It'll only take a second. I know you'll feel it.† Theo Theo's hopes of finding Mikey Plotznik rose as he drove through the residential areas of Pine Cove. Nearly every neighborhood had two or three people out searching with flashlights and cell phones. Theo stopped and took reports from each search party, then made suggestions as if he had the slightest idea what he was doing. Who was he kidding? He couldn't even find his car keys half the time. Most of Pine Cove's neighborhoods were without sidewalks or street-lights. The canopy of pine trees absorbed the moonlight and darkness drank up Theo's headlights like an ocean of ink. He plugged his handheld spot-light in the lighter socket and swept it across the houses and into the vacant lots, spotting nothing but a pair of mule deer eating someone's rosebuds. As he drove by the beach park – a grass playground the size of a football field, surrounded by cypress trees and blocked from the Pacific wind by an eight-foot redwood fence – he spotted a flash of white moving on one of the picnic tables. He pulled into the parking strip beside the park and pointed the Volvo's headlights, as well as the spotlight, at the table. A couple was going at it right there on the table. The flash of white had been the man's bare ass. Two faces turned into the light, eyes as wide as the two deer Theo had surprised earlier. Normally, Theo would have driven on. He was used to finding people â€Å"in the act† in cars behind the Head of the Slug, or parked along the more rugged strips of coastline. He wasn't the sex police, after all. But tonight he was irritated by the scene. It had been almost a whole day since he'd had a hit from his Sneaky Pete. Maybe it's a symptom of withdrawal, he thought. He turned off the Volvo and got out, taking his flashlight with him. The couple scrambled into their clothes as he approached, but didn't try to es-cape. There was nowhere for them to go except over the fence, where a narrow beach was bordered on both sides by cliffs and washed by treach-erous, freezing rip tides. When he was halfway across the park, Theo recognized the fornicators and stopped. The woman, a girl really, was Betsy Butler, a waitress down at H.P.'s Cafe. She was struggling to pull down her skirt. The man, bald ing and slack-chested, was the newly widowed Joseph Leander. Theo flashed on the image of Bess Leander hanging from a peg in the spotless dining room. â€Å"A little discretion's in order here, you think Joe?† Theo shouted as he walked toward them. â€Å"Uh, it's Joseph, Constable.† Theo felt his scalp go hot with anger. He wasn't an angry man by nature, but nature hadn't been working the last few days. â€Å"No, It's Joseph when you're doing business or when you're grieving over your dead wife. When you're boning a girl half your age on a picnic table in a public park, it's Joe.† â€Å"I – we – things have been so difficult. I don't know what came over us – I mean, me. I mean†¦Ã¢â‚¬  â€Å"I don't suppose you've seen a kid around here tonight? A boy, about ten?† The girl shook her head. She was covering her face with one hand and staring into the grass at her feet. Joseph Leander's gaze darted around the park as if a magic escape hatch would open up in the dark if he could only spot it. â€Å"No, I haven't seen a boy.† Technically, Theo knew he could arrest them both on the spot for indecent exposure, but he didn't want to take the time to process them into County Justice. â€Å"Go home, Joe. Alone. Your daughters shouldn't be by themselves right now. Betsy, do you have a ride?† Without uncovering her face, she said, â€Å"I only live two blocks away.† â€Å"Go home. Now.† Theo turned and walked back to the Volvo. No one had ever accused Theo of being clever (except for the time at a college party when he fashioned an emergency bong out of a two-liter Coke bottle and a Bic pen), but he was feeling somewhat less than clever for not having investigated Bess Leander's death more carefully. It was one thing to be hired because you're thought to be a fool, it's quite another to live up to the reputation. Tomorrow, he thought. First find the kid. Molly Molly stood in the mud with the two pastel Christian ladies looking at the dragon trailer. â€Å"Can you feel it?† â€Å"Why, whatever do you mean?† Marge said. â€Å"That's just a dirty old trailer – excuse me – mobile home.† Until a second ago, she had only been concerned with her powder-blue high heels sinking into the wet turf. Now she and her partner were staring at the dragon trailer, wide-eyed. They could feel it, Molly could tell. She could feel it too: a low-grade sense of contentment, something vaguely sexual, not quite joy, but close. â€Å"You're feeling it?† The two women looked to each other, trying to deny that they were feeling anything. Their eyes were glazed over as if they'd been drugged, and they fidgeted as if suppressing giggles. Katie, the pink one, said, â€Å"Maybe we should visit these people.† She took a tentative step toward the dragon trailer. Molly stepped in front of her. â€Å"There's no one there. It's just a feeling. You two should probably go fill out your petition.† â€Å"It's late,† said powder blue. â€Å"Maybe one more visit, then we have to go.† â€Å"No!† Molly blocked their path. This wasn't as fun as she thought it would be. She had wanted to freak them out a little, not harm them. She had the distinct feeling that if they got any closer to the dragon trailer, school prayer would be losing two well-groomed votes. â€Å"You two need to get home.† She took each by a shoulder and led them back to the street, then pushed them toward the entrance of the trailer park. They looked longingly over their shoulders at the dragon trailer. â€Å"I feel the spirit moving in me, Katie,† Marge said. Molly gave them another push. â€Å"Right, that's a good thing. Off you go.† And she was supposed to be the crazy one. â€Å"Go, go, go,† Molly said. â€Å"I have to get Stevie's dinner ready.† â€Å"We're sorry we missed meeting your little boy,† Katie said. â€Å"Where is he?† â€Å"Homework. See ya. Bye.† Molly watched the women walk out of the park and climb into a new Chrysler minivan, then she turned back to the dragon trailer. For some reason, she was no longer afraid. â€Å"You're hungry, aren't you, Stevie?† The dragon trailer shifted shape, angles melting to curves, windows going back to eyes, but the glow wasn't as intense as it had been in the early dawn. Molly saw the burned gill trees, the soot and blistered flesh between the scales. Soft blue lines of color flashed across the dragon's flanks and faded. Molly felt her heart sink in sympathy. This thing, whatever it was, was hurting. Molly took a few steps closer. â€Å"I have a feeling you're too old to be a Stevie. And the original Stevie might be offended. How about Steve? You look like a Steve.† Molly liked the name Steve. Her agent at CAA had been named Steve. Steve was a good name for a reptile. (As opposed to Stevie, which was more of a frozen goldfish name.) She felt a wave of warmth run through her amid the sadness. The monster liked his name. â€Å"You shouldn't have eaten that kid.† Steve said nothing. Molly took another step forward, still on guard. â€Å"You have to go away. I can't help you. I'm crazy, you know? I have the papers from the state to prove it.† The Sea Beast rolled over on his back like a submissive puppy and gave Molly a pathetically helpless look, no easy task for an animal capable of swallowing a Volkswagen. â€Å"No,† Molly said. The Sea Beast whimpered, no louder than a newborn kitten. â€Å"Oh, this is just swell,† Molly said. â€Å"Imagine the meds Dr. Val is going to put me on when I tell her about this. The vegetable and the lizard, that's what they'll call us. I hope you're happy.† Peer Pressure â€Å"But I don't want to go among mad people,† Alice remarked. â€Å"Oh, you can't help that,† said the cat. â€Å"We're all mad here. I'm mad. You're mad.† â€Å"How do you know I'm mad?† said Alice. â€Å"You must be,† said the cat, â€Å"or you wouldn't have come here.† – LEWIS CARROL, Alice's Adventures in Wonderland