What do the characters' emotions and behavior reveal about their psychological states in "Soldier's Home"?

Ernest Hemingway's short story "Soldier's Home" is about a returning World War I veteran who fought in some of the most important battles of the war. There are essentially only four characters represented in the story: Harold Krebs, his mother, father and sister. Krebs apparently is suffering ill effects from his experience in the war. He lacks motivation and claims that he wishes to avoid complications and for everything in his life to "go smoothly." His days are spent basically in an idle state, sleeping late, spending time at the library (trying to sort through books on the war to figure out what really happened to him) and shooting pool. He is unable to communicate his unease about what he went through in the war and tends to avoid interpersonal relationships. In today's terms it might be said that Krebs suffers from post-traumatic stress disorder. His psychological state is one of a man who has experienced the horrors of war and is not capable of returning to his old life and normal existence. Two recent movies, The Hurt Locker and American Sniper, portray characters who would relate to what Krebs is feeling as he attempts to reintegrate into life in his small Oklahoma town.

Krebs's mother is also affected by her son's unease. She cannot understand why he won't simply carry on with his life as if the war never happened. She finally confronts him at the end of the story in an extremely uncomfortable scene in which Harold tells her that he doesn't love her and cannot pray with her. James R. Mellow, in his biography of Hemingway, suggests that Mrs. Krebs is modeled after Hemingway's own mother and that, along with being devoutly religious, was also a highly controlling figure in her children's lives. The fact that Krebs is no longer her little boy has caused her great dismay and she eventually breaks down crying in the face of his rejections.


Krebs's father is never physically present in the story, but his presence is felt. He is obviously a no-nonsense businessman who simply wants his son to get on with acquiring a job and being a productive member of society. His absence suggests that he may not be emotionally invested in his son's life and that the only thing that really matters to him is work.


Finally, the reader is introduced to Krebs's sister Helen, who appears in a seemingly unimportant scene in which she asks him if he is her "beau" and wants him to attend her indoor baseball game. She tells him that he doesn't love her unless he goes to her game. Krebs is initially apathetic and noncommittal in his conversation with his sister, but the discussion is later revealed to be important. In the story's last lines he says he will go to Helen's game, and this may be the first realization for Harold that he must get on with his life and that he may actually be capable of loving someone.

How are the loss of innocence and growing older reflected and developed in the story "Two kinds" by Amy Tan?

As the story "Two Kinds" opens, the narrator, Jing-mei, recalls herself as a very young child at the mercy of her mother's desires for her to become a child prodigy. At first, Jing-mei, in her innocence, complies with her mother's aspirations for her and even believes in them herself. The Peter Pan haircut she gets actually makes her "look forward to [her] future fame." She was even more excited than her mother envisioning the type...

As the story "Two Kinds" opens, the narrator, Jing-mei, recalls herself as a very young child at the mercy of her mother's desires for her to become a child prodigy. At first, Jing-mei, in her innocence, complies with her mother's aspirations for her and even believes in them herself. The Peter Pan haircut she gets actually makes her "look forward to [her] future fame." She was even more excited than her mother envisioning the type of prodigy she might be, whether a ballerina or Cinderella. With the naive confidence of a child, she believed she would become "perfect" as she grew older. 


However, as Jing-mei grew older and her fame and perfection did not arrive, and as her mother demanded more effort from her to become a prodigy, Jing-mei began to lose her innocent compliance and belief in her potential. When she is unable to display a photographic type memory, seeing her mother's disappointment, "something inside of [her] began to die." That something was her innocence--her blind trust in her mother's plans for her. She cries and scratches at herself looking into the mirror, and she sees an "angry, powerful" girl staring back at her. That girl is no longer an innocent little girl, but she is a willful girl who is growing up to know what she wants for herself. At that point, she promises herself she won't be what she is not. 


From then on, Jing-mei grows more and more defiant and even rebellious toward her mother, culminating in the day she refuses to practice piano anymore and lashes out at her mother with hurtful words. Growing up and asserting her own will seems to her "like worms and toads and slimy things crawling out of [her] chest," reflecting her awareness that she is no longer an innocent child. Yet there is something that feels good about it--she is growing up into her own person. As Jing-mei went through high school and college, she continued to disappoint her mother, but she was being true to herself, and she did not regret her choices.


In "Two Kinds," Amy Tan portrays growing up as a necessary loss of innocence. Jing-mei could never have become herself if she stayed naively bound to her mother's aspirations. Although she didn't choose the kindest way to assert her independence, if she was to grow to be her own person, she had to be willing to defy her mother's standards, losing her innocence. 

Thirty percent of a company's employees are over 50 years of age. If 450 people work at the same company, how many are over 50 years old?

This is a typical problem involving percents. There are a few different way to approach such problems. 


Recall that percent is a numerator (top) of a fraction with the denominator (bottom) equal to a 100. For example, 75% of something is equivalent to 75/100 of that number.


So, one way to solve a percent problem is by setting up a proportion:


Part/Whole = Percent(%)/100 


If 30% of all employees are over 50 years of age,...

This is a typical problem involving percents. There are a few different way to approach such problems. 


Recall that percent is a numerator (top) of a fraction with the denominator (bottom) equal to a 100. For example, 75% of something is equivalent to 75/100 of that number.


So, one way to solve a percent problem is by setting up a proportion:


Part/Whole = Percent(%)/100 


If 30% of all employees are over 50 years of age, then the ratio of the number of employees over 50 (unknown, or x) to the total number of employees (450) is 30%, or 30/100:


`x/450 = 30/100`


Proportions can be solved by cross-multiplying:


100x = 30*450


Dividing both sides by 100 results in x = 3*45 = 135 employees.


135 employees of the company are over 50 years old.


Alternatively, a percent formula can be used to solve this problem. It can be written as 


Part = p*Whole.


Here, p is the percent expressed as a decimal. In the given problem, p is 30% = 0.3. Part is the unknown number of employees over 50 years of age, and Whole is the total number of employees of the company, 450.


Therefore, Part = 0.3*450 = 135, which is the same as the result above.


The number of employees over 50 years of age is 135.




In A Midsummer Night's Dream, which scenes contain the most dramatic elements (movement, props, costume)?

The answer to this question is not straightforward, because every staging of the play is different. Some productions are quite spare and minimalistic, using only a bare stage and a small collection of hand props, relying on the words of the play, and sometimes creative lighting and costume, to evoke atmosphere, while other productions are more lush, using set design as an integral element. 


The scenes set in the forest are often staged with limited...

The answer to this question is not straightforward, because every staging of the play is different. Some productions are quite spare and minimalistic, using only a bare stage and a small collection of hand props, relying on the words of the play, and sometimes creative lighting and costume, to evoke atmosphere, while other productions are more lush, using set design as an integral element. 


The scenes set in the forest are often staged with limited scenery; often just lighting creates the effect of sunlight through leaves and perhaps a backdrop of trees. The purple flower and potion can be mimed or used as small hand props. The scene that is often most elaborately staged is the final wedding, as it has the most inherent possibility for elaborate costumes and spectacle.


For movement, many directors imagine the fairy world as one that is choreographed and contains dance-like elements. Puck's character is often performed in an acrobatic style and the fairy characters distinguished from mere humans by their graceful or stylized movements. The rustics are also often characterized by the use of physical comedy, an exaggerated slapstick that differs as much from the ordinary movement of the young lovers in its staged clumsiness as the fairies differ from ordinary mortals in their grace and coordination.

In the novel To Kill a Mockingbird, when did Atticus tell his children not to judge anyone until they got to know them?

In Chapter 23, Atticus discusses the trial with Jem and Scout and explains to his children that there was a member of the jury who was a relative of the Cunninghams that argued for an outright acquittal. Jem is shocked and comments,


"Golly Moses...One minute they're tryin' to kill him and the next they're tryin' to turn him loose...I'll never understand those folks as long as I live" (Lee 136).


Atticus then tells...

In Chapter 23, Atticus discusses the trial with Jem and Scout and explains to his children that there was a member of the jury who was a relative of the Cunninghams that argued for an outright acquittal. Jem is shocked and comments,



"Golly Moses...One minute they're tryin' to kill him and the next they're tryin' to turn him loose...I'll never understand those folks as long as I live" (Lee 136).



Atticus then tells his children that they just had to know them. He goes on to explain that the Cunninghams hadn't taken anything from or off of anybody since they immigrated to America. The other thing about the Cunninghams was that once you earned their respect, "they were for you tooth and nail." Atticus tells Jem and Scout that after their encounter with the Old Sarum bunch that night outside of the jailhouse, they earned the Cunningham's respect.


Atticus is essentially teaching his children not to judge individuals until they get to know them by explaining that the Cunninghams were good people. Despite Jem and Scout's negative impressions of the Cunninghams from their interactions at the jailhouse, Atticus tells them that the Cunningham family has integrity and loyalty.

In "Games at Twilight" by Anita Desai, how does the suspenseful moment help to build your interest in the conflict?

I believe "the suspenseful moment" that the question is referring to is meant to indicate the time that Ravi spends hiding from Raghu in the shed.  You are correct; it is a very suspenseful sequence.  Lots of writers include suspenseful moments.  Oftentimes, those moments are life-threatening experiences for the characters.  Desai's story does not use that kind of suspense.  Ravi is not in a life-threatening or dangerous situation, yet the hiding scene is very suspenseful,...

I believe "the suspenseful moment" that the question is referring to is meant to indicate the time that Ravi spends hiding from Raghu in the shed.  You are correct; it is a very suspenseful sequence.  Lots of writers include suspenseful moments.  Oftentimes, those moments are life-threatening experiences for the characters.  Desai's story does not use that kind of suspense.  Ravi is not in a life-threatening or dangerous situation, yet the hiding scene is very suspenseful, and it really draws readers into the conflict.  


The reader is held in suspense and is very interested in the conflict because the conflict is so familiar to readers.  We've all been kids before.  We've all played hide-and-seek.  We all know what the desire to win feels like.  Desai has provided readers with a situation that we are intimately familiar with.  When I play hide-and-seek with my own little kids, I can see the suspense on their faces when I come looking for them (and conveniently don't see them).  Seeing my kids makes me remember those feelings from when I was a kid.  Desai's story does that too.  Readers practically read that section of the story while holding their breath, because we don't want to signal Raghu any more than Ravi does.  


From there, Desai continues to build the suspense by describing the dark, spooky hiding place that Ravi has chosen.  It's dark, unfamiliar, and loaded with creepy organisms.  



But the shed smelled of rats, anthills, dust, and spider webs.



Most people have experienced being in a place like that before, and most people don't like the feeling.  So again, the story keeps the interest of readers by continuing to be familiar.  

What figurative language is in "Mom had grown up in the desert. She loved the dry, crackling heat" from page 21 of The Glass Castle? How do you...

The words "crackling heat" are an example of onomatopoeia. "Crackling" refers to the short, sharp sounds a fire makes when it's burning. Onomatopoeia is a word that describes or mimics the sound something makes. As a literary device, onomatopoeia is an effective means of making an author's prose more vivid.


In the book, the author uses onomatopoeia to highlight Jeannette's mother's love for the desert. "Crackling" describes the scorching desert heat perfectly. "Crackling" is also...

The words "crackling heat" are an example of onomatopoeia. "Crackling" refers to the short, sharp sounds a fire makes when it's burning. Onomatopoeia is a word that describes or mimics the sound something makes. As a literary device, onomatopoeia is an effective means of making an author's prose more vivid.


In the book, the author uses onomatopoeia to highlight Jeannette's mother's love for the desert. "Crackling" describes the scorching desert heat perfectly. "Crackling" is also an emblem of Jeannette's mother's resourcefulness, tenacity, and fierce independence. From the text, we learn Jeannette's mother has the skills necessary to survive in the desert and thrive in her surroundings. Jeannette proclaims that her mother knows which plants are toxic and which are good for eating. Her mother also knows where to find water and how to make do with what she finds.


Jeannette maintains that her mother is courageous enough to drink unpurified water, as "long as animals were drinking from it." To make toothpaste, Jeannette's mother teaches her children to mix hydrogen peroxide with a little baking soda. In short, Jeannette's mother welcomes the "emptiness and severity" of the open desert. Her love of the "crackling heat" testifies to her courage, independence, and resourcefulness.

What are the problems with Uganda's government?

Youth unemployment and corruption are two problems that face the Ugandan government. Modern governments all over the world face many problem...