The Beauty of Color Essay -- Creative Writing Essays

As the car stopped, he caressed me immediately; in synch with the stopping of the engine was the start of us. I say us because I feel like that’s what it is to become intimate with someone, you merge, mesh, mix into some form of a united being. I enjoyed him. Intimacy was an act of passion. It didn’t take love to feel passion, and it didn’t take an appropriate union to become a part of another person. We were one as he kissed me, touched me. I felt him and he felt me. One. â€Å"You like that,† he said, panting like some needy animal. Please be quiet. â€Å"Say it if you like it,† he panted some more. Shut the hell up. â€Å"Is it good?† â€Å"Quiet!† I yelled without realizing that my thoughts were vocalized. He pulled back and stared at me as if I were some whacko, needless to say the look was returned. A quick awkward expression and a not so melodious cry ended the moment. Now, the only sounds we heard other than the heavy breathing of us both was the zooming of passing vehicles. As I licked over my dry lips I recognized the taste of sweat in my mouth, kissing his neck I guessed. As he got up and scooted to ‘his side’ of the van I scratched my head noting that my hair felt like shit. Relaxed hair need not get sweaty; I felt the naps I tried so hard to conceal creeping back into the roots of my follicles. No ‘good’ hair here. His eyes were closed and I could see the moon reflecting light off of his caramel-complexioned skin. I got up and moved, naked, to the front of the van to roll down the windows; the dankness of the vehicle was enough to make me gag. â€Å"When are you going to take me home?† I asked. Without opening his eyes he shrugged his shoulders and gestured for me to shut up. â€Å"I would like to get back before my show... ...ooks, Paw-Paw was the only person in the world to ever call me beautiful. *** â€Å"You are not like me.† I said plainly. I opened my eyes to see that he was no longer listening. One thing about us, we connect during intimacy, but other than that we play tag. I want to tell him, though. Shake him and explain that his color makes me squirm. The way others of his ‘paper-bag-brown’ have talked down to me, made me question myself. Tell him that it took years to reverse the hatred that I grew for myself. I was eager, wanting to spill it all to him, make him understand. But I mellowed out. Looking at the moon on his skin I just pulled him towards me into my shadow, my dark shadow. Instead of telling him how I felt I would show him. Show him my hatred, my love, my curse, and my blessing. And in that van, in the dark of my shadow, we were both as black as we wanted to be. The Beauty of Color Essay -- Creative Writing Essays As the car stopped, he caressed me immediately; in synch with the stopping of the engine was the start of us. I say us because I feel like that’s what it is to become intimate with someone, you merge, mesh, mix into some form of a united being. I enjoyed him. Intimacy was an act of passion. It didn’t take love to feel passion, and it didn’t take an appropriate union to become a part of another person. We were one as he kissed me, touched me. I felt him and he felt me. One. â€Å"You like that,† he said, panting like some needy animal. Please be quiet. â€Å"Say it if you like it,† he panted some more. Shut the hell up. â€Å"Is it good?† â€Å"Quiet!† I yelled without realizing that my thoughts were vocalized. He pulled back and stared at me as if I were some whacko, needless to say the look was returned. A quick awkward expression and a not so melodious cry ended the moment. Now, the only sounds we heard other than the heavy breathing of us both was the zooming of passing vehicles. As I licked over my dry lips I recognized the taste of sweat in my mouth, kissing his neck I guessed. As he got up and scooted to ‘his side’ of the van I scratched my head noting that my hair felt like shit. Relaxed hair need not get sweaty; I felt the naps I tried so hard to conceal creeping back into the roots of my follicles. No ‘good’ hair here. His eyes were closed and I could see the moon reflecting light off of his caramel-complexioned skin. I got up and moved, naked, to the front of the van to roll down the windows; the dankness of the vehicle was enough to make me gag. â€Å"When are you going to take me home?† I asked. Without opening his eyes he shrugged his shoulders and gestured for me to shut up. â€Å"I would like to get back before my show... ...ooks, Paw-Paw was the only person in the world to ever call me beautiful. *** â€Å"You are not like me.† I said plainly. I opened my eyes to see that he was no longer listening. One thing about us, we connect during intimacy, but other than that we play tag. I want to tell him, though. Shake him and explain that his color makes me squirm. The way others of his ‘paper-bag-brown’ have talked down to me, made me question myself. Tell him that it took years to reverse the hatred that I grew for myself. I was eager, wanting to spill it all to him, make him understand. But I mellowed out. Looking at the moon on his skin I just pulled him towards me into my shadow, my dark shadow. Instead of telling him how I felt I would show him. Show him my hatred, my love, my curse, and my blessing. And in that van, in the dark of my shadow, we were both as black as we wanted to be.

The Black Cat

â€Å"The Black Cat† by Edgar Allan Poe is one of Poe’s greatest literary works that embodies his signature themes of death, violence, and darkness. Poe’s main character begins his narration of his horrible wrongdoings regarding them as a â€Å"series of mere household events† (Poe 705). However, this is where Poe’s satire and irony begins and the story progresses to show the deranged mindset of this character as he tries to justify his actions. As the main character proceeds to rationalize his crime, Poe is able to convey a sense of irony through his use of foreshadowing, metaphors and symbolism. Irony begins within the narrator’s introduction to his confession by telling the reader that he will tell his story but â€Å"without comment† (Poe 705). Within this same ironic tone, the narrator continues to humanize his actions and plea for justification but predicts that what he has already done has destroyed him. Poe describes how â€Å"these events have terrified–have tortured–have destroyed† him (Poe 705). Poe adds an ironic tone to the story by telling it through the narrator’s perspective. The narrator is a demented individual and the average reader cannot relate to the evil that has erupted inside him. As he begins to rationalize, there is a vast difference between the narrator and the reader leading to the irony that the man feels that this was all a normal series of misfortune. Literary critic, Richard Badenhausen, explains Poe’s decision for telling the story from the narrator’s point-of-view, â€Å"Despite pledging to tell his tale â€Å"without comment,† the narrator is constantly qualifying, correcting, and explaining, in the hope that the audience will see events from his perspective. Although he ironically announces in the opening sentence that he â€Å"neither expect[s] nor solicit[s] belief† the narrator is obsessively concerned with both activities: he hopes for understanding from his listeners and energetically pursues approval by employing the various manipulative tools of the storyteller† (Badenhausen 487). Finally, Poe also thickens the suspense of the story with the early foreshadowing that the main character feels that he may harm his wife writing, â€Å"At length, I even offered her personal violence† (Poe 706 ). The greatest metaphor throughout this tale is the black cat. While the narrator’s wife has been known to refer to the dark-haired feline as a â€Å"witch in disguise†, the metaphor for Poe is that the cat is not only a superstitious monster but it is also a metaphor for being the narrator’s own personal demon (Poe 706). The recurring events with the black cats in the story portray that they are metaphors for the narrator’s own problems that haunt him. As the series of events continue throughout the story, the cat becomes a visual element in the scene for the narrator’s recurring violence and finally brings him to the point of his insanity. Moreover, it has been argued that the cat is a metaphor for the narrator’s wife. Critics claim that the following passage raises suspicion that the killing of the first cat was actually the murder of his own wife. Poe writes: Norton Anthology American Literature. 7th. 1. New York, NY: W. W. Norton & Company, Inc. , 2008. 705-711. Print. Critics who support this notion feel that the â€Å"reversal is substitution in wife for cat and cat for wife† and that the narrator had clearly projected his feelings for his wife onto the cat (Amper 475). Literary critic, Susan Amper, commented on this metaphor-theory, â€Å"It is not merely that the wife was always the intended victim; she was the original, in fact the only victim. Moreover, this inference provides a much more compelling reason for the narrator's substitution of cat for wife or rather twin reasons, for his pretense that he has only killed his cat serves both to ease his own sense of guilt, and to shield him from prosecution for murder (Amper 475). This theory also supports the irony that the wife’s body was decomposed after merely three-days and leaves the reader with one of Poe’s signature suspenseful, disturbing endings. The final writing element that Poe uses throughout this short story is symbolism. Readers are introduced to one of the story’s main characters, Pluto, the black cat, who supposedly provokes the narrator into committing his heinous acts of violence but is merely symbolic for the narrator’s imbedded hatred and evil. Not only is this feline symbolic for evil because of superstitions regarding black cats, the cat’s name has a deeper symbolic meaning. According to Roman Mythology, Pluto is name of the god of the dead and ruler of the underworld. This symbolic name not only represents the narrator’s cruel intentions but also provides a sense of foreshadowing. After the first black cat is slain, a second black cat appears and is unwelcomed by the narrator. According to Professor Ann Bliss from the University of California, â€Å"looks remarkably like the original except in one respect: it is marked with a patch of white that, for the narrator, increasingly comes to resemble a gallows—reminding the narrator of his violence toward the first cat and foreshadowing acts of violence to come† (Bliss 97). The white color of the patch with the offsetting black fur is also symbolic to the good and evil confliction within the narrator. Finally, the second black cat leads to the narrator allegedly murdering his wife accidently. In conclusion, Poe’s literary masterpiece, â€Å"The Black Cat† is a suspenseful story filled with irony and hidden messages and themes. Although this is a short-story, Poe skillfully provides the reader with enough evidence to make conclusions about the motive, sequence of events, and the narrator’s denial of apparent mental disorder and alcoholism that plagues him.

Babylonian Mathematics and the Base 60 System

Babylonian mathematics used a sexagesimal (base 60) system that was so functional it remains in effect, albeit with some tweaks, in the 21st century. Whenever people tell time or make reference to the degrees of a circle, they rely on the base 60 system. Base 10 or Base 60 The system surfaced circa 3100 BCE, according to The New York Times. â€Å"The number of seconds in a minute — and minutes in an hour — comes from the base-60 numeral system of ancient Mesopotamia,† the paper noted. Although the system has stood the test of time, it is not the dominant numeral system used today. Instead, most of the world relies on the base 10 system of Hindu-Arabic origin. The number of factors distinguishes the base 60 system from its base 10 counterpart, which likely developed from people counting on both hands. The former system uses 1, 2, 3, 4, 5, 6, 10, 12, 15, 20, 30, and 60 for base 60, while the latter uses 1, 2, 5, and 10 for base 10. The Babylonian mathematics system may not be as popular as it once was, but it has advantages over the base 10 system because the number 60 â€Å"has more divisors than any smaller positive integer,† the Times pointed out. Instead of using times tables, the Babylonians multiplied using a formula that depended on knowing just the squares. With only their table of squares (albeit going up to a monstrous 59 squared), they could compute the product of two integers, a and b, using a formula similar to: ab [(a b)2 - (a - b)2]/4. The Babylonians even knew the formula that’s today known as the Pythagorean theorem. History Babylonian math has roots in the numeric system started by the Sumerians, a culture that began about 4000 BCE in Mesopotamia, or southern Iraq, according to ​USA Today. â€Å"The most commonly accepted theory holds that two earlier peoples merged and formed the Sumerians,† USA Today reported. â€Å"Supposedly, one group based their number system on 5 and the other on 12. When the two groups traded together, they evolved a system based on 60 so both could understand it.† That’s because five multiplied by 12 equals 60. The base 5 system likely originated from ancient peoples using the digits on one hand to count. The base 12 system likely originated from other groups using their thumb as a pointer and counting by using the three parts on four fingers, as three multiplied by four equals 12. The main fault of the Babylonian system was the absence of a zero. But the ancient Maya’s vigesimal (base 20) system had a zero, drawn as a shell. Other numerals were lines and dots, similar to what is used today to tally. Measuring Time Because of their mathematics, the Babylonians and Maya had elaborate and fairly accurate measurements of time and the calendar. Today, with the most advanced technology ever, societies still must make temporal adjustments — almost 25 times per century to the calendar and a few seconds every few years to the atomic clock. There’s nothing inferior about modern math, but Babylonian mathematics may make a useful alternative to children who experience difficulty learning their times tables.