Author: Kimmi

They are stained. Stained with the blood that once seeped through my veins. They hurt, they fucking hurt. Why? Why did I do this to myself? Tell me. Tell me. I don’t know. The thoughts that instructed me to do this, were stale and didn’t belong to me. Who is this? The walls that surround me were pale and cracked. Hollow voices that I heard each passing day were taunting and merciless. They hurt me; they caged me.

I tremble there, alone in the blackened corner, merging into it. I struggle to move my frail hands and when I do, they sting. The air surrounding me is hazy and smells fetid. Don’t breathe it in I beg; I have no choice. Faded voices outside slowly turn to whispers. Paranoia consumes me, it makes me the subject of these. She’s insane. She’s ugly. She’s hopeless. Yes, I am, I tell myself. What is the point of breathing, of talking, tasting, loving or laughing? What’s the point of feeling another’s lips pressed against mine, claiming me, engulfing me, belonging to me, and my hands intertwining with his? This used to be my own reality but is now an everlasting fantasy. I can see my mother picking the lingering shards of hope and potential from the floor to weave me back together, or rather try. I can also see my father shaking his head with disappointment and giving me up without hesitation; that has always been him. Hatred for me ran through his every move. I stand up. My hands are stinging again. The tap begins to drip its clarity upon my wounds, making me tense up. The cats outside claw at one another, the ambulance rushes past, the dog barks and I am left here. Not known or in the thoughts of someone. I am barely existing, slowly I am disintegrating to dust.

A pale and lifeless face lives inside the shattered mirror; it’s mine. No longer do I feel anything anymore as the sharp blade penetrates through my skin. Smiling as the vermillion coloured liquid escapes from beneath me. I know that this is wrong and selfish, but no longer am I who I was. The leaves falling softly to the ground, the final ice cream scoop into the cone, the application of bright red lipstick and the catching of falling snow in my mouth, don’t bring me happiness or release. I have lost the simplicity of these actions; I have lost me. I didn’t used to be this way. I used to be the one who went out, who applied the red lipstick with honour, who strutted the mini skirt and tight tank tops and I used to be the one who could get anyone I wanted. Now look at me. The lipstick no longer glides over smoothly as it once did. My lips are cracked and dry, my body is limp and has become one that I don’t want to see; I now hide away in remorse.

What are you doing? the voice inside my head screams. I try to fight it off, to bat it away from me, I fail. I fall. Down spiralling out of control. I cover my head and end up grasping too hard, hurting myself even more. I don’t cry this time. I just let it happen, feeling I am constantly holding my head above water, struggling not to give up and let myself go. The cats no longer claw at one another, there is silence; one is dead. The tap has stopped dripping, the dog no longer barks, the siren has faded into the distance and the whispers have gone. Footsteps begin to approach me from the outside. Mum.

Her raspy yet concerned voice calls out my name. A name that belonged to someone who was loyal, genuine and smart. Now it barely holds together a sarcastic, bitter and frail being. I yearn to feel wanted again, to no longer feel numb to wish I could meet their expectations of what were a promise of my childhood, Yes mum, I will make you proud. I remember her smile when I blurted out those words. When I looked deep into her oxford blue eyes, how those now muffled words soothed every bone inside her. Her voice is closer, my body aches. I want to give up. Do it; I will catch you. 

I want to sculpt a pattern into my canvased arm. I want to express the loud thoughts that corrupt my mind; I want to escape. 

“Where are you?”  She asks. Her keys fall to the floor in the distance. I can hear this. 

Footsteps are now at the closed door. Their silhouette shows itself and she knocks. She knocks louder and my ears ring. My heart rate begins to increase and then slows. My throat opens, welcoming the death I am about to swallow over and over again. Yes. The voice is now a hum. A hum I can’t and don’t want to decipher. I don’t want to decipher the meanings of pathetic excuses. I don’t want failure to be my ally. No screams, no fighting, no listening. I want to sleep. 

The door. The door breaks down. I swallow. I’m gone. 

“The past can’t hurt you anymore. Not unless you let it. They made you into a victim, Evey. They made you into a statistic. But, that’s not the real you. That’s not who you are inside” In the film. V for Vendetta directed by James McTeigue, he signifies the rebellion against exploitation of an oppressing government. Symbolism is demonstrated to juxtapose the theme of identity and the rebellion against forced conformity. The viewers are taken through the life of Evey, She is living in near-futuristic London, which has been over taken by a fascist government, where simple rights are suppressed and freedom is stripped. As the movie progresses, Evey starts to take on the identity of V and the rebellion inside her that started off small begins to take over her; she is no longer afraid. The viewers then quickly learn of the main party in the film; V is a romantic vigilante who does not conform to this regime that the government has created. He holds concern over the loss of innocent life that has been taken for them being who they were. His aim is to change the governments ways by acting against it using different methods and tactics in hopes that the people will follow him. He wishes to mould a brand new society where freedom isn’t suppressed nor where human rights don’t exist with his idea being to retain peace and strip power from the government. Throughout the film, the director has used symbolism, camera angles and sound in order to portray the film in a way in which viewers are able to feel and think about the crucial ideas and reflect on the consequences that come in this kind of world. James McTeigue’s intention in this film is slightly more complex than most. There are themes about how the government should be afraid of its people and not vise versa. There are a few intense moments where the politicians use lies to cover the up the truth. The society that they live in was actually created through the idea of fear. Their own fear forced them to choose a government that had promised safety. When Evey believed she was being held prisoner by not telling them where V was, she realised that when she was removed of her mentality and physicality, the only thing she had left was her life. She didn’t give in to torture because she still had integrity. The experience of torture and accepting she would rather die than to conform, released her from her fear.

“You wear a mask for so long, you forget who you were beneath it.” The most crucial symbol used in the film is V’s mask. The main purpose for this was to not give V an identity, but purely to make him a symbol.  V is everybody, he is not the portrayal of just one character, but is all the people in the society; the people who the government wronged. By wearing this mask, V becomes something greater than himself. He becomes the living soul of an ideal, an ideal that is reflected in everyone. They portray and hide the loss of a person’s identity. It isn’t just V who hides his truth with a mask, it is also seen in Evey. In the beginning, a close up shot is used of Evey putting makeup on her face, this is her mask in order to pretend she is confident and to hide her constant fear. The mask also represents opposition and revolt, which is the belief that V holds dearly.  The story poses an illogical dystopia in which time is the means and end for fascism. In domino scene, the viewers see an organised motif of both red and black dominoes set up in the shape of a V, paralleling the protagonist with his belief. The film uses both diegetic and nondiegetic sounds. There is a variation between the two kinds of sounds; however this is faded in to create significance between two events. In the domino scene when V releases his finger and the dominoes fall and the riot begins, we can see a lot of interchange between diegetic and nondiegetic sounds. The sound of falling dominos begins to increase in volume and becomes more chaotic and overwhelming. It is at this very point that the sound of a crowd’s enraged cries begins to fade into it. There is a quick cut to a long shot of a riot. The fusion of diegetic and nondiegetic sounds. reaches a peak, where the sound of the dominos falling is almost completely drowned out by what could be either a gun shot or perhaps a helicopter. This connection can be defined as a sound bridge. In this instance, the sound bridge is used to create a symbolic motif in the audience’s mind between the cascade of dominos set off by V,  and the riots taking place outside.

These dominoes portray symbolism as they are a representation of his ploy. They are an organised sequence in which demonstrates what V is doing with the dominos and what is occurring in the outside world. He places them side by side, cutting between the two events so the viewers shape a connection between them. At the beginning of the scene it shows V placing the first domino and then cuts to a long shot of various trucks driving, containing boxes of the masks that V exhibits. This is showing juxtaposition as this is seen as the first part of V’s ploy which can be related back to the first domino he flicks over with his gloved hand that covers burns from the government. In this scene the viewers are able to think about the link between what is taking place and how strong V wants this. They are impacted emotionally through what the are viewing. If we were to view this as from a societal point of view, we can see that sometimes the events that take place, are linked through different people, places and sometimes can just happen for a coincidence. Sometimes it is out of our hands of what happens and most times we cannot do anything about it, sometimes these things slip through our fingers and we must allow it to pan out in front of us.

“Die die, why won’t you die?” In this film, the director has purposely used different cinematography techniques to enhance meaning and the messages in the film. In the final fight scene, he has used different camera angles and different sequences of sound to demonstrate the significance of how passionate V is to rebuild and reshape London’s society. From the very beginning of the film, the viewers learn how strongly afraid the people are by the government and they feel that they must obey. When the fight scene begins, the idea of control and authority is highlighted. The director has used parallel action and symbolism to enhance the audiences understanding of the change in power and authority through the direct contrast. In the scene, V is shown to gain power over Adam Sutler through the use of a high angle on Sutler and a low angle on Adam. The high angles are showing the loss of power while low angles show gain of power. James McTeigue has also used symbolism to demonstrate the ideas of power. In this scene, the viewers can see the chancellor as being the main party, he is being focused on by using a close-up shot, which means the audience are able to understand his facial expressions and how serious he is. He demonstrates confidence and power and shows he knows fully what he intends to do to stop V. The close up shot then cuts to a low angle which represents how much authority he has. This causes the viewers to feel lesser than the chancellor. When we are looked down upon this makes us believe that we are something smaller than what we are and could be. We start to believe that there are people better than us, but the truth is; we are all human. This makes the audience feel powerless and unimportant.

Being held under such a forceful dictatorship, the society is made to follow what they believe is the truth. As the scene progresses, we see a figure emerge, with a black bag covering his head, and the viewers come to learn that it is the chancellor. This makes the viewers feel worried. There is confusion that lingers as he now understands V’s ploy. This is also the first scene in which the chancellor is viewed using a high angle, portraying how small the chancellor has become due to V’s tactics, which is juxtaposed where the viewers have been seeing the chancellor with power, authority and no remorse. Finally, we see the chancellor from an insignificant point of view, and can look down on him. This flips the authoritative figure and changes them entirely.

When V begins to fight, he executes it through dance which has been highlighted throughout the film as being a large part of who he is. He expresses an ironic piece of dialogue as he is in the midst of his killing ‘spree’ by saying “There’s no good revolution without dancing” A slow-motion technique is used in this when he begins to draw his knives and stab the men that stand in his way. He has finally come to the point where he can execute his plan and hurt the people who took away who he used to be. This slow motion technique and the scene in general, makes the audience feel both sad but proud for V has worked so hard for. This can be compared to the wider world through how some of us are so determined to get back at the people who hurt us, and perhaps the audience are able to relate to this and to reflect. The slow-motion can also be linked to dramatitising the scene, and the persona that V takes on. V is both violent and romantic, so in this scene this is focused on, with dance which is scene as a romantic act, whilst killing which is violent. As the scene progresses on, it is shown that by the bullets that hit V, injured him a great deal, and he knows he is going to die. V knew that this would happen, but he wanted to get his revenge. He died with the peace that Evey loved him, and his ploy was complete. He had the support and the burning desire to follow through with this, he died, but what started off as an idea lived on.

In the film, V for Vendetta directed by James McTeigue, crucial camera angles, symbolism and sounds, have been used in order to express and highlight the meanings that this movie was trying to portray. These techniques all help to make the audience think and cause different emotions to be striked into. It makes them reflect on wider societal issues such as politics, government and if they have made the right decisions when it comes to their governing leaders. Also, it makes them think about themselves as people. This movie expresses the ideas of power and justice and highlights them through the camera techniques, sound and symbolism. It ventures into the subject of dictatorship within a futuristic London society. It really details the idea that a belief can be stronger than we first intend. It can be turned into a reality and changing the world as we know it. Perhaps V’s ploy of blowing up the building may not lead to this, however this would be a start to what could happen if humanity doesn’t change it’s ways and how we have begun to run this world. In conclusion, I theorise that the overall moral of the story is to cherish your integrity and to not live in fear.

Allusions
Biblical Allusions are a reference within a literary work to a story, idea, or event that is related in the Bible or other biblical writings.

Jezebels is the name given to the secret brothel where certain women are sent to work as prostitutes under the Republic of Gilead. The women sent to Jezebel’s are usually rebellious women who are offered the choice between Jezebel’s and the Colonies.

Rachel and Jacob. Rachel is first revealed in the Hebrew Bible in Genesis 29 when Jacob arrives as she is about to water her father’s flock. She was the second daughter of Laban, Rebekah’s brother. Jacobhad travelled a far in order to find Laban. Rebekah had sent him there to be safe from his furious twin brother, Esau.

Gilead is referring to a mountainous region east of the Jordan River divided among the tribes of Reuben, Gad, and Manasseh which is situated in modern-day Jordan.

Freud and his theories – ‘Penis Envy’ Penis envy is a period that was speculated by Sigmund Freud talking about female psychosexual development, where young girls experience anxiety when they realise that they do not have a penis. The parallel reaction of a boy’s realisation that women do not have a penis is castration anxiety.

Marxism is the political and economic theories of Karl Marx and Friedrich Engels, which was later developed by their followers to shape the beginning of communism. There was always a hierarchy 

George Orwell’s 1984-

Why has Atwood included Allusions in the text? What do they tell us about Offred and Gilead?

Where is the novel set?- The Handmaid’s Tale is a dystopian novel set in a near-future New England, in a totalitarian, Christian theonomy that has overthrown the United States government.

In which contemporary geographical place is Gilead located? Cite evidence-Gilead is referring to a mountainous region east of the Jordan River divided among the tribes of Reuben, Gad, and Manasseh which is situated in modern-day Jordan.

What contemporary university is referred to? Give information about this
university. Why is its inclusion important? Harvard is the university that is mentioned. It is a private university located in Massachusetts.  17,000 Puritans migrated to New England by 1636, Harvard was founded in anticipation of the need for training clergy for the new commonwealth, a “church in the wilderness”.

What are we told about the world outside of the house/Gilead? What is the
significance of that?

Make notes on the following areas of the Commander’s house, using quotes to support your comments: Offred’s room (Chapter 2 and 9); The garden; The sitting room (Ch. 14), The Commander’s study (Ch. 23)

Offred’s Room: At the start, it is set in a gymnasium and they have to sleep in army cots. The women are forbidden to speak. The scene then changes to be in the present and Offred now lives in room fitted with curtains, a pillow, a framed picture and a braided rug. There is no glass in the room though. Even on the picture that is framed. The window doesn’t open fully and the windowpane is shatterproof 

The Garden: There are two observations of nature ‘opening’ which contrast the restrictiveness of the household where Offred lives. The same word, ‘opening’, is used by Offred in chapter 27 when she feels that she and Ofglen have achieved some ‘real communication’, and states that ‘hope is rising in me, like sap in a tree.’ The garden as a whole represents “an impulse for life that cannot be denied” Offred also explains to the reader what her experience was like with her own garden before she became a handmaid. She said she remembers “the smell of the turned earth, the plump shades of bulbs held in the hands, fullness, the dry rustle of seeds through the fingers”

Commander’s Study:

The Sitting Room: Offred describes the sitting room as “weirdly, domestically furnished and reflecting a great deal of wealth”

Make notes on Jezebel’s. Focus upon the contrast with the rest of the Gilead
settings (Ch. 37)
Research a Totalitarian regime, either one that is contemporary or historical.

How does Gilead echo this setting?

Themes:

Control is the overriding theme presented within the novel, but there are subsets of this theme. Using the subsets below, find three examples (using quotations and list the page reference) that highlight each idea.

• Control of thought
• Control of women
• Control of movement
• Control of sexuality
• Control through fear

Closely analyse one section of the text that shows ONE theme and discuss how it encapsulates the theme (photocopy and annotate this)

Characters- Major Characters
Offred
The Commander
Serena Joy
Moira
Nick

Facts, for example – Offred is 33 years old, has had a daughter…
Actions, for example – Offred capitulates to the regime because she is too afraid for her daughter to protest
Adjectives/Phrases – Offred is educated (university graduate; good job
in the library)
Conclusions/overall description – for example; The whole story is told
from Offred’s point of view, She is not a hero; she is passive

Facts- Aged in her 40’s. Serena Joy is the wife of commander Fred, who is using Offred to be able to obtain a child of her own, as she is unable to conceive. Offred states that her real name is actually Pam.  She also smokes cigarettes (which is a banned object)

Actions- Finds out that Offred has been having an emotional affair with the commander and she furiously confronts her. She offers Offred cigarettes and information on her daughter to be able to get a child of her own

Phrases- Used to be a talented singer before the creation of Gilead

Conclusions-

Facts- Nick is in his 30’s. He is a guardian whom serves Commander Fred. Nothing is known about his life before the creation of Gilead. Offred suspects he may be an eye.

Actions-

Phrases- “No one’s, above the law Commander”

Conclusions-

Minor Characters
Janine/Ofwarren
Luke
Offred’s Mother
Aunt Lydia

Overall description, as well as discussing their significance

Awakened

Eyes closed, body stiff, mouth dry, muscles weak and frail. You lie there, confused yet undisturbed and peaceful, away from demons that caress your soul as if it was their own. Your mind is awake and functioning, almost as if it is a dream that clouded reality. Whispers that surround you are easily heard but impossible to make out, or respond to. The hand that lies upon yours is numb, as well as the fiery tears that drown it. Air that surges around, and stale thoughts that cling to the walls, trap you in darkness. Outside, the blossoms dance a pure waltz in the quiet embrace of the wind and you remember when you were part of what they share. The lullaby that it sang when you fell asleep carelessly under the stars was clear and calming. Days of weakness drift by painfully and tirelessly, playing with each thought you somehow cradle in feeble arms. Feelings of uneasiness are haunting, and force the shadow of the past to tease you.   

This has not always been your life though, please tell me you remember. The euphoric sound of laughter, the taste of sweet air, the feeling of love and being loved, before everything turned sour? Do you remember when you could swallow saliva without fear or doubt? or the smile that appeared without reason, in synchronisation with them or when you could smile at all? When he took your hand, feeling his fingers intertwine within yours, feeling heartbeats match. Lips pressing against lips, forcing the blood to whisk to your head as he enveloped you? These days have faded, but you cling onto that ounce of humanity, hoping that it will make you whole once more. You wish you could wake up as a child, free of worry, free of regret; free of torment. That you could redo everything, and erase what now defined you. Wishing your heart had not been corrupted by the event that changed it all. That your mother would smile down at you, welcoming you back, seeing your father weep as his little girl returned to be back with him. All they could see was a fragile body lying still, not breathing, talking, laughing; living.

Your eyes are open, body still stiff, mouth retaining moisture, and muscles gaining back fragments of strength. The hand you didn’t use to be able to feel, remains there, still drowning yours in aged tears, yet new ones form which are tepid and show felicity for you have awakened. Movement is still foreign, but a smile is not, it feels good to be able to express emotion, even just one at a time. Dizziness has taken hold of your head but you don’t give it a second thought. Whispers have gone and so has your inability to make them out. You can hear the sounds that were muted, and respond without keeping it bottled inside your limp figure. The room smells new and strange, you can’t decipher it, it isn’t sweet nor salty. Hot sweat runs down carmine cheeks, searing the skin as you try to move but fail. You are only able to blink each second that passes by, and wriggle your legs under thin sheets that engulf your body. This does not beset you, the world lays at your wobbly feet once more. Oxford blue eyes belonging to you are no longer shielded by dry eyelids, you have returned and are ready; ready to try again.

2.4 To Kill a Mockingbird Essay

Question 8- Analyse how language features revealed the writer’s purpose in the written text(s)

Throughout the novel To Kill a Mockingbird written by Harper Lee, symbolism as a language feature plays an important role in uncovering deeper meanings, and forcing the reader to think about how everyday objects can be used for a more complex reason, they teach us lessons about people and to not judge them through other people’s words. This essay will focus on the symbolism of the six objects placed in the hollow of the tree on the Radley property, and that Harper Lee was trying to say how there is more to something than we first believe. These objects hold significance as the reader learns about how objects can reflect our emotions and teach us to remember that we should not believe everything that someone says, we need to decide for ourselves who someone really is.

 

To an individual’s naked eye, the idea and overall object of chewing gum is something that speaks simplicity. This very item is not given a great deal of thought by many, but in the eyes of a child, such as Scout Finch in To Kill a Mockingbird, it made her feel happy because she had something simple but sweet in her presence. We eventually uncover that Arthur “Boo” Radley placed the gift in the hollow of the tree to make sure Scout or Jem would see it. Boo is essentially the “boogie man” of the novel and the reader learns that Boo was unable to leave his house for fifteen years because his father believed he should be locked up, no longer a part of society. His father thought if he was locked up, he would be protected from himself and that everyone else would be safer without Boo. A consequence that came with this was his image became mythical in the minds of the children and they believed he was a monster. Boo was never able to fully develop mentally, emotionally and socially. He never had that interaction with the other people of Maycomb. Placing the chewing gum in the tree, symbolises Boo trying his best to be kind to the children and diminish the mistrust that the children may feel towards him. The item will have been used to get Scout’s attention, and signal to her to come over to the tree. Scout states that “the tinfoil was winking at me” in the sun. When Jem learns that Scout ate the gum he shouts to her, “Don’t you know you’re not even supposed to touch the trees over there?” this is showing how apprehensive Jem is of the Radley property and is trying to keep Scout safe. His thoughts of Boo consume him, and doesn’t allow room for him to see the good in his character. The writer’s purpose is to reveal that Boo is frozen in time, as he was stripped of his childhood and he was isolated in his home. He was never able to reach his mental, social and emotional potential; he may be older than Jem and Scout, but he is no less a child.

 

The writer’s purpose in this part of the novel is to show how Boo can be seen as a mockingbird. Mockingbirds are gentle creatures whose only purpose is to create music and peace. They show no harm towards anybody, and are also very protective. In a sense we can see Boo mimicking the characteristics of a mockingbird. Boo as a person, has been a victim of prejudice as mockingbirds are. They are misjudged creatures and Boo is a misjudged character in the novel. Mockingbirds are innocent and have had misconceptions created about them. The people of Maycomb have no valid reason to shoot a mockingbird, as their purpose is a simple one, which is to make sweet music for the people of Maycomb, which can be likened to Boo as his purpose also speaks simplicity. There is no validation to kill a mockingbird. The protagonist, the voice of reason in the novel, Atticus Finch, states that “It’s a sin to kill a mockingbird” and he is right in saying this and the people of Maycomb need to come to terms with that Boo is no different.

 

The second item that is found in the hollow of the tree on the Radley property, is a ball of grey twine. When you first take into account the things that grey twine might be used for, you don’t usually take thought of how it could be used figuratively, only literally. When we think deeper it becomes something that has the ability to connect things, or in this case, people, together. The twine signifies that Boo is trying to have a literal connection with the children and form some sort of bond, that is slowly beginning to tighten itself as a phone made of cups and string would do. When the children see this item sticking out of the knot-hole in the tree, they “considered everything we found in the knot-hole our property.” This is revealing that the children are coming to correct conclusions that these items are only for them. Boo understood that it brings people closer, so his intentions were clear that he wanted to be that connection. This connection is however lost when Nathan Radley, Boo’s brother, conceals the hole in the tree with cement, and the ways of communicating became blocked. Boo could not longer reach out to them; his hope is killed, and he is once again isolated. He can be likened to a mockingbird here, because people have been known to lock mockingbirds in cages, and this is exactly what happened to Boo; he is helpless and is unable to break free from humans. Boo symbolises goodness and forgiveness in society. He represents how people can misunderstand someone they believe is bad. When they allow their thoughts to devour them, and don’t give people a chance to express who they are, their ideologies of that person remain the same and nothing ever changes.

 

In my opinion, the object that symbolizes the children the most that are the two carved soap dolls. The sculptor has paid attention to detail, and created a representation of both children. As Jem looks closer at the two objects, it becomes clear to him that the gifts are only for Scout and him; Scout still remains oblivious to this fact. By giving the children an object that only represents them, it is symbolizing that Boo is aware of their presence and has been watching them from inside his house. He is reaching a hand of friendship out to them and revealing that he is a kind-hearted person. He symbolises innocence of the evil a he is presented by many in Maycomb. The soap dolls are proof that the sculptor, in this case Boo, has refined this particular art over time. By placing in the hole, something that represents the children, it opens their eyes to who Boo may actually be as a person. He represents a mockingbird in this part of the novel, as mockingbirds do no harm to anyone, they are gentle and kind creatures, but are misjudged, which is mirroring Boo and his life which is stereotypical and unfair. Boo represents the wholesome and forgiving nature that lives in people in society. He shares the innocence and kindness that some of us fail to show towards other people in the wider world. Boo remind us that no matter how caged we have been or how bad our experiences have been, this does not make us a bad person.

 

The next item that Boo leaves for the two children, is a spelling medal. The writer’s purpose is to represent the success that Boo could have once accomplished and the potential he could have had, to lead a normal life if he had not been isolated in his cage for all those years. It represents that he was once a child himself, and he is giving something of his to the children, which is quite brave of him. He is essentially giving away a memory to children he doesn’t know, but wishes too. He uses this item to communicate and may be proof that Boo was once a good student before he got locked up. This is representing that he does not match the preconceived thoughts of himself. He is talented and observant and wants to prove this to Scout and Jem by the objects he gives him. A memory of school would relate to both the children, and they may understand him better than before. Boo’s life has been grim and full of sadness. His motivation came from wanting to reconnect with society and the person he use to be; Jem and Scout helped him to do this by acknowledging the items he left them.

 

A watch is the next item that is found. It hangs on an aluminum chain and is broken. The break in the watch symbolises a deeper message symbolising a break in the passage of time and throughout Boo’s restricted life, and the passing of family values. Boo views Jem and Scout as his own children whom he will pass his legacy onto; he will look after them, and this watch shows this. This item connects directly with Jem who has carefully carried around his father’s watch with him. Boo is not bitter, he has no hatred towards his father, this is object represents that he is wholesome and has a forgiving nature about him. Harper Lee showed that Boo keeping the watch for all these years meant that he had not lost all hope. He knew that he may find somebody that could be his “children” to pass on his own morals and a part of who he is. It is a precious item that is something rare and vulnerable for special recipients to keep safe.

 

The last item he leaves them, is of hope and gives feelings of luck. Two Indian pennies with the dates 1900 and 1906, are found and have been polished up and put in a box. These are another symbol of Boo’s kindness, and his longing desire to connect with the children. When Jem sees these, he wishes to help find the owner of them. He is revealing his honesty and says to Scout, “I don’t know Scout. But these are important to somebody” By saying this, Harper Lee reveals to the reader that Boo is a humble character and wishes to do the right thing. The pennies also represent childhood as a whole, and how the pennies may have been Boo’s very last pocket money for him to then have ownership over before he had his life stripped away from him. For him to give these to the children, shares an element of trust, as he is giving what essentially is his last memory of freedom, to children he wants to know. The pennies are also Boo revealing to the children the most precious memories and the most painful time in his restricted life. He held onto innocence for all those years, but at the same time had it diminished from him. By leaving these gifts, he is showing he is good and has no element of evil inside him. He is forgiving, and is trying to explain this through the items he leaves the children.

 

In the novel, To Kill a Mockingbird, Harper Lee reveals through language features, in this case symbolism, that the items that Boo left the children hold deeper meanings about people, and greater significance than what the naked eye first sees. For Boo, it was always about the element of connection; connection with the outside world, with himself and also with the children. Boo, as a character was a representation of a mockingbird. This is because mockingbirds are a symbol of innocence, and do not one thing to harm anybody else, thus representing Boo. He is also a symbol of prejudice, this because he is an introverted character that has been isolated in a cage for all years, and has had preconceived ideas about who he is as a person. The people of Maycomb see him as an inhumane figure, rather than a regular member of society. The rumours of him take over Scout and Jem, and they do not think anything else of him; they only pre-judge him to what they hear. The objects Boo gave them symbolised that he is nothing like the mythical status he seems to uphold. Each item was an asking for help, a way of connecting back to the outside world and moving back into society; he was tired of being known as someone who he had never been.

By Kimmi McArthur