Textual Analysis of Advertisement | Gender in Advertising

Textual Analysis of Advertisement | Gender in Advertising Liang Wang Perform a close, textual analysis of one of these advertisements. What does it imply about gender and/or sexuality? You should refer to concepts such as sexualisation, postfeminism, and/or stereotypes, and consider both femininities and masculinities. The advertising I choose to perform: In advertisements which targeted at men or women are always objectifies to sell objects. This can be seen in many advertisements like the Axe. Yet according to the codes of gender, men and women are always represented differently in advertising. Men are always shown vigilante and lucid of their surroundings, standing higher up then women, eye open, bodies under controlled as an â€Å"independent, purposeful and clear thinking†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p223) object. On the other hand, women are frequently shown laying down, touching themselves, bending their knees, sitting in a bed or on a chair, eye close, confused, body contorted, dressed up as sexy or sexually available, â€Å"appears subordinate, dependent, emotional and absent- minded†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11)object. The depiction of women in advertisement representations, at the same time, has been a sign as part of a spacious patriarchal system of male dominance. Indeed, in the mainstream advertisements depictions, which emphasis women on getting and keeping a man, especially whin the domestic roles of wife and mother. It has been focused on by many feminist commentators in order to achieve gender equality. However, in nowadays, both femininities and masculinities are represented in many advertisements, though femininities and masculinities do not map onto biological sex, but gender issue is still shown in many different ways. Throughout all forms of advertisements, it is obvious to see that we are live in a sexual world. Magazine advertisements, TV advertisements, commercials and ever internet advertisements are shown in a very sexual way and women are often been the objects of sexualization in the advertisements. â€Å"Sexualization is when a persons value comes only from his/her sexual appeal or behavior, to the exclusion of other characteristics and when a person is sexually objectified†(Media’s Portrayal in Women, Laura Russell, The Sexualization of Women in the Media). Through many advertisements, it is easy to find that women are very sexualized and they are often portrayed as objects that draw men’s attention, even belong to men. According to the AXE shower gel’s advertising, the right side woman is dressed up, wearing a sexy vest in a very sexual way, with her shoulder and arms nude, coiled hair and we can indistinct see her sexy hip shape, while the whole image are sho wn as shown to get â€Å"the dirtier†. The advertising is showing that the women â€Å"need to look good and the need to get male attention†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p225)and the word â€Å"dirtier† is making her seems inferior to men. With advertising such as AXE one, women that choose that they should treat there bodies as sexual subjects, thus, it is lead women to believe that is important and lost their personality. Along with these type of advertisements represented, men start to believe that the sexual picture of women that is what makes them attractive. With this sexualized advertisements that is being depicted in the media is become difficult to women to be accept their own appearance, hence, constantly compare themselves to those sexually images and lost self-confidence. Therefore, many other advertisements and some women’s magazines are inclined to treat women in low-down way, depicting women as o bjects in inferiority, subordination and low social power positions.â€Å"Women’s physical appearances – especially their sexual attributes – are portrayed as their most important assets. This is presented as liberating and empowering†(Brumberg JJ (1997) The Body Project: An Intimate History of American Girls, Random House). While women’s sexual expression is important in some ways, nevertheless, a woman’s value is not only dependent on her sexual appeal, woman can also be successful and independent with femininities. During the 1970s and 80s second-wave feminism movement, the representation of woman have changed considerably. In the mass media, feminism has had strong criticism of the representations of women in visual world, particular advertising industry, along with the feminism movement, more then others, â€Å"the emphasis on domesticity, deference and traditional romance†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p223) has been displaced by more independent, assertive depiction of femininity â€Å"something that can sometimes include a proud and explicit quest for sex†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p224). Women can be successful and independent, go out and get what they want. Link to the AXE advertising, the feature objectifying image of the naked man with shower gel has referred to as â€Å"post-feminism† that women have the ability to have sexual relationship on their own wants. Moreover, the confidence, successful and independent female figure also continually showing in advertising in nowadays. Chanel’s campaign for its Coco Mademoiselle perfume adverting in 2011, for instance, shown on connotations of women independence, by featuring images with a successful woman with the background song’s lyric â€Å" this is a man’s world, this is a man’s world, but it would be nothing without women or girl† highlighted the independence and assertiveness of female â€Å" they consume autonomously, engage in relationships on their own terms and sometimes manipulate and exploit men†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p224). However, back to the AXE advertisement, both femininities and masculinities are represented in this advertising but shown as different ways. On one hand, the man are presented as active, independent and all he do is cleaning and represented the product in a directly way in order to show his masculinities, on the other hand, the woman in this advertising was shown her femininities as well, but meanwhile, the way that the woman represented the product seems more metaphorically that the purpose of the woman use this product is all about get attention from male. This is against the center of the â€Å"post-feminism† and backword on gender stereotypes. Currently, when it comes to representations of gender, advertisements often fall behind on well established gender stereotypes. However, in particular these days, the media always represented images of women in power, attempted to reverse old established gender stereotypes, these images seems against the more objectification of the role women used to be, so-called ‘challenging’ and even ‘feminist’. In the old times, â€Å"female objectification to the most media depictions of female sexuality†(Dworkin, 1981;MacKinnon, 1988), according to the mainstream media depictions, woman are frequently presented as â€Å"subordinate to and dependent on men†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p222). This phenomenon was also represented on the AXE advertisement, shower gel for men is for clean, yet for women, it is a way to make themself more sexy and attractive in order to catch men’s attention, getting and keep ing them, this advertisement seem to be reinforcing our stereotypical notions of femininities. In addition, commercials are one of the vast source of gender stereotyping that advertisers used in their work to targeted either male or female groups. While, woman are more often represented in commercials, because of they are seems seen as responsible for daily purchases as a householder, however, men always advertise things more masculinities, such as cars, computers or business products, otherwise women are represented femininities rather in the commercials with make-up, clothes and domestic products. And female are often shown in the home or inside environment, not the same as male, men are always shown outdoors. Moreover, the most popular that women presented in advertisements is the figure of housewife, their main problem in life is lack of ideas for housework or dinner, that is very stereotypical. The other stereotype for women is sexy seductresses, the desire of every man. They m ost advertise beauty products and fashion clothes, but they are also arise in the commercials directed to male. Furthermore, woman has been major care is to preserve her appearance, hence, this advertising image of â€Å"perfect femininity and heterosexual success is deemed to act as a ‘window to the future self’†of the audience. As a result, many women has been fall into the perplex with their appearance and body shape, which can have negative influences. Male stereotypes are also various and presented with masculinities as a ‘real man’, â€Å"athletic, successful, professional, seducer with a beautiful woman by his side†(). However, â€Å" the growth of female employment and changes in attitudes towards gender have also contributed to ambiguities in the status of masculinity†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p235). In conclusion, gender issue has always been a controversial problem in advertisement industry, such as the AXE advertising, the concepts of sexualisation, postfeminism, and stereotypes are the main cores of the gender problem. However, along with the growth of feminism, female has been a large part of responsibility for the development of understanding of gender in media and advertisement. Female are should no longer been bounded in the tight ‘vest’, women should have the right to go out and do what they want, moreover, women should dress up for themselves instead of men’s attention. At the same time, the development of understandings of non-heterosexual gays, lesbian and bisexual representations in media or advertisements remind us, the most important link between the enhancement of dominant understandings of gender, sexuality and generally constructions of both femininity and masculinity. Eventually, â€Å" dominant representations of masculinity and femininit y in media tend to be those that are most effective when it comes to the selling of advertising space or, indeed, the selling of consumer goods themselves.†(Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, p241) Reference list Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Media, Gender and Sexuality, patriarchal romance and domesticity, p223 Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Media, Gender and Sexuality, patriarchal romance and domesticity, p223 Media’s Portrayal in Women, Laura Russell, The Sexualization of Women in the Media Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Media, Gender and Sexuality, The enduring gaze, p225 Brumberg JJ (1997) The Body Project: An Intimate History of American Girls,   Random House, New York Levy, A (2005) Female Chauvinist Pigs: Women and the Rise of Raunch Culture, Schwartz Publishing, New York. Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Post-feminism independence, p223 Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Post-feminism independence, p224 Keira Knightley, Chanel Coco Mademoiselle perfume adverting, 2011, background song’s lyric Dworkin, A. (1981) Pornography: Men possessing women. London: Women’s Press MacKinnon, C. (1988) Feminism Unmodified: Discourses on life and law. Cambridge, MA: Harvard University Press. Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Media, Gender and Sexually. Masculinity or masculinities? P235 Matthews, J. L., 2007 Hidden sexism: Facial prominence and its connections to gender and occupational status in popular print media. Sex Roles: A Journal of Research, 57, 515-525. Hodkinson, P 2013, Media, culture and society, Sage, Los Angeles, ch. 11, Media, Gender and Sexuality, a balanced approach, p241)

Rhetorical Analysis Essay

Abraham Lincoln’s â€Å"Second Inaugural Address† and Emily Dickinson’s â€Å"Success is Counted Sweet,† are two inspirational pieces of art that fall under two different types of discourses. The â€Å"Second Inaugural Address,† is a great example and definition of what Rhetoric is. It encompasses all four resources of languages- argument, appeal, arrangement, and artistic devices. â€Å"Success is Counted Sweet,† doesn’t cover the four resources of language that apply to rhetoric; therefore, it is categorized as a poem. According to the chapter, â€Å"rhetoric addresses unresolved issues that do not dictate a particular outcome and in the process it engages our value commitments.† (15). We see how Lincoln’s inaugural speech tries to engage in the values of the people as he brings up the main issue that has effected the country, the Civil War. During the time of Lincoln’s â€Å"Second Inaugural Address,† he was facing a divided nation in the midst of a civil war. Lincoln built an argument within his speech with a goal set in mind: To establish a common ground or compromise between the North and the South. Lincoln only hopes to change the outcome of the nation by stating, â€Å"with high hope for the future, no prediction in regard to it is ventured.† This shows that the unresolved issue has no dictated outcome, but he can only hope for a better future for the nation. A great rhetoric calls people to action and Abraham Lincoln does so by stating, â€Å" let us strive on to finish the work we are in†¦ to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations.† Through this statement, Lincoln also creates a patriotic appeal to the nation as well as a sense of loyalty to the country as a whole. Lincoln creates an emotional appeal of unity and forgiveness by speaking about â€Å"peace†, â€Å"binding up the nations wounds,† and to â€Å"care† for the nation in which the Americans live in. Abraham Lincoln’s artistic devices also make his inaugural address a perfect example of a rhetorical discourse. He uses diction by reinforcing the commonality of the divided people, the North and the South. He states how  both, the North and South, â€Å"read the same Bible and pray to the same God,† and neither the North nor South expected for the war the magnitude or the duration which it attained. Lincoln also maintains an optimistic tone throughout the speech and invokes unity with his parallel structured sentences. Emily Dickinson’s â€Å"Success is Counted Sweetest,† doesn’t cover all four resources of language. It is a poem that does not call for action but does create an emotional appeal for the people. Throughout her poem, she created an emotional appeal for success and its value and the desire and want for success. We see how she creates such emotion when she states, â€Å"The distant strains of triumph break, agonizing and clear.† What Dickinson means by this is that gaining success can be the most beautiful accomplishment but at the same time, agonizing to reach. This creates an emotional appeal for those who are living through the Civil War, making the people have a desire for peace, but they have to go through bloodshed in the process of gaining success. Emily Dickinson carries out artistic devices throughout her poem, which also creates an emotional appeal for the audience. She uses metaphors to describe success by stating, â€Å"Success is counted sweetest.† Dickinson also uses her poem to recreate what was occurring at the time of the war. She speaks of the â€Å"purple Host† which is the representation of the Army and â€Å"capturing the flag,† which is the flag of victory during the war. She also appeals to the senses by stating, â€Å"as he, defeated, dying†¦. distant strains of triumph†¦agonizing and clear.† This paints an image of those in the war struggling for success. Dickinson also uses allusion by making this poem an indirect reference to â€Å"V-Day†. Although these pieces were written around the same time, we see how one calls for the action from the nation, meanwhile the other piece just creates an emotional appeal about the Civil War. Lincoln’s attitude showed he believed in justice and had a balanced view upon the nation as a whole and wanted to make a change. He seeks compromise through his inauguration address through an argument, creating emotional appeal, by arranging the speech accordingly, and using artistic devices to make it inspiring. Emily Dickinson focuses on sending the people a message through emotional appeal. She reaches our emotions reminding us how we don’t appreciate success. She also gives us the feeling that only by failing or lacking success we will learn how important it is for the people to achieve success. Although Lincoln’s â€Å"Second Inaugural Address,† and Emily Dickinson’s â€Å"Success is counted Sweet,† are not in the same category, they are both moving and emotional pieces. They are two different works or art that will forever remind us how much of an impact the Civil War was to the United States of America.

Coyote Blue Chapter 22

CHAPTER 22 Sprinkling the Son of the Morning Star Santa Barbara After almost twenty years as a salesman, Sam found that when he was confused his head filled with homilies that pertained to the profession. Win an argument, lose a sale. If you look hungry, you will be. You can't sell if you don't pitch. There were hundreds of them. He'd been running them through his mind for hours, trying to find some clue as to what he should do. The one that kept returning was Never confuse motion with progress. To leave the house in search of Calliope without a clue as to where she might be would be movement for the sake of movement. Progress would be actually finding a clue to her whereabouts. He had no idea where to start looking for clues, so he lay on his bed and smoked, and tried to convince himself that he didn't want her. She's probably found some other guy, he thought. Losing the kid is just an excuse, a cowardly Dear John letter. It was just a one-night stand and I refuse to let it mean more to me than it meant to her. I've got my life back, intact, and there's no room for a young girl and a child. Nope. I'll rest up today and get back to work tomorrow. After I close a couple of deals, this week will just seem like a bad dream. It was a good rationalization. Unfortunately, he didn't believe a word of it; he was worried about her. Sam closed his eyes and tried to imagine the pages of his appointment book. It was a visualization he used to relax, a salesman's version of counting sheep. He saw the days and weeks spread out in front of him, and he filled in the blanks with lunches and prospects. By each of the names he made mental notes on how he would approach the pitch. Before long he was lost in a world of presentations and objections; the image of the girl faded away. As he started to doze off he heard the sound of heavy breathing. He rolled on his side and steamy hot dog breath hit him in the face. He didn't open his eyes. There was no need to. He knew Coyote had returned. Perhaps if he feigned sleep the trickster would go away, so he lived there in the land of dog breath. A wet nose prodded his ear. At least he hoped it was a nose. With Coyote's sexual habits it could be†¦. No, he still smelled the breath. It was the nose. I'm asleep, go away. I'm asleep, go away, he thought. He'd seen opossums try the same method to fool oncoming semi trucks, and it was working about as well for him. He felt the coyote climb onto the bed. Then he felt a paw on each of his shoulders. He groaned as he thought a truly sleeping guy might groan. Coyote whimpered and Sam could feel the canine nose press against his own. Dog breath, Sam mused, seems to have no distinction to it, yet it is distinctly dog breath. You could be at the cologne counter at Bloomingdale's, and someone could mist your wrist with an atomizer, and a single whiff would reveal the elusive scent to be dog breath as surely as if it had been squozen straight from the dog. Yet, what a wide spectrum of foulness dog breath can span, both in odor and humidity. This particular version of dog breath, he felt, is especially steamy, and carries a top note of stale cigarettes and coffee, as well as the usual fetid meat and butthole smells found in more common dog breath. This, he thought, is supernatural dog breath. I'm not likely to be breathed upon by another dog in my lifetime that has recently enjoyed a Marlboro over a cup of Java. Despite his effort to distract himself with dog breath aesthetics, Sam's tolerance was wearing out and he thought he might sneeze or throw up any second. Coyote licked him on the mouth. â€Å"Yuck!† Sam sat upright and wiped his mouth on his arm. â€Å"Ack!† He shivered involuntarily and looked at the big coyote, who grinned at him from the end of the bed. â€Å"There was no need for that,† Sam said. Coyote whimpered and rolled over on his back in submission. Sam got up from the bed and grabbed his cigarettes from the nightstand. â€Å"Why are you back? You said you were gone for good.† Coyote began to change into his human form. No longer afraid, Sam watched the transformation with fascination. In a few seconds Coyote sat on the bed in his black buckskins wearing the coyote-skin headdress. â€Å"Got a smoke?† he asked. Sam shook one out of the pack and lit it for the trickster. Sam took a small plastic box from his shirt pocket and held it out to Coyote. â€Å"Breath mint?† â€Å"No.† â€Å"I insist,† Sam said. Coyote took the box and shook out a mint, popped it in his mouth, and handed the box back to Sam. â€Å"The girl is going to Las Vegas.† â€Å"I don't care.† The lie tasted foul in his mouth. â€Å"If she tries to take her child from the biker she will be hurt.† â€Å"It's not my problem. Besides, she'll probably find another guy to help her out.† Sam felt both righteous and cowardly for saying it. This role he was playing no longer fit. Quickly he added, â€Å"I don't need the trouble.† â€Å"In the buffalo days your people used to say that a wife stolen and returned was twice the wife she had been.† â€Å"They aren't my people and she's not my wife.† â€Å"You can be afraid, just don't act like it.† â€Å"What does that mean? You're worse than Pokey with your fucking riddles.† â€Å"You lost Pokey. You lost your family. You lost your name. All you have left is your fear, white man.† Coyote flipped his cigarette at Sam. It hit him in the chest and hot ashes showered on the bed. Sam patted out the embers and brushed himself off. â€Å"I didn't ask for you to come here. I don't owe the girl anything.† But he did owe her. He wasn't sure what for yet, except that she had cut something loose in him. Why couldn't he cut loose the habit of fear? Coyote went to the bedroom window and stared out. Without turning he said, â€Å"Do you know about the Crows who scouted for General Custer?† Sam didn't answer. â€Å"When they told Custer that ten thousand Lakota and Cheyenne warriors were waiting for him at the Little Bighorn he called them liars and rode on. The Crow scouts didn't owe Custer anything, but they painted their faces black and said, ‘Today is a good day to die. â€Å" â€Å"The point?† Sam bristled. â€Å"The point is that you will never know what they knew – that courage is its own reward.† Sam sat down on the edge of the bed and stared at Coyote's back. The red feathers across the buckskin shirt seemed to move on the black surface of Coyote's shirt. Sam wondered if he might not be light-headed from prolonged dog breath inhalation, but then the feathers drew a scene, and in a whirl of images and feathers, Sam was back on the reservation again. There were three of them: boys hiding in the sagebrush by the road that led into the Custer Battlefield National Monument. Two were Crow, one Cheyenne. They were there on a dare that had started in ninth-grade gym class. The largest boy, the Cheyenne, was from the Broken Tooth family – descendants of a warrior who fought with Crazy Horse and Red Cloud on this very land. â€Å"You going to do it?† said Eli Broken Tooth. â€Å"Or are you full of shit like all Crows?† â€Å"I said I'd do it,† Samson said. â€Å"But I'm not going to be stupid about it.† â€Å"What about you, breed?† Eli asked Billy Two Irons. â€Å"You a chickenshit?† Broken Tooth had been taunting Billy about his mixed blood for the whole school year and citing his own â€Å"pure Indian† lineage. The fact was that in buffalo days the mortality rate had been so high for young plains warriors that a woman might have three or four husbands in her lifetime, and have children by them all. Sometimes one of the husbands was a white man, yet since they all traced their kinship through their mother's line, the white ancestor could easily be forgotten. Billy said, â€Å"I'll bet you got a few whiteys in your wigwam you don't even know about, Broken Dick.† Samson laughed and the others shushed him. The security guard was making a pass by the monument's high wrought-iron gate. They ducked their heads. A flashlight beam passed over them, paused, and moved on as the guard turned to walk up the hill toward the Custer burial site. â€Å"You going to do it?† Eli asked. â€Å"Once he's past the grave he has to go check on the Reno site. He'll take the jeep for that. When we hear the jeep, we'll go.† â€Å"Sure you will,† said Eli. â€Å"You coming?† Samson asked. He was more than a little afraid. The monument was federal land, and this was a time when an Indian causing trouble on federal land was something the government was going to great lengths to discourage after the Alcatraz takeover and the killings at Pine Ridge. â€Å"I don't have to go,† Broken Tooth said. â€Å"My people put him there. I'll just sit here and twist up a doobie while you girls do your thing.† He grinned. â€Å"The gate will be the bitch,† Billy said. They looked at the fifteen-foot iron spears suspended between two stone pillars. There were only two cross members they could use as footholds. They watched the guard amble the hundred yards down the hill to the visitor center. When they heard the jeep fire up, Samson and Billy took off. They hit the gate at the same time. The gate swung with the impact and clanged against the chains and padlock that held it closed. They scrambled up the bars, then hung over spearpoints and dropped to the asphalt. As they let go the chain sent a loud clang ringing down the valley. They both landed on their butts. Samson looked to Billy. â€Å"You okay?† Billy jumped to his feet and dusted off his jeans. â€Å"How come the Indians in the movies can do this shit in complete stealth?† â€Å"Vocational training,† Samson said. He started running up the hill toward the monument. Billy followed. â€Å"Snake ahead,† Samson said as he ran. â€Å"What?† â€Å"Snake,† Sam repeated breathlessly. He leapt into the air over the big diamondback rattler that was lying in the road, warming itself on the asphalt. Billy saw the snake in time to pull up and slide on some loose gravel within striking distance. When he heard Billy's shoes sliding he stopped and turned. Billy said, â€Å"You were saying ‘Snake, right?† â€Å"Back away and go around, Billy.† Samson was so out of breath he could hardly talk. The rattler coiled. â€Å"I thought you were saying ‘Steak. I was wondering, Why is he yelling ‘Steak' at me?† â€Å"Back away and go around.† â€Å"‘Snake. Well, I guess this explains it.† Billy backed slowly away, then once out of striking distance ran a wide arc around the snake and up the hill. Samson fell in beside him. The monument was still a hundred yards away. â€Å"Pace yourself,† he said. â€Å"Did you say ‘Snake' again?† Billy said between pants. Rather than answer, Samson fell into a trot. The monument was a twenty-foot granite obelisk set on a ten-foot base at the top of a hill that overlooked the entire Little Bighorn basin. â€Å"Let's do it,† Samson said, heaving in breaths. The hill had been longer and steeper than he'd thought. Billy unzipped his pants and stood beside Samson, who had already bared his weapon. â€Å"You know,† Billy said, â€Å"it would have been easier to gang up on Eli and beat the shit out of him.† â€Å"I think I hear the jeep coming back,† Samson said. A long yellow stream arced out of Billy and splashed the side of the monument. â€Å"Then you better get going.† Samson strained. â€Å"I can't.† Billy grunted, trying to force his urine to run faster. â€Å"Go, man. That's headlights.† â€Å"I can't.† Billy finished and zipped up, then turned to face Samson. â€Å"Think rivers, think waterfalls.† â€Å"It won't come.† â€Å"Come on, Samson. He's coming. Relax.† â€Å"Relax? How can-â€Å" â€Å"Okay, relax in a hurry.† Samson pushed until his eyes bugged. He felt a trickle, then a stream coming. â€Å"Push it, Samson. He's coming.† Billy began to back down the hill. â€Å"Push it, man.† The jeep's headlights broke over the hill and descended toward the monument. â€Å"Duck!† Billy said. Samson squatted by the base of the monument and managed to stream urine down both pant legs before he got himself reaimed. Billy dove for cover next to Samson. â€Å"Did you say ‘Duck'?† Samson whispered. â€Å"Shut up,† Billy snapped. Despite his fear, the adrenaline had made Samson giddy. He grinned at Billy. â€Å"I thought you were saying ‘Truck, which would have made more sense, but-â€Å" â€Å"Would you shut up?† Billy risked a peek at the road. The jeep was coming toward them, rather than returning to the visitor center where it had started. As the jeep approached the monument, they worked their way around its base, keeping the obelisk between themselves and the guard. â€Å"He won't stop, will he?† Billy said. Samson could hear the jeep slowing as it passed the monument on the other side of them, not twenty feet away. They held their crouch until the jeep descended the hill and stopped halfway to the gate. â€Å"He sees footprints,† Billy said. â€Å"On asphalt?† â€Å"He saw us. I'm going to end up in jail like my brother.† â€Å"No, look, it's the fucking snake. He's waiting for it to get out of the road.† Indeed, the guard was inching the jeep forward slowly enough for the rattler to slither off into the grass. When the snake was gone the jeep revved up and continued down the hill, by the iron gate, and back around to the back of the visitor center. â€Å"Let's go,† Billy said. They ran down the road, Samson almost falling while trying to zip his pants and run at the same time. As they reached the gate Samson grabbed Billy's shoulder and pulled him back. â€Å"What the fuck?† Billy said. Samson pointed to the chain. Billy nodded in understanding. The clanging. Samson went to the center of the gate and grasped it. â€Å"Go,† he said. â€Å"When you get over, hold it for me.† Without hesitation Billy leapt to the gate and climbed over, sliding down the opposite side instead of dropping as before. He held the gate and Samson started over. As Samson reached the top of the gate and was working his feet between the spearpoints, he heard Eli's laughing from down the road and he looked up. A second later he heard a metal fire door slam at the visitor center. The quick turn took his balance and he tried to jump, but one of the spearpoints caught his jeans leg and he was slammed upside down into the gate. Billy held the chain, but there was a dull clank as Samson's forehead hit the bars. It took Samson a second to realize that he was still hanging from the gate, his head still eight feet off the ground. â€Å"Unhook your leg,† Billy said. â€Å"I'll catch you.† In this position Samson was facing the visitor center. He could see some lights going on inside. He struggled to push himself up on the bar, but the spearpoint was barbed. â€Å"I can't get it.† â€Å"Shit,† Billy said. He held the gate with one hand and drew a flick knife from his back pocket with the other. â€Å"I'll come up and cut you down.† â€Å"No, don't let go of the gate,† Samson said. â€Å"Fuck it,† Billy said. He let go of the gate and it clanged with Samson's swinging weight. Billy jumped on the bars and as he climbed Samson could hear the fire door open and slam again, then footsteps. Billy stood at the top of the stone pillar and put the knife to Samson's pant leg. â€Å"When I cut, keep hold of the bars.† Billy pulled the knife blade through the denim and Samson flipped over and slammed the bars again, this time right side up. The gate clanged again. Samson heard the jeep starting and saw the beams of the headlights come out from behind the visitor center. He looked to Billy. â€Å"Jump!† Billy leapt from the fifteen-foot pillar. As he hit the pavement he yowled and crumpled. â€Å"My ankle.† Samson looked to the visitor center, where the jeep was pulling out. He grabbed Billy under the armpits and dragged him down into the ditch. They waited, breathlessly, as the jeep stopped and the guard, gun drawn, checked the lock and chain once again. After the guard left they crawled down the ditch toward Eli. When he came into view, Samson helped Billy to his feet and supported him while he limped up to the big Cheyenne, who was taking a deep hit on a joint. â€Å"Want a hit?† he croaked, holding the joint out to Billy. Billy took the joint, sat down in the grass, and took a hit. Eli let out a cloud of smoke and laughed. â€Å"That was the funniest fucking thing I've ever seen in my life.† Then he spotted the wet streaks on Samson's pants. â€Å"What happened, Hunts Alone? I thought you were going to piss on Custer's grave. You get so scared you wet yourself?† He threw back his head to laugh and Samson wound up and tagged him on the jaw with a vicious roundhouse punch. Eli dropped to the ground and didn't move. Samson looked at his damaged fist, then at Eli, then at Billy Two Irons. He grinned. Billy said, â€Å"You couldn't have done that twenty minutes ago and saved us all this trouble, could you?† â€Å"You're right,† Samson said. â€Å"I couldn't have done that twenty minutes ago. Let's get out of here before he comes to.† Samson helped Billy to his feet, then out of the ditch onto the road. As they headed toward Crow Agency it seemed to get darker as they walked, then darker still, until there was no light at all and Sam was in his bedroom staring at the back of a black buckskin shirt trimmed with red woodpecker feathers. â€Å"It was a stupid thing to do,† Sam said. â€Å"It was brave,† Coyote said. â€Å"It would have been stupid if you had failed.† â€Å"We found out later that Custer wasn't even buried there. His body was taken to West Point, so it was all for nothing.† â€Å"And what about the night on the dam? Was that all for nothing?† â€Å"How do you know about that?† Coyote turned and stared at Sam with his arms crossed, his golden eyes shining with delight. â€Å"That was nothing but trouble,† Sam said finally. â€Å"Would you do it again?† â€Å"Yes,† Sam said without thinking. â€Å"And the girl is nothing but trouble?† Coyote said. Sam heard the words echoing in his mind. Going after the girl was the right thing to do. After all the years of doing the safe thing, it was time to do the right thing. He said, â€Å"You really piss me off sometimes, you know that?† â€Å"Anger is the gods' way of letting you know you are alive.† Sam got up and stood face-to-face with the trickster, trying to read something in his eyes. He moved forward until their noses almost touched. â€Å"All you know is that she's going to Las Vegas? No address or anything?† â€Å"Not so far. But if she misses them there, the biker is going on to South Dakota. She'll follow. I'll tell you the rest on the way.† â€Å"I don't suppose you could change into a Learjet or something practical.† Coyote shook his head. â€Å"Just living things: animals, bugs, rocks.† Sam reached into his shirt pocket, pulled out the box of breath mints, and handed them to Coyote. The trickster raised his eyebrows in query. Sam said, â€Å"Eat those. I can't handle dog breath through an eight-hour drive.†

My Educational Journey My Best Friend s House - 1075 Words

My educational journey began in the den of my mother’s best friend’s house where I attended Johnson’s Day Care. While attending this institution, I learned how to use the potty, the letters of the alphabet, how to count, and how to do my schoolwork everyday. Miss Johnson was the first to influence my education and planted a seed that would only continue to flourish in the American educational system. She taught me the importance of being responsible for my work and to always be ahead of my peers in order to get good grades. Following my success in preschool, I attended only one other predominantly black school during my K12 education, which was a catholic private school. I spent my kindergarten year there besides many other peers of my own complexions under a teacher who was also of my own complexions. I do not have much memory of this time, but I do remember having a level of comfort in school that I would not have once I transferred to a â€Å"better† ne ighborhood’s school. 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