Institutions in Business Strategy Essay Example | Topics and Well Written Essays - 1000 words

Institutions in Business Strategy - Essay Example As the discussion declares in business, both formal and informal institutions are influential in domestic and foreign business operations. In Muslim societies, social norms and practices dictate that people of the Islam faith are religiously prohibited from consuming pork foods and alcoholic drinks among other products. Any business organization that markets pork products or alcoholic drinks in Muslim societies will hardly realize profits because the informal institution of Islam dictates that certain norms and practices must be observed by Muslim consumers. With respect to formal institutions, constitutions, trade agreements and legal courts define and interpret the operational frameworks that both domestic and foreign business entities exercise their business practices. Legal systems determine the level of taxes that organizations pay to revenue authorities, and legal systems also arbitrate issues between business organizations and other stakeholders within a business environment.T his paper discusses that  business entities are more interested in market certainties than they are interested in profitability. Market uncertainties increases business risks, thus correspondingly increasing business costs. As elaborated earlier, institutions enhance certainty and predictability of interactions within a business environment. Formal institutions like judicial systems and investment laws play a critical role during entry and operation within a foreign market.

Our Daily Bread Essay Example for Free

Our Daily Bread Essay Our Daily Bread, as the title suggests this is not about bread, as I hoped it was. Rather its about people earning their bread, their livelihood. The term ‘bread’ is derived from the larger term ‘bread-winner’ as the one who is the primary provider of the household, and the ‘daily bread’ is simply referring their daily livelihood. As my time spent in the US, I often used to wonder how the different food companies were able to produce mass amount of food to keep the population fed. This movie is the answer and the revelation of how food is produced in Europe and the Western hemisphere. The film starts off as we get a glimpse of daily sanitation rituals being carried off at a meat farm. The different scenes show us to transportation of livestock, machine assisted watering of plants, and a conveyor belt at a poultry farm where they separate the males from the female chickens (I know this as I have seen this done before in a different setting). The machinery at poultry farm shows precision and efficiency as it sorts the young chicks into moving bins. The vaccination routine is also machine assisted which increases efficiency and production for the poultry farm. After few seconds, the young chicks have grown and we are shown the worker feeding them. The shot transitions into a break room where the worker is on a break with bread and tea, all alone. Next, we get the scene from a vegetable farm. A tractor picks the potatoes from the ground. Next shot, the workers prepare and wear protective gears to apply pesticides and fertilizers to the plants. But most of the work is done by machine assistance, needing almost no human intervention. It seems as the vegetables are being grown inside a greenhouse setting which allows vegetables to be grown all year long, without any weather restrictions. The only human labour being done is picking of the ripened vegetables. After work, the worker seem to be enjoying a small break, again alone. Now we see a bull and a cow where it seems breeding is in process. A closer look and we find that the workers are actually collecting the sperm. We find the sperm is transferred to medical examinations, I dont know exact ly why but possibility could be to efficiently use the sperms to fertilize every fertile egg they can afford without any loss. And of course, we see a healthy calf being born. But it is pretty amusing to see how the cow was cut open and the calf was pulled out, how could that really be possible? How much medication could the animal be on since it wasn’t moving or making any noise as such? And are there any advantages of this type of birth for animal? Next, we see a series of shots of men in tractors who are doing farm work with machine assistance. This shows the efficiency that is earned by machine which helps humans achieve more with less time spent and more time to spend on luxury, or more work. We return back to the poultry farm, the egg farming room to be exact. The eggs are hatched and due to the design, they are conveniently accessible by the farmers to pick. A worker is shown to be holding a chicken as he walks around the egg farm, possibly to warn other hens who dont lay eggs. In actual note, he maybe was checking for chickens which are dead. In the next shot, the workers are transported to a huge plantation to harvest crops growing under the ground, only time where tractors arent used. This is possibly the first time where machine use is limited to just watering the plants. Now we are shown our way to a pig farm. They are transported on a line into a machine where they are slaughtered by a machine. The human labour is limited to keep the line moving and in order. The machines are also used for most of the heavy work as boiling the skin and dissecting the pigs open. The human job is limited to cleaning up whatever else the machines may have left out and separating internal parts. We are also shown the marvel of modern technology with a biplane is used to fertilize the crops. There are also shots of heavy machinery usage in farms. Then we see a moving harvest truck where the outside workers are picking the vegetables and inside simply packaging them. Now we move to a cow-ranch. The cows are milked by machines in a rotating carousel. The cows dont seem to mind so much, as it seems to be part of their daily routine. Next, a visit to the deep underground salt mines where machines are used to do most of the heavy work such as carrying out the salt from place to place and outside the mine itself. A transition moves from underground to underwater as we see a fish-farm where hundreds and hundreds of fishes are seen in a small area. This also makes it easier for the huge pipe to suck out the fishes from the water and into the boat. They are transported to a factory where humans align the fishes to feed into the machines. Apparently the machines havent learned to distinguish the fish head from the tail, yet. The fishes are cut and cleaned by series of machines and then moved onto another human where he puts them on another machine to move them to another section. Here, the worker seems pretty bored of the routine task he has, perhaps feel ing like the machine at this point because of his job task. Next we see bunch of workers cleaning the fish for final prep before shipping them out. Now we come to a pig-farm. The two series of shots seems interesting as the first represented insemination of pigs by tube and next shows the piglets born in captivity, just like ‘The Matrix’. Just like in the movies, they grow up and the next shot seems as if the male pigs were being castrated. One can only understand why so, as they dont want to overproduce and give out the employees any bonuses. Or maybe not. The next series of shots show how chicken and cattle are prepared for consumption; as they are killed by the machines with little or less human effort required in the process. The final shot shows the end of the day routine- how everything is cleaned and sanitized for the next day of work. Despite all this, the workers in all places couldnt wait for their daily bread, their hard earned break from their work. Perhaps the routine manner of their tasks has become so innate to them that they dont seem to mind how their own food is being produced. For me, it was a bit amusing and shocking to see the conditions of animals but maybe after a few more views, I wouldnt mind it either. This movie shows the heavy usage of machinery used in the production of food, be it salt, pigs, chicken, vegetables, fish, or pigs. It was also amusing, in a way, to see how breeding had gone into the next level by scientific usage to effectively get their result financially and also in economic ways to feed the ever growing world population. It seemed as almost if humans were not the only ones alienated from nature, but also the animals which were being artificially inseminated and mutilated against their wills. The workers didn’t seem to care much for what they were doing either, as long as it made their breads. It seemed as they had been trained to do this for so long that they were used to it- like machines with machine hearts and machine minds. In another view, the unnatural size of the bulls in the breeding house seemed as if they were so-much genetically engineered to produce the maximum amount of meat possible. Perhaps they had mixed something in the dry grass that was being blown into their small cages they were put-in. The growing population also has seemed to affect the unnatural process by which plants were grown with usages of pesticides and fertilizers. The use of greenhouses portrays, in a way, the plant’s alienation from nature as it was now possible to grow all plants in any weather or conditions. The absence of narration or subtitles leaves the movie-watcher to make their own conclusion and perspective. The filmmaker, as I understand, doesn’t want to change our habits but simply be aware of the ways in how the planet is being fed. If anything, this should be seen by as many people as possible to make them aware of the status of food production and the status of the subjects which are involved in the food production i.e. humans, plants and animals alike. I must say some of the scenes in the movie are quiet disturbing but that is the current status of our population and food production required to feed them.

Critical Perspective Of Marxism And Foucauldian Sociology Essay

Critical Perspective Of Marxism And Foucauldian Sociology Essay Critical theory dates back to the Enlightenment and is connected to the writings of Kant, Hegel and Marx. However, in the 20th century, critical theory became closely associated with a distinct body of thought, known as the Frankfurt School. It states Devetak in Burchills and Linklaters Theories of International Relations. It is the work of Horkheimer, Adorno, Benjamin, Marcuse, Fromm and more recently, Habermas that critical theory has acquired a renewed strength. Thus, the term critical theory was used as the symbol of a philosophy which questions the effective order of political and social modernity through an order of immanent critique. It was mainly an attempt to regain a critical potential that had been overrun by recent intellectual, social, cultural, economic and technological trends. The Frankfurt School of Critical Theory is the longest and most famous traditions of Marxism.   This tradition is often referred as critical theory- meaning a special kind of social philosophy from its inception in 1923 by Felix Weil (Seiler, 2004).   The critical theory of society of the Frankfurt School continues to excite interest and controversy (Kellner, 2001).   A theory is critical to the extent that it seeks human emancipation, to liberate human beings from the circumstances that enslave them.   A number of critical theories have emerged in connection with the many social movements that identify varied dimension of the domination of human beings in modern societies (Gutting, 2003). The above statement sets the mood for this paper as I will be looking at how the critical management theory of yesterday applies to the modern western today.   Another key aspect will be on trying to articulate the connections between the management perspectives of contemporary society in the critical theory.   The focus will be on The focus will be on as the location for cooperative, practical and transformative activity continues today.   This attempt will be on determining the nature and limits of real democracy in complex, pluralistic, and globalised societies. what is it, why is it applied to management) Introduction part 2 (150): Marx and Foucault as critical theorists (an overview of their thought). A Marxists thought is based on this lifestyle, a science of logic called Dialectics. Thus, Marxism is both a theory and a practice. The theories of Marxism are based on a scientific method of thought called dialectal materialism.   Theory is based on a particular set of conditions that are always finite, and thus, any theory is necessarily limited. To test the validity of theory, Marxists rely on empirical evidence as the criteria of truth (Basgen, 2005). Marxism embraces modernity and Marxists argue that one of the main problems is that capitalism puts fetters on the progressive forces. The forces of capitalism are viewed as progressive in sweeping away the traditional, religious, backward, and feudal forms of society, spreading industrialisation and urbanisation across societies (Moody, 2003). Marxs critique of capitalism was that while this system had incredible power and potential to transform human society positively, in actual fact it resulted in exploitation and ultimately limited the possibility for further improvement (Powell, 2001). Moody (2003), describe this environment as workers were emancipated from traditional limits but became slaves of the new factory system, monopolisation resulted in limits on trade and further progress, and the state acted in the interests of the bourgeoisie rather than society as a whole. Followed by your argument (that they each offer a distinct analysis (Foucault as a critic of Marxisms humanism, subjectivity and economic reductionism) but both are useful to evaluate management approaches Marx for economic relationships between manager and worker and Foucault for patterns in disciplinary behaviour found in managerial practices. CRITICAL THEORY The term Critical theory has its origins in the 20th century Frankfurt School, and now is associated with scholars across a range of disciplines.   Its purpose of inquiry is to confront injustices in society (Clark, 2004).   Critical Theory has been deeply concerned with the fate of modernity, and has offered systematic and comprehensive theories of the trajectory of modernity. Critical theory began by putting Marxian political economy at the centre of analysis, and early critical theory was materialist and committed to socialism (Gingrich, 2000).     Critical theory has generally been committed to the idea of modernity and progress, while at the same time noting the ways that features of modernity can create problems for individuals and society (Kellner, 2000). This is much reflected on the 21st century, though there is progress in many things, but still issues like globalisation tends to pose important problems for the society.     Ã‚  According to Heilman (1998), being critical involves understanding the sets of historically contingent circumstances and contradictory power relationships that create the conditions in which we live.   Theory helps us to organize the world, to sort out the details, to make some coherent sense out of a kaleidoscope of sensations (Ayers, 1992).   When theory is theorized, as stated by Heilman (1998), the imperatives of practice bring the theory down to the ground.   Phenomena are observed and experienced; this experience informs theory; and then the theory is further modified as a result of additional practice.   Rather like fiction writing, critical theorizing is a process of imagining and describing a nonreal but possible world.   The critical theorists have deeply influenced contemporary social theory, communication theories, cultural theory and many more for a number of decades.   According to Clark (2004), Critical theorists are committed to understand the relationship between societal structures (such as economic and political) and ideological patterns of thought that constrain the human imagination and thus limit opportunities for confronting and changing unjust social systems.   Critical theorists emphasise that theory and research must serve emancipatory interests, to create a world that satisfies the needs and powers of social actors (Sanghera, 2004).     According to critical theory, people are dominated by a false consciousness created and perpetuated by capitalism in order to preserve the hegemony of those in power (Meyer-Emerick, 2004).   Due to this cause, one can assume that it prevents people from freely pursuing their own interests.   This dissent is only dismissed if people begin to see the contradictions between the social construction of the world and their lived experience.   CRITICAL THEORY TODAY   The critical theorists analysed the integration of the working class into advanced capitalist societies and suggested the need for new agents of a social change.   They seemed to provide more vivid descriptions of the present configurations of culture and society (Kellner, 2004).   According to my understanding, we look into the critical theory of the past to gain methodological insight and political inspiration to carry on the tasks of critical social theory in the present time.   Critical theory is crucial for South Africa including the whole African continent, as we are undergoing vast transformations.  Ã‚   Some of these transformations are promising to uplift our standard of living as the society, but others are threatening.   Globalisation is one of the new transformations.     Revolutionary Marxists maintain that although change may arise as an unintended consequence of molecular acts of resistance, the importance of resistance is that it can generate collective agents capable of pursuing the conscious goal of social change (Hassard, 2001).   This self-limiting resistance, orchestrated from above and aimed solely at affecting them as described by Hassard, is less likely to be successful in achieving even minor reforms than resistance that aims to effect a revolutionary transformation of society.   We have seen an interesting case here in South Africa opposed to what Marxists declared to be politically uninteresting which is labour process theory.   Their argument is that it does not engage with the issues of political and trade union organization, which influence the consciousness and unity of workers (Hogan, 2001).   COSATU (Congress of South African Trade Union) which is having close ties with the ANC (African National Congress) is making this labour process very interesting.   Cosatu fights for the rights of workers while promoting the spirit of unity.   They do this in a unified political activity.   Although the immediate interests of workers in production may diverge, their grievances and interests can be unified into a common political program, but that unification is a political achievement.   This is more apparent on what happened recently with the case of Zimbabwe where Cosatu wanted to have talks with Zimbabwes congress of Trade Union.   Cosatu believes that the unification of workers can have a huge impact on political changes as MDC (Movement for Democratic Change) is aiming at changing the political affairs of Zimbabwe ahead of Robert Mugabes Zanu-PF (the ruling party).   Marxs critique of capitalism Capitalism is the system that upholds the relationship between the owners of the means of production and workers. The former comprise the bourgeois class and the latter the proletariat. (Bourgeois managers, proletariat workers). Marxs analysis of the factory can be translated to the office environment, the relationship between the two classes remains, e.g. office workers do not own the company, equipment and materials the belong to the company. Counter agreement is that companies give share to employees, however, shares are small they dont give power to the employees but it is a form of making them employees feel part of the company in order to gain more out of them . The bourgeois (managers that have control) Commodity fetishism Culture of the commodity, or what a capitalist organisation produces, as containing a value dependant on market factors, rather than on the activity of labour. This produces an objective relationship between commodities and labourers are reduced to the condition and status of the commodities they produce. Implications for critical theory looking at management approaches: Prices of commodity go up and down and so does the price of labour cost e.g. recession Salary: paid no matter how much they produce Bonus: to encourage production to increase profits Marx: (800wrds) Exploitation as Alienation Explain Marxs articulation of exploitation. The practice of mistreat of workers in an environment that is deliberately designed to maintain it, i.e. capitalism, Marxs conforming the workers alienated by/owners of the means of production to gain profits at the expense of the workers (e.g. managers forcing employees to undertake tasks outside their job description in order to cut costs and maximise profits) because people are alienated they conform to the demands of their employers in order to keep jobs safe. Foucault bound to rules, rule-bound individual, Marxs Humanism Foucault Strucralist, came after Marx Moves away from the economics of Marx. Looks at power and reconceptualises it. Management as a representation of power relations in society. Specific rules maintain, regulate and institutionalize practices in a work environment (office, factory, school, etc), Power- Disciplinary power the panopticon as a illustration of society, the middle tower is all seeing yet prisoners always obey without knowing for certain whether they are being monitored, by whom or by how many. The result is the creation of self-regulating, obedient and disciplined prisoners (at least in theory). Relate this form of disciplinary power to management. Power as the central driving force in a society within a group of people in a working environment. Manager doesnt create a system the manager merely plays along with the rules, thus maintaining the relations of dominance and dominated. Discourses (rules that we work within and obey) and all to do with power Power-Knowledge, all power engenders power and (hanin essay). The rules that are emplace are their to maximise profits and to make the workforce obedient, docile subjects ; alternative view to commodity fetishism, marx says the worker turns in to a commodity that is commodity fetishism, Focault would say that the individual is merely the collective of the discourses they obey. The two concerns are thats 1. Marx looks at the economy 2. Foucault looks at power. 3 objections to ideology (Marx) 1. requires an opposing concept of scientific truth 2. implies that we are subjects(agents of history to change it) 3. relative to economic superstructure MICHEL FOUCALT (1926 1984)   His studies challenged the influence of German political philosopher Karl Marx and Austrian psychoanalyst Sigmund Freud. Foucault offered new concepts that challenged peoples assumptions about prisons, the police, insurance, care of the mentally ill, gay rights, and welfare (Ron, 2000).   The main influences on Foucaults thought were German philosophers Frederick Nietzsche and Martin Heidegger.   The connect.net website, describe Foucaults thought as explored the shifting patterns of power within a society and the ways in which power relates to the self. He investigated the changing rules governing the kind of claims that could be taken seriously as true or false at different times in history. Marx Vs Foucault Foucault would argue that power relations are the units of analysis, not the individual; in other words the individual is created by power-knowledge (power is above all creative, it creates subjects). Marx puts the individual at the centre, where the subject is conscious of his role in the historical process. Humanism (placing the individual at the centre of events, man as the agent, as the creator of history (what Foucault critiques as a structuralist philosopher). Marxs humanism can be defined as Power-Knowledge, all power engenders power and (hanin essay). The rules that are emplace are their to maximise profits and to make the workforce obedient, docile subjects ; alternative view to commodity fetishism, marx says the worker turns in to a commodity that is commodity fetishism, Focault would say that the individual is merely the collective of the discourses they obey. The two concerns are thats 1. Marx looks at the economy 2. Foucault looks at power. 600 word on whether Scientific management theory can better cope with analysis of management than Marx and Foucault Scientific management (Taylor System) also known as Taylorism is a theory of management that analysis and manufactures workflows to improve employee (labour) productivity. The idea was developed by a Frederick Winslow Taylor between 1880 and 1890, and it was the first published monograph (written documents). Frederick Taylor believed that decisions based upon tradition and the rules of the thumb should be replaced by accurate procedures that are developed after a study of an individual at work. This means that there is a high level of managerial control over employee work practices. Scientific management is a distinction on the theme of efficiency; it developed in the 19th and 20th century were instance of large recurring theme in the human life of increasing efficiency, decreasing waste and using experiential methods to dictate what matters rather than accepting pre-existing ideas of what matters. Management today is the greatest use of scientific management is a form to contrast a new and improved way of doing business. The Marxist theory of capital sees labour as a cost of production resulting in the alienation of workers as the need for labour surfaces from the physical needs defined by the fundamental relationship between humans and their physical environment (Hatch, 1997, p.27).   Taylors ideas on scientific management (1990) have similar economic themes to Marx and Adam Smith.   By viewing management as a science, he broke down the managerial problem into stages of research, definition, analysis and implementation.   His principles were inherently based on the assumption that people put in as little effort as possible into their work and were soldiering on in order to earn money.   This shifted all the responsibility from the worker to the manager and scientific methods were used to determine the most efficient way of working.   After selecting the best person capable of performing the task, they were trained to work efficiently and their performance was strictly monitored.   In hin dsight, though this may have appeared to be a good generic strategy for the success of a firm, it heavily depended on whether the optimal method of producing could be found and whether or not the strategy was implemented correctly.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Conclusion Great managers know and value the unique abilities and even the eccentricities of their employees, and they learn how best to integrate them into a coordinated plan of attack (Buckingham, 2005).   Managers are only as good as their ideas, resources and workers.   The way in which he deploys the resources at his disposal is essentially the making or breaking of a manager.   Great managers are able to discover and develop what is different about each person who works for them.   Strictly defining management and the role of managers can only be done after the managerial act has been observed in reality, the majority of the analysis is theoretical evaluation and speculation based on past examples.  Ã‚   It is important to understand that the perception of what managers are supposed to do evolves with the industry and technology that runs parallel to the growth of a firm.   Managers used to control by fear and use absolute power, however, a more humanistic approach is now used , in which the employee is valued in the decision making process undertaken by the manager.  

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Growing up, our parents are always telling us that doing drugs can have bad consequences in our lives. Many films in today’s film industry are portraying drugs as the cause of an amazing time accidently encouraging that the use of drugs is totally fine. Requiem for a Dream is directed by Darren Aronofsky. This film shows that utilizing drugs can be all fun in games, but will lead to a very destructive destruction that can affect the drug user and everyone in the addicts surrounding. The movie shows the struggle that four individuals go through to overcome such a strong drug addiction. Aronofsky was very creative when presenting the subject matter; he used certain cinematography, themes, and directorial techniques to tell the audience the story. The film shows us four characters all affected by drug addiction and their struggles to overcome it. Sara Goldfarb is an older woman who is addicted to television and eventually turns to dieting pills when she becomes self-conscious about her weight. Harry is a heroin addict. His girlfriend Marion is also fighting an addiction that leads her to prostitution to satisfy her addiction. Tyrone is a drug dealer. Sara ends up in a facility for the mentally ill, Tyrone ends up in jail, and Harry loses his arm to a horrible infection. The characters lives end up taking a turn for the worst. Symbols are found all within the film. The movie went through three different seasons. Summer is a symbol of life, and during this part of the movie the main characters didn’t have a care in the world and there were no consequences for any of their actions. For example, it’s the time that people are out having adventures that will lead to wonderful memories and at times trouble. The movie started out just like ... ...closes ups that added lots of emphasis when they would inject the drug. These just being a few of the editing techniques they used on the film. Requiem for a Dream in my point of view was exceptional. It was depressing but to be honest that was the point of the movie. When beginning to watch this movie people should make sure their emotions are on neutral because if upset it can make things worse. I really enjoyed how it brought all the elements a film need to create a unique production. I definitely need to see a few more of Aronofsky's films. Overall, the film had a profound impact on me. I honestly learned a lot and even though drugs are not a part of my life I learned that deep within a drug addict there is a reason why they walk the road of self-destruction. I really enjoyed it even though it was depressing, and I would recommend this film to anyone who hasn't

Representation Of The American Dream Film Studies Essay

â€Å" Independence Day † is a movie directed by Roland Emmerich WHAT HAPPENED RELEASED? ? ? in 1996, which shows the planet under an foreign onslaught, where the U.S. is the centre of the job and the state that saves the universe. In relation to this movie several elements can be analyzed belonging to the American civilization. One of the most important is The American Dream. An ideal of American civilization that is based on democracy and equality and aims to keep the public assistance of society, in order to accomplish the fulfilment of the dreams of its members. Based on this, the inquiry that this paper attempts to reply is: To what extent the film â€Å" Independence Day † directed by Roland Emmerich reflects the American dream? In this paper is exposed how there is a relationship between The American Dream as a cultural component that represents an American ideal and the book of the movie, where elements, the movie nowadayss such as leading, equality in footings of race, gender and societal context, and the image of a perfect democracy REPRESENT THIS FEATURE. So we can see IN THIS WAY that the movie represents to a great extent and really clearly the American Dream, because it reaffirms the cardinal function of American civilization on a planetary context by exposing the values aˆâ€ ¹aˆâ€ ¹of the American Dream as the state defends the planet from the Alien onslaught, it besides brings these values aˆâ€ ¹aˆâ€ ¹to a planetary context as it takes the independency Day as a jubilation of planetary importance, and demoing America as a state where the dreams of an full state and its members are fulfilled. Word count: 262IntroductionNowadays The United States is one of the most influential states in the planetary context, taking into history its economic and military power. However its importance worldwide is besides due to their civilization, a civilization that has strongly expanded in the Western Hemisphere by distributing a set of imposts, traditions and ideals. Among the strongest and representative ideals of American civilization is what is known as â€Å" The American Dream † , a construct that has transcended through history and has strongly consolidated American civilization by demoing that in this state people can accomplish an ideal life style where all of its members fulfill their dreams in a state that enforces their rights and public assistance. Taking this into history it is of import to analyse how these ideals are represented and displayed as portion of American civilization by concentrating on a specific cultural artefact, in this instance the movie â€Å" Independence Day † directed by Roland Emmerich released on 1996. Roland Emmerich is a German movie manager, film writer and manufacturer known by his scientific discipline fiction productions which normally show humanity under ruinous and hazardous state of affairss. That is why on â€Å" Independence Day † a ruinous context can be seen a context in which Planet Earth is under an Alien onslaught and places The United States in the centre of the calamity and as a state that puts all of its attempts to salvage the planet. The purpose of this paper is to demo: To what extent the movie â€Å" Independence Day † directed by Roland Emmerich reflects the American Dream. For this IT IS NECESSARY TO analyse the construct of The American Dream as portion of their civilization in relation to the elements that the movie shows, an analysis of the book by demoing the different state of affairss and characters, and an analysis of the symbols used throughout the movie.THE AMERICAN DREAM AS REPRESENTATION OF THEIR CULTUREThe construct of the American Dream was introduced by James Truslow Adams in his book â€Å" The Epic America † , where he talks about this construct as a societal ideal representative of American civilization, which seeks equality in footings of chances and a comfy life style for everyone, based on a proper usage of democracy to accomplish it. â€Å" The American dream is the cultural look of North American individuality and, even if it was on occasion transformed into the American i ncubus, it remains one of the most motivative forces of American civilisation and a still feasible item of American exceptionalism. † ( Stiuliuc, 2011 ) . Harmonizing to this, Diana Stiuliuc in her text â€Å" The American Dream as the Cultural Expression of North American Identity † claims that the American Dream despite the different readings that may hold, will ever mention to the American civilization as a alone factor that represents the American national individuality. Taking these definitions into history we can see how this concepts fit the American civilization, because it is based on democracy and equality, constructs that were consolidated as portion of that civilization since they were mentioned in the American fundamental law and the declaration of Independence. On the other manus, mentioning to Ferdinand Lasalle who said on his book â€Å" On the kernel of fundamental laws † ( YEAR ) that civilization is related with public consciousness, we can see a relationship between the Constitution and civilization. It means that the fundamental law has to reflect the facets of society that are determined by their imposts, their morality, their thoughts about good and evil and in general all sort of facets that represent the members of a society, in order to do people place with the fundamental law and really obey the Torahs. Harmonizing to this and concentrating in the film, it is important to stand out some constructs that clearly reflect The American Dream because they are based on democracy and equality, the construct of The United States as a state with a perfect democracy, a multicultural state and a planetary leader.Analysis OF THE SCRIPTThroughout the movie America is depicted in many ways as a theoretical account of democracy. Several thoughts present in the authoritative paperss mentioned appear as constructs in the movie ‘s secret plan, there are chiefly four thoughts represented in the movie, they are: America depicted as a progressive state, America depicted as a land in which ends can be fulfilled with adequate attempt, America as a state in which peace and the due procedures are a precedence, and America as a state which authorization comes from the consent of the governed. America is shown as a progressive state in footings of its political construction, as the film shows how the state is worried about societal advancement and public assistance. One of the chief characters in the movie is the President who takes on many functions depending on the state of affairss he faces throughout the movie ; one of these functions is that of a immature yet wise politician. In the movie America is shown as a land in which young person is non a hinderance in footings of wisdom. This is shown at the beginning of the movie when the President ‘s communicating manager Constance Halbrook, another of import character, shows the intelligence to the President reasoning that people are assailing non his policies but his age. Other types of progressive thought are shown throughout the film such as the presence of argument and protest among the citizens. The President is shown as a human being despite his function as a hero, if he is non defeated at the terminal of the movie, it is due to his art as a politician and soldier alternatively of a set of particular abilities built-in to himself. Protestors are shown when US constabularies and military forces take topographic point near to the Alien ships. And argument is implied in occasional Television broadcasts shown as secondary secret plan devices. America is depicted as a land in which dreams can be fulfilled throughout the full movie. Almost each character starts his or her journey with a certain defeat, David failed as a scientist, Constance failed in her old relationship with David, Steven could non acquire a occupation in NASA and Jasmine struggles with maintaining her household together. At the terminal of the movie after each character is forced to turn and has to set immense attempts in developing their accomplishments or traveling through great hazard, is able to carry through his or her ends, David and Steve win in their onslaught to the foreigner ship, Constance and Jasmine are able to set their households together. America is besides shown as a peaceable state that wo n't assail unless it is attacked foremost. After Alien ships are positioned over each major metropolis in the United States the President gives the order to near them in a peaceable manner by holding a group of choppers get near to one of the infinite ships and air a welcome message. Following an violative by the Aliens the President gives the order of a countermove. Besides it is implied at several minutes that America is a state that respects the domination of others, it is merely after the United States domination is threatened that unfastened war Begins. This is closely related to the thought mentioned before that America is a state in which authorization comes from the consent of the governed. Most scenes in the film show scenarios of political life, Television arguments, the Oval Office, the White House and so on, democracy is a cardinal subject to the film. A really representative minute of this thought is when the President decides to fix a atomic onslaught merely after having a message from the Aliens that describes their method ; Foreigners are compared to locusts, their kernel is that of the exact antonym to the freedom of a democratic authorities. Some of the mentioned thoughts have a analogue in authoritative paperss. The 5th amendment of the United States fundamental law references â€Å" due procedure † as one of the chief constituents of justness in the United States ; this thought is re-enacted several times during the movie. â€Å" Nor shall be compelled in any condemnable instance to be a informant against himself, nor be deprived of life, autonomy, or belongings, without due procedure of jurisprudence † . ( U.S fundamental law. Amendment. 5 ) . The Declaration Of Independence provinces that the beginning of authorization of each state should be the consent of the governed and non the autocratic regulation of a sovereign, and that thought is reflected in the film as it shows the concerns of the president anytime he is doing a determination that may or may non profit people. Another ill-famed thought is the representation of America as a multicultural state. Different genders and ethnicities are shown in the film busying different of import functions, as it is an thought of equality that reaffirms The American Dream. Scientists are shown as people from Caucasic, Asiatic and Afro-american descent every bit good as one of the chief characters, David, who is clearly of Judaic descent. Womans have of import functions during the movie excessively, Constance and Margaret, the First Lady, are shown as brave and dedicated adult females among the universe of political relations, and Jasmine is shown as a strong adult female and female parent willing to make what it takes in order to last and protect her household. It is of import to advert about this component of the movie what Hanson said on her work â€Å" American Dream in the twenty-first Century † an thought that shows a close relationship between the movie and the American Dream. â€Å" The American Dream represents a province of head that is an digesting optimism given to a people who might be tempted to yield to the parturiencies of hardship, but who, alternatively, repeatedly rise from the ashes to go on to construct a great state. † ( Hanson, White, 2011 ) . Soldiers that are one of the chief constituents of the secret plan are besides from different cultural backgrounds. There is representation of Caucasians, African-Americans and Latinos, each individual is compelled to contend for the independency of the United States irrespective of their cultural background or business as is chiefly shown with Russell a husbandman who is considered brainsick and intoxicated during most of the movie but turns into a hero by the terminal. Both the 15th and 19th amendments to the United States fundamental law support gender and race diverseness by protecting the right to vote of people from all genders and ethnicities. This thought is an indispensable portion of The American Dream and their civilization, and is hence represented in the movie repeatedly. Aside from that, it is of import to advert how the military forces of the United States of America are shown throughout the movie. Military forces are of import since they are the first establishment of the American authorities to look in the movie after the foreigners have appeared and have been identified, they are the first group to confront the menace and set research and analysis into gesture. They are besides the first 1s to set up a defensive stance towards the encroachers. This is shown in the film since a Pentagon functionary who discovers the Aliens presence takes as first step the action of citing the Secretary of Defense. A really outstanding thought shown in the movie is the American place in respects of struggle against enemies. It is really of import to stand out their function as negotiants and a peaceable society at the beginning of the movie, they ab initio will non assail unless they are attacked. In the movie, the first attack to the foreigners by the American authorities is a peaceable 1. After this peaceable effort goes awfully incorrect and the foreigners onslaught, the ground forces is given the green visible radiation to revenge. This response as we mentioned before was of class more than ready. This peaceable characteristic of the American society has every bit good analogues in the official paperss. In the Declaration Of Independence, it is stated that the King of England had attacked foremost by puting military personnels in American district even in times of peace. It besides says that America will remain in peace with all its Alliess and friends but will be in war with any enemy. Making an analysis of the chief characters ‘ points of position we can see that they ever keep an attitude of courage and enthusiasm. First of all we can see how the President ever keeps a courageous image and is ne'er afraid or intimidated by the Aliens ; he is ever present at every minute, declining any invitation to a shelter and making everything possible for his state. This thought is reinforced when he decides to be a member of the concluding violative combat like any other soldier. Another component depicted in the movie that reinforces this thought of America as a peaceful and caring state yet ready to conflict, is how solidarity is an indispensable feature of all characters ‘ personality. This thought is conspicuously shown one time once more in the President. He is invariably shown as a loving household adult male. He appears for the first clip during the movie while having a call from his married woman and being with his girl. He stays with his girl throughout the full movie and has his married woman in head. On the other manus, David is shown as a character attached to moral unity, an conservationist ever concerned about taking attention of the planet and the greater good. He is because of that the first 1 to travel against the determination of establishing a atomic assault. Another recurrent subject in the movie is the word picture of the United States as a technological ace power. Scientists are during the narrative more than support characters, they are heroes. Since the beginning of the movie scientific installations are shown. In fact the first character to look in the movie is a scientist. The movie goes back and Forth between political and scientific scenarios in which all characters interact. America displays power in the movie through political relations, the ground forces and engineering. All these three scenarios are closely intertwined and together organize what makes the United States a ace power in the movie. As mentioned, scientific discipline appears in the movie really early. The first image is a shooting of the American flag placed on the Moon demoing one of the biggest accomplishments of humanity in footings of infinite geographic expedition. Then it continues by picturing a scene of a High-tech installation in which scientists discover for the first clip the presence of the Alien encroachers. The importance of scientific discipline in the film non merely as a tool of endurance but as an icon of American pride is reinforced every clip that characters face an obstruction in footings of engineering. Very early in the movie a member of the armed forces is aggravated when an employee of the Pentagon admits that they are confused about what is traveling on. Another characteristic of the movie related to the word picture of engineering is the manner that other states ‘ engineering is represented. Iraq and Russia are shown as states in ruins after the foreign onslaught, the Russian orbiter is shown as old and is instantly destroyed, it is implied that the lone web the Aliens usage is the American 1. David is hence the most of import character in the movie in footings of engineering. His personal journey goes from being a scientist who failed professionally despite his surveies and intelligence to being the 1 who discovers the foreigner communicating system and the 1 who learns how to destruct their defences. David is the mastermind who represents the true power of America which is non the beastly show of force but the usage of cognition, engineering and advancement. It is because of him that the universe has to follow America ‘s lead during conflict. Another really outstanding representation of America in the movie is that of the state being shown as a brave and resilient state. Americans are shown as heroes who overcome hardship no affair how strong their oppositions may be, ever willing to support themselves and their people, American scientists, politicians and soldiers seem to be utterly resilient and indestructible. That characteristic though is non shown as the get downing point of the movie, in fact, America ‘s most powerful metropoliss are destroyed and all of their military attempts are rendered useless before the onslaught is successful exposing a narrative of heroes who had to give everything in order to win and who to be able to support their freedom had to trust on their courage merely. Indeed America is shown as the â€Å" Land of The Free and the Home of The Brave † many times during the film. The figures of the President and the First Lady are illustrations of bravery, unwilling to conceal, both decide to remain with the people of America during the foreigner onslaughts even after they are offered protection. The First Lady ‘s forfeit is hence the ultimate show of courage and will to defy against the oppressors. Even right before her decease she is shown as a warrior who has set her head on the lone end of supporting her state even at the point of give uping her life, she says she trusts her hubby ‘s capablenesss in winning the conflict turning her decease into the traveling force of the President ‘s finding to win. The President is so the most of import figure of courage and resiliency. Not merely he is challenged in footings of his occupation he is besides personally attacked and has his household destroyed before he can stand against the foreigners. This mixture of professional and personal duty comes together in his function as a soldier. The President is besides a soldier with particular abilities in the Fieldss of air combat, he personally leads the concluding conflict against the foreigners, because of this ground he is cardinal to America ‘s triumph, he embodies the might of the State, the courage of Americans and the people ‘s will to defy and boom through great attempts. Other chief characters are symbols of bravery and resiliency. Russell is the everyman who even after being described as a bad male parent and mediocre adult male saves the twenty-four hours by demoing that nil else is more of import than functioning his state and carry throughing his responsibilities as an American soldier, the President grants him the position of hero, because of this ground Russell receives the blessing of his household and in malice of his old failure he turns into a hero because of his courage and willing to give. Steven is besides the soldier who is willing to lose everything if it is for his state and his loved 1s. His motives are carry throughing his dream of being an spaceman, functioning his state and protecting the household he wants to organize with Jasmine. He puts himself at great hazard by being a portion of the stealing mission to destruct the enemy defence and does it without any vacillation. The same goes for David who as a member of this mission risks everything in name of the things he believes in, he is shown as an conservationist who would make anything in order to salvage his state. Jasmine on the other manus shows another type of opposition. She is the 1 that as a chief character represents the people of America. The mundane combatant, the passionate female parent, she can merely defy by making what every civilian can make, being brave and swearing her province leaders. This is another outstanding characteristic of the movie. Peoples are shown as hopeless yet courageous citizens, they do n't hold the strength to contend against the foreigners but do so by seting their trust in their authorities. The American civilians have anyhow a common feature with the military and authorities their failing that turns into courage and eventually triumph. Then war is non between two every bit powerful oppositions, worlds are evidently outnumbered and overpowered. Their machines and arms are shown as bantam following to the immense arms of the foreigners, even the concluding arm against their defences is bantam, a computing machine virus, demoing that intelligence, bravery and forfeit are worth more than natural force.Use OF SYMBOLSOne of the most outstanding symbols shown in the film is the address given by the President to the soldiers prior to the conflict against the foreigners, where non merely are displayed loyal ideals but besides America is depicted as a state that to the full represents the promises of the American dream. One of the chief symbolic mentions is the declaration of the 4th of July as a world-wide jubilation widening the thought of The United States national independenc y to the full universe declaring that manner that the ideals of the American revolution and its independency values are applicable to the full universe and should hence be celebrated by all states since they represent what is good for every state. This mention to the 4th of July, which is of class a chief thought in the movie sing its relevancy in relation to the rubric, topographic points America as the leader of the universe. The United States authorities and its military establishments are the 1s to get down and take the onslaught against the foreign menace ; the mentioned address keeps a strong moral and military rhetoric manner. The response from the hearers of the address is extremely emotional as they are all willing to support these cosmopolitan values in a clear mention to The American Dream. On the other manus we can speak about the symbols displayed visually. Throughout the movie different topographic points are shown and many are representative of American civilization. Chiefly, authorities edifices like the Pentagon or the White House and national memorials like the Statue of Liberty are shown, besides the skylines of New York City and the metropolis of Los Angeles are repeatedly featured. These symbols are a representation of the chief facets of American civilization in relation to The American Dream ; authorities edifices represent the power of the United States, its importance in maintaining peace and order, as they show the importance of democracy. Cities like New York or Los Angeles are non merely the chief economic centres of the state but the most celebrated touristic finishs in America.DecisionFinally it can be seen how the construct of the American Dream has a really of import function in everything related to the American civilization, from it, the bases for a great sum of societal ideals that represent and promote American civilization and individuality have been formed. The American Dream efforts to carry through all ideals of equality and common wellbeing a state where the dreams of all its members can go a world depending on the extent to which they belong to the American society. It is really interesting besides to analyse how these constructs go back to authoritative texts like the Declaration Of Independence and the Constitution of the United States since the importance of making a planetary state had already been stated. Taking this into history, it can be seen how this movie includes clear mentions reaffirming the cultural importance of the American Dream in a planetary context by demoing how this state has the capacity of being a universe leader and maintaining a society together. In the movie, the constructs that depict the United States as a state with a perfect authorities system can be seen. America achieves through democracy a society that has equal rights for everyone regardless of ethnicity, gender and societal differences but most of the movie depicts America as a state able to maintain a society in harmoniousness where corporate aims and single dreams are fulfilled. Finally, in footings of the enquiry that guides this paper, it can be seen that the movie greatly represents the American Dream. Even from the rubric which refers to an American vacation but places it on a planetary context we can see how this movie shows American values as the reply the universe needs to be able to last the invasion. We can see in the movie how the United States is tested and destroyed merely so it can reaffirm itself as a powerful state in all its facets, chiefly culturally, demoing the importance of the American Dream at a national and international degree. Word count: 3974

The Twilight Saga 2: New Moon Chapter 3 THE END

I FELT ABSOLUTELY HIDEOUS IN THE MORNING. I HADN'T slept well; my arm burned and my head ached. It didn't help my outlook that Edward's face was smooth and remote as he kissed my forehead quickly and ducked out my window. I was afraid of the time I'd spent unconscious, afraid that he might have been thinking about right and wrong again while he watched me sleep. The anxiety seemed to ratchet up the intensity of the pounding in my head. Edward was waiting for me at school, as usual, but his face was still wrong. There was something buried in his eyes that I couldn't be sure ofand it scared me. I didn't want to bring up last night, but I wasn't sure if avoiding the subject would be worse. He opened my door for me. â€Å"How do you feel?† â€Å"Perfect,† I lied, cringing as the sound of the slamming door echoed in my head. We walked in silence, he shortening his stride to match mine. There were so many questions I wanted to ask, but most of those questions would have to wait, because chey were for Alice: How was Jasper this morning? What had they said when I was gone? What had Rosalie said? And most importantly, what could she see happening now in her strange, imperfect visions of the future? Could she guess what Edward was thinking, why he was so gloomy? Was there a foundation for the tenuous, instinctive fears that I couldn't seem to shake? The morning passed slowly. I was impatient to see Alice, though I wouldn't be able to really talk to her with Edward there. Edward remained aloof. Occasionally he would ask about my arm, and I would lie. Alice usually beat us to lunch; she didn't have to keep pace with a sloth like me. But she wasn't at the table, waiting with a tray of food she wouldn't eat. Edward didn't say anything about her absence. I wondered to myself if her class was running lateuntil I saw Conner and Ben, who were in her fourth hour French class. â€Å"Where's Alice?† I asked Edward anxiously. He looked at the granola bar he was slowly pulverizing between his fingertips while he answered. â€Å"She's with Jasper.† â€Å"Is he okay?† â€Å"He's gone away for a while.† â€Å"What? Where?† Edward shrugged. â€Å"Nowhere in particular.† â€Å"And Alice, too,† I said with quiet desperation. Of course, if Jasper needed her, she would go. â€Å"Yes. She'll be gone for a while. She was trying to convince him to go to Denali.† Denali was where the one other band of unique vampiresgood ones like the Cullenslived. Tanya and her family. I'd heard of them now and again. Edward had run to them last winter when my arrival had made Forks difficult for him. Laurent, the most civilized member of James's little coven, had gone there rather than siding with James against the Cullens. It made sense for Alice to encourage Jasper to go there. I swallowed, trying to dislodge the sudden lump in my throat. The guilt made my head bow and my shoulders slump. I'd run them out of their home, just like Rosalie and Emmett. I was a plague. â€Å"Is your arm bothering you?† he asked solicitously. â€Å"Who cares about my stupid arm?† I muttered in disgust. He didn't answer, and I put my head down on the table. By the end of the day, the silence was becoming ridiculous. I didn't want to be the one to break it, but apparently that was my only choice if I ever wanted him to talk to me again. â€Å"You'll come over later tonight?† I asked as he walked mesilentlyto my truck. He always came over. â€Å"Later?† It pleased me that he seemed surprised. â€Å"I have to work. I had to trade with Mrs. Newton to get yesterday off.† â€Å"Oh,† he murmured. â€Å"So you'll come over when I'm home, though, right?† I hated that I felt suddenly unsure about this. â€Å"If you want me to.† â€Å"I always want you,† I reminded him, with perhaps a little more intensity than the conversation required. I expected he would laugh, or smile, or react somehow to my words. â€Å"All right, then,† he said indifferently. He kissed my forehead again before he shut the door on me. Then he turned his back and loped gracefully toward his car. I was able to drive out of the parking lot before the panic really hit, but I was hyperventilating by the time I got to Newton's. He just needed time, I told myself. He would get over this. Maybe he was sad because his family was disappearing. But Alice and Jasper would come back soon, and Rosalie and Emmett, too. If it would help, I would stay away from the big white house on the riverI'd never set foot there again. That didn't matter. I'd still see Alice at school. She would have to come back for school, right? And she was at my place all the time anyway. She wouldn't want to hurt Charlie's feelings by staying away. No doubt I would also run into Carlisle with regularityin the emergency room. After all, what had happened last night was nothing. Nothing had happened. So I fell downthat was the story of my life. Compared to last spring, it seemed especially unimportant. James had left me broken and nearly dead from loss of bloodand yet Edward had handled the interminable weeks in the hospital much better than this. Was it because, this time, it wasn't an enemy he'd had to protect me from? Because it was his brother? Maybe it would be better if he took me away, rather than his family being scattered. I grew slightly less depressed as I considered all the uninterrupted alone time. If he could just last through the school year, Charlie wouldn't be able to object. We could go away to college, or pretend that's what we were doing, like Rosalie and Emmett this year. Surely Edward could wait a year. What was a year to an immortal? It didn't even seem like that much to me. I was able to talk myself into enough composure to handle getting out of the truck and walking to the store. Mike Newton had beaten me here today, and he smiled and waved when I came in. I grabbed my vest, nodding vaguely in his direction. I was still imagining pleasant scenarios that consisted of me running away with Edward to various exotic locales. Mike interrupted my fantasy. â€Å"How was your birthday?† â€Å"Ugh,† I mumbled. â€Å"I'm glad it's over.† Mike looked at me from the corners of his eyes like I was crazy. Work dragged. I wanted to see Edward again, praying that he would be past the worst of this, whatever it was exactly, by the time I saw him again. It's nothing, I told myself over and over again. Everything will go back to normal. The relief I felt when I turned onto my street and saw Edward's silver car parked in front of my house was an overwhelming, heady thing. And it bothered me deeply that it should be that way. I hurried through the front door, calling out before I was completely inside. â€Å"Dad? Edward?† As I spoke, I could hear the distinctive theme music from ESPN's SportsCenter coming from the living room. â€Å"In here,† Charlie called. I hung my raincoat on its peg and hurried around the corner. Edward was in the armchair, my father on the sofa. Both had their eyes trained on the TV. The focus was normal for my father. Not so much for Edward. â€Å"Hi,† I said weakly. â€Å"Hey, Bella,† my father answered, eyes never moving. â€Å"We just had cold pizza. I think it's still on the table.† â€Å"Okay.† I waited in the doorway. Finally, Edward looked over at me with a polite smile. â€Å"I'll be right behind you,† he promised. His eyes strayed back to the TV. I stared for another minute, shocked. Neither one seemed to notice. I could feel something, panic maybe, building up in my chest. I escaped to the kitchen. The pizza held no interest for me. I sat in my chair, pulled my knees up, and wrapped my arms around them. Something was very wrong, maybe more wrong than I'd realized. The sounds of male bonding and banter continued from the TV set. I tried to get control of myself, to reason with myself. What's the worst that can happen? I flinched. That was definitely the wrong question to ask. I was having a hard time breathing right. Okay, I thought again, what's the worst I can live through? I didn't like that question so much, either. But I thought through the possibilities I'd considered today. Staying away from Edward's family. Of course, he wouldn't expect Alice to be part of that. But if Jasper was off limits, that would lessen the time I could have with her. I nodded to myselfI could live with that. Or going away. Maybe he wouldn't want to wait till the end of the school year, maybe it would have to be now. In front of me, on the table, my presents from Charlie and Renee were where I had left them, the camera I hadn't had the chance to use at the Cullens' sitting beside the album. I touched the pretty cover of the scrapbook my mother had given me, and sighed, thinking of Renee. Somehow, living without her for as long as I had did not make the idea of a more permanent separation easier. And Charlie would be left all alone here, abandoned. They would both be so hurt But we'd come back, right? We'd visit, of course, wouldn't we? I couldn't be certain about the answer to that. I leaned my cheek against my knee, staring at the physical tokens of my parents' love. I'd known this path I'd chosen was going to be hard. And, after all, I was thinking about the worst-case scenariothe very worst I could live through. I touched the scrapbook again, flipping the front cover over. Little metal corners were already in place to hold the first picture. It wasn't a half-bad idea, to make some record of my life here. I felt a strange urge to get started. Maybe I didn't have that long left in Forks. I toyed with the wrist strap on the camera, wondering about the first picture on the roll. Could it possibly turn out anything close to the original? I doubted it. But he didn't seem worried that it would be blank. I chuckled to myself, thinking of his carefree laughter last night. The chuckle died away. So much had changed, and so abruptly. It made me feel a little bit dizzy, like I was standing on an edge, a precipice somewhere much too high. I didn't want to think about that anymore. I grabbed the camera and headed up the stairs. My room hadn't really changed all that much in the seventeen years since my mother had been here. The walls were still light blue, the same yellowed lace curtains hung in front of the window. There was a bed, rather than a crib, but she would recognize the quilt draped untidily over the topit had been a gift ROM Gran. Regardless, I snapped a picture of my room. There wasn't much else I could do tonightit was too dark outsideand the feeling was growing stronger, it was almost a compulsion now. I would record everything about Forks before I had to leave it. Change was coming. I could feel it. It wasn't a pleasant prospect, not when life was perfect the way it was. I took my time coming back down the stairs, camera in hand, trying to ignore the butterflies in my stomach as I thought of the strange distance I didn't want to see in Edward's eyes. He would get over this. Probably he was worried that I would be upset when he asked me to leave. I would let him work through it without meddling. And I would be prepared when he asked. I had the camera ready as I leaned around the corner, being sneaky. I was sure there was no chance that I had caught Edward by surprise, but he didn't look up. I felt a brief shiver as something icy twisted in my stomach; I ignored that and took the picture. They both looked at me then. Charlie frowned. Edward's face was empty, expressionless. â€Å"What are you doing, Bella?† Charlie complained. â€Å"Oh, come on.† I pretended to smile as I went to sit on the floor in front of the sofa where Charlie lounged. â€Å"You know Mom will be calling soon to ask if I'm using my presents. I have to get to work before she can get her feelings hurt.† â€Å"Why are you taking pictures of me, though?† he grumbled. â€Å"Because you're so handsome,† I replied, keeping it light. â€Å"And because, since you bought the camera, you're obligated to be one of my subjects.† He mumbled something unintelligible. â€Å"Hey, Edward,† I said with admirable indifference. â€Å"Take one of me and my dad together.† I threw the camera toward him, carefully avoiding his eyes, and knelt beside the arm of the sofa where Charlie's face was. Charlie sighed. â€Å"You need to smile, Bella,† Edward murmured. I did my best, and the camera flashed. â€Å"Let me take one of you kids,† Charlie suggested. I knew he was just trying to shift the camera's focus fromhimself. Edward stood and lightly tossed him the camera. I went to stand beside Edward, and the arrangement felt formal and strange to me. He put one hand lightly on my shoulder, and I wrapped my arm more securely around his waist. I wanted to look at his face, but I was afraid to. â€Å"Smile, Bella,† Charlie reminded me again. I took a deep breath and smiled. The flash blinded me. â€Å"Enough pictures for tonight,† Charlie said then, shoving the camera into a crevice of the sofa cushions and rolling over it. â€Å"You don't have to use the whole roll now.† Edward dropped his hand from my shoulder and twisted casually out of my arm. He sat back down in the armchair. I hesitated, and then went to sit against the sofa again. I was suddenly so frightened that my hands were shaking. I pressed them into my stomach to hide them, put my chin on my knees and stared at the TV screen in front of me, seeing nothing. When the show ended, I hadn't moved an inch. Out of the corner of my eye, I saw Edward stand. â€Å"I'd better get home,† he said. Charlie didn't look up from the commercial. â€Å"See ya.† I got awkwardly to my feetI was stiff from sitting so stilland followed Edward out the front door. He went straight to his car. â€Å"Will you stay?† I asked, no hope in my voice. I expected his answer, so it didn't hurt as much. â€Å"Not tonight.† I didn't ask for a reason. He got in his car and drove away while I stood there, unmoving. I barely noticed that it was raining. I waited, without knowing what I waited for, until the door opened behind me. â€Å"Bella, what are you doing?† Charlie asked, surprised to see me standing there alone and dripping. â€Å"Nothing.† I turned and trudged back to the house. It was a long night, with little in the way of rest. I got up as soon as there was a faint light outside my window. I dressed for school mechanically, waiting for the clouds to brighten. When I had eaten a bowl of cereal, I decided that it was light enough for pictures. I took one of my truck, and then the front of the house. I turned and snapped a few of the forest by Charlie's house. Funny how it didn't seem sinister like it used to. I realized I would miss thisthe green, the timelessness, the mystery of the woods. All of it. I put the camera in my school bag before I left. I tried to concentrate on my new project rather than the fact that Edward apparently hadn't gotten over things during the night. Along with the fear, I was beginning to feel impatience. How long could this last? It lasted through the morning. He walked silently beside me, never seeming to actually look at me. I tried to concentrate on my classes, but not even English could hold my attention. Mr. Berty had to repeat his question about Lady Capulet twice before I realized he was talking to me. Edward whispered the correct answer under his breath and then went back to ignoring me. At lunch, the silence continued. I felt like I was going to start screaming at any moment, so, to distract myself, I leaned across the table's invisible line and spoke to Jessica. â€Å"Hey, Jess?† â€Å"What's up, Bella?† â€Å"Could you do me a favor?† I asked, reaching into my bag. â€Å"My mom wants me to get some pictures of my friends for a scrapbook. So, take some pictures of everybody, okay?† I handed her the camera. â€Å"Sure,† she said, grinning, and turned to snap a candid shot of Mike with his mouth full. A predictable picture war ensued. I watched them hand the camera around the table, giggling and flirting and complaining about being on film. It seemed strangely childish. Maybe I just wasn't in the mood for normal human behavior today. â€Å"Uh-oh,† Jessica said apologetically as she returned the camera. â€Å"I think we used all your film.† â€Å"That's okay. I think I already got pictures of everything else I needed.† After school, Edward walked me back to the parking lot in silence. I had to work again, and for once, I was glad. Time with me obviously wasn't helping things. Maybe time alone would be better. I dropped my film off at the Thriftway on my way to Newton's, and then picked up the developed pictures after work. At home, I said a brief hi to Charlie, grabbed a granola bar from the kitchen, and hurried up to my room with the envelope of photographs tucked under my arm. I sat in the middle of my bed and opened the envelope with wary curiosity. Ridiculously, I still half expected the first print to be a blank. When I pulled it out, I gasped aloud. Edward looked just as beautiful as he did in real life, staring at me out of the picture with the warm eyes I'd missed for the past few days. It was almost uncanny that anyone could look so so beyond description. No thousand words could equal this picture. I flipped through the rest of the stack quickly once, and then laid three of them out on the bed side by side. The first was the picture of Edward in the kitchen, his warm eyes touched with tolerant amusement. The second was Edward and Charlie, watching ESPN. The difference in Edward's expression was severe. His eyes were careful here, reserved. Still breathtakingly beautiful, but his face was colder, more like a sculpture, less alive. The last was the picture of Edward and me standing awkwardly side by side. Edward's face was the same as the last, cold and statue-like. But that wasn't the most troubling part of this photograph. The contrast between the two of us was painful. He looked like a god. I looked very average, even for a human, almost shamefully plain. I flipped the picture over with a feeling of disgust. Instead of doing my homework, I stayed up to put my pictures into the album. With a ballpoint pen I scrawled captions under all the pictures, the names and the dates. I got to the picture of Edward and me, and, without looking at it too long, I folded it in half and stuck it under the metal tab, Edward-side up. When I was done, I stuffed the second set of prints in a fresh envelope and penned a long thank-you letter to Renee. Edward still hadn't come over. I didn't want to admit that he was the reason I'd stayed up so late, but of course he was. I tried to remember the last time he'd stayed away like this, without an excuse, a phone call He never had. Again, I didn't sleep well. School followed the silent, frustrating, terrifying pattern of the last two days. I felt relief when I saw Edward waiting for me in the parking lot, but it faded quickly. He was no different, unless maybe more remote. It was hard to even remember the reason for all this mess. My birthday already felt like the distant past. If only Alice would come back. Soon. Before this got any more out of hand. But I couldn't count on that. I decided that, if I couldn't talk to him today, really talk, then I was going to see Carlisle tomorrow. I had to do something. After school, Edward and I were going to talk it out, I promised myself. I wasn't accepting any excuses. He walked me to my truck, and I steeled myself to make my demands. â€Å"Do you mind if I come over today?† he asked before we got to the truck, beating me to the punch. â€Å"Of course not.† â€Å"Now?† he asked again, opening my door for me. â€Å"Sure,† I kept my voice even, though I didn't like the urgency in his tone. â€Å"I was just going to drop a letter for Renee in the mailbox on the way. I'll meet you there.† He looked at the fat envelope on the passenger seat. Suddenly, he reached over me and snagged it. â€Å"I'll do it,† he said quietly. â€Å"And I'll still beat you there.† He smiled my favorite crooked smile, but it was wrong. It didn't reach his eyes. â€Å"Okay,† I agreed, unable to smile back. He shut the door, and headed toward his car. He did beat me home. He was parked in Charlie's spot when I pulled up in front of the house. That was a bad sign. He didn't plan to stay, then. I shook my head and took a deep breath, trying to locate some courage. He got out of his car when I stepped out of the truck, and came to meet me. He reached to take my book bag from me. That was normal. But he shoved it back onto the seat. That was not normal. â€Å"Come for a walk with me,† he suggested in an unemotional voice, taking my hand. I didn't answer. I couldn't think of a way to protest, but I instantly knew that I wanted to. I didn't like this. This is bad, this is very bad, the voice in my head repeated again and again. But he didn't wait for an answer. He pulled me along toward the east side of the yard, where the forest encroached. I followed unwillingly, trying to think through the panic. It was what I wanted, I reminded myself. The chance to talk it all through. So why was the panic choking me? We'd gone only a few steps into the trees when he stopped. We were barely on the trailI could still see the house. Some walk. Edward leaned against a tree and stared at me, his expression unreadable. â€Å"Okay, let's talk,† I said. It sounded braver than it felt. He took a deep breath. â€Å"Bella, we're leaving.† I took a deep breath, too. This was an acceptable option. I thought I was prepared. But I still had to ask. â€Å"Why now? Another year† â€Å"Bella, it's time. How much longer could we stay in Forks, after all? Carlisle can barely pass for thirty, and he's claiming thirty-three now. We'd have to start over soon regardless.† His answer confused me. I thought the point of leaving was to let his family live in peace. Why did we have to leave if they were going? I stared at him, trying to understand what he meant. He stared back coldly. With a roll of nausea, I realized I'd misunderstood. â€Å"When you say we,† I whispered. â€Å"I mean my family and myself.† Each word separate and distinct. I shook my head back and forth mechanically, trying to clear it. He waited without any sign of impatience. It took a few minutes before I could speak. â€Å"Okay,† I said. â€Å"I'll come with you.† â€Å"You can't, Bella. Where we're going It's not the right place for you.† â€Å"Where you are is the right place for me.† â€Å"I'm no good for you, Bella.† â€Å"Don't be ridiculous.† I wanted to sound angry, but it just sounded like I was begging. â€Å"You're the very best part of my life.† â€Å"My world is not for you,† he said grimly. â€Å"What happened with Jasperthat was nothing, Edward! Nothing!† â€Å"You're right,† he agreed. â€Å"It was exactly what was to be expected.† â€Å"You promised! In Phoenix, you promised that you would stay† â€Å"As long as that was best for you,† he interrupted to correct me. â€Å"No! This is about my soul, isn't it?† I shouted, furious, the words exploding out of mesomehow it still sounded like a plea. â€Å"Carlisle told me about that, and I don't care, Edward. I don't care! You can have my soul. I don't want it without youit's yours already!† He took a deep breath and stared, unseeingly, at the ground for a long moment. His mouth twisted the tiniest bit. When he finally looked up, his eyes were different, harderlike the liquid gold had frozen solid. â€Å"Bella, I don't want you to come with me.† He spoke the words slowly and precisely, his cold eyes on my face, watching as I absorbed what he was really saying. There was a pause as I repeated the words in my head a few times, sifting through them for their real intent. â€Å"You don't want me?† I tried out the words, confused by the way they sounded, placed in that order. â€Å"No.† I stared, uncomprehending, into his eyes. He stared back without apology. His eyes were like topazhard and clear and very deep. I felt like I could see into them for miles and miles, yet nowhere in rheir bottomless depths could I see a contradiction to the word he'd spoken. â€Å"Well, that changes things.† I was surprised by how calm and reasonable my voice sounded. It must be because I was so numb. I couldn't realize what he was telling me. It still didn't make any sense. He looked away into the trees as he spoke again. â€Å"Of course, I'll always love you in a way. But what happened the other night made me realize that it's time for a change. Because I'm tired of pretending to be something I'm not, Bella. I am not human.† He looked back, and the icy planes of his perfect face were not human. â€Å"I've let this go on much too long, and I'm sorry for that.† â€Å"Don't.† My voice was just a whisper now; awareness was beginning to seep through me, trickling like acid through my veins. â€Å"Don't do this.† He just stared at me, and I could see from his eyes that my words were far too late. He already had. â€Å"You're not good for me, Bella.† He turned his earlier words around, and so I had no argument. How well I knew that I wasn't good enough for him. I opened my mouth to say something, and then closed it again. He waited patiently, his face wiped clean of all emotion. I tried again. â€Å"If that's what you want.† He nodded once. My whole body went numb. I couldn't feel anything below the neck. â€Å"I would like to ask one favor, though, if that's not too much,† he said. I wonder what he saw on my face, because something flickered across his own face in response. But, before I could identify it, he'd composed his features into the same serene mask. â€Å"Anything,† I vowed, my voice faintly stronger. As I watched, his frozen eyes melted. The gold became liquid again, molten, burning down into mine with an intensity that was overwhelming. â€Å"Don't do anything reckless or stupid,† he ordered, no longer detached. â€Å"Do you understand what I'm saying?† I nodded helplessly. His eyes cooled, the distance returned. â€Å"I'm thinking of Charlie, of course. He needs you. Take care of yourselffor him.† I nodded again. â€Å"I will,† I whispered. He seemed to relax just a little. â€Å"And I'll make you a promise in return,† he said. â€Å"I promise that this will be the last time you'll see me. I won't come back. I won't put you through anything like this again. You can go on with your life without any more interference from me. It will be as if I'd never existed.† My knees must have started to shake, because the trees were suddenly wobbling. I could hear the blood pounding faster than normal behind my ears. His voice sounded farther away. He smiled gently. â€Å"Don't worry. You're humanyour memory is no more than a sieve. Time heals all wounds for your kind.† â€Å"And your memories?† I asked. It sounded like there was something stuck in my throat, like I was choking. â€Å"Well†he hesitated for a short second†I won't forget. But my kind we're very easily distracted.† He smiled; the smile was tranquil and it did not touch his eyes. He took a step away from me. â€Å"That's everything, I suppose. We won't bother you again.† The plural caught my attention. That surprised me; I would have thought I was beyond noticing anything. â€Å"Alice isn't coming back,† I realized. I don't know how he heard methe words made no soundbut he seemed to understand. He shook his head slowly, always watching my face. â€Å"No. They're all gone. I staved behind to tell you goodbye.† â€Å"Alice is gone?† My voice was blank with disbelief. â€Å"She wanted to say goodbye, but I convinced her that a clean break would be better for you.† I was dizzy; it was hard to concentrate. His words swirled around in my head, and I heard the doctor at the hospital in Phoenix, last spring, as he showed me the X-rays. You can see it's a clean break, his finger traced along the picture of my severed bone. That's good. It will heal more easily, more quickly . I tried to breathe normally. I needed to concentrate, to find a way out of this nightmare. â€Å"Goodbye, Bella,† he said in the same quiet, peaceful voice. â€Å"Wait!† I choked out the word, reaching for him, willing my deadened legs to carry me forward. I thought he was reaching for me, too. But his cold hands locked around my wrists and pinned them to my sides. He leaned down, and pressed his lips very lightly to my forehead for the briefest instant. My eyes closed. â€Å"Take care of yourself,† he breathed, cool against my skin. There was a light, unnatural breeze. My eyes flashed open. The leaves on a small vine maple shuddered with the gentle wind of his passage. He was gone. With shaky legs, ignoring the fact that my action was useless, I followed him into the forest. The evidence of his path had disappeared instantly. There were no footprints, the leaves were still again, but I walked forward without thinking. I could not do anything else. I had to keep moving. If I stopped looking for him, it was over. Love, life, meaning over. I walked and walked. Time made no sense as I pushed slowly through the thick undergrowth. It was hours passing, but also only seconds. Maybe it felt like time had frozen because the forest looked the same no matter how far I went. I started to worry that I was traveling in a circle, a very small circle at that, but I kept going. I stumbled often, and, as it grew darker and darker, I fell often, too. Finally, I tripped over somethingit was black now, I had no idea what caught my footand I stayed down. I rolled onto my side, so that I could breathe, and curled up on the wet bracken. As I lay there, I had a feeling that more time was passing than I realized. I couldn't remember how long it had been since nightfall. Was it always so dark here at night? Surely, as a rule, some little bit of moonlight would filter down through the clouds, through the chinks in the canopy of trees, and find the ground. Not tonight. Tonight the sky was utterly black. Perhaps there was no moon tonighta lunar eclipse, a new moon. A new moon. I shivered, though I wasn't cold. It was black for a long time before I heard them calling. Someone was shouting my name. It was muted, muffled by the wet growth that surrounded me, but it was definitely my name. I didn't recognize the voice. I thought about answering, but I was dazed, and it took a long time to come to the conclusion that I should answer. By then, the calling had stopped. Sometime later, the rain woke me up. I don't think I'd really fallen asleep; I was just lost in an unthinking stupor, holding with all my strength to the numbness that kept me from realizing what I didn't want to know. The rain bothered me a little. It was cold. I unwrapped my arms from around my legs to cover my face. It was then that I heard the calling again. It was farther away this time, and sometimes it sounded like several voices were calling at once. I tried to breathe deeply. I remembered that I should answer, but I didn't think they would be able to hear me. Would I be able to shout loud enough? Suddenly, there was another sound, startlingly close. A kind of snuffling, an animal sound. It sounded big. I wondered if I should feel afraid. I didn'tjust numb. It didn't matter. The snuffling went away. The rain continued, and I could feel the water pooling up against my cheek. I was trying to gather the strength to turn my head when I saw the light. At first it was just a dim glow reflecting off the bushes in the distance. It grew brighter and brighter, illuminating a large space unlike the focused beam of a flashlight. The light broke through the closest brush, and I could see that it was a propane lantern, but that was all I could seethe brightness blinded me for a moment. â€Å"Bella.† The voice was deep and unfamiliar, but full of recognition. He wasn't calling my name to search, he was acknowledging that I was found. I stared upimpossibly high it seemedat the dark face that I could now see above me. I was vaguely aware that the stranger probably only looked so tall because my head was still on the ground. â€Å"Have you been hurt?† I knew the words meant something, but I could only stare, bewildered. How could the meaning matter at this point? â€Å"Bella, my name is Sam Uley.† There was nothing familiar about his name. â€Å"Charlie sent me to look for you.† Charlie? That struck a chord, and I tried to pay more attention to what he was saying. Charlie mattered, if nothing else did. The tall man held out a hand. I gazed at it, not sure what I was supposed to do. His black eyes appraised me for a second, and then he shrugged. In a quick and supple notion, he pulled me up from the ground and into his arms. I hung there, limp, as he loped swiftly through the wet forest. Some part of me knew this should upset mebeing carried away by a stranger. But there was nothing left in me to upset. It didn't seem like too much time passed before there were lights and the deep babble of many male voices. Sam Uley slowed as he approached the commotion. â€Å"I've got her!† he called in a booming voice. The babble ceased, and then picked up again with more intensity. A confusing swirl of faces moved over me. Sam's voice was the only one that made sense in the chaos, perhaps because my ear was against his chest. â€Å"No, I don't think she's hurt,† he told someone. â€Å"She just keeps saying ‘He's gone.' â€Å" Was I saying that out loud? I bit down on my lip. â€Å"Bella, honey, are you all right?† That was one voice I would know anywhereeven distorted, as it was now, with worry. â€Å"Charlie?† My voice sounded strange and small. â€Å"I'm right here, baby.† There was a shifting under me, followed by the leathery smell of my dad's sheriff jacket. Charlie staggered under my weight. â€Å"Maybe I should hold on to her,† Sam Uley suggested. â€Å"I've got her,† Charlie said, a little breathless. He walked slowly, struggling. I wished I could tell him to put me down and let me walk, but I couldn't find my voice. There were lights everywhere, held by the crowd walking with him. It felt like a parade. Or a funeral procession. I closed my eyes. â€Å"We're almost home now, honey,† Charlie mumbled now and then. I opened my eyes again when I heard the door unlock. We were on the porch of our house, and the tall dark man named Sam was holding the door for Charlie, one arm extended toward us, as if he was preparing to catch me when Charlie's arms failed. But Charlie managed to get me through the door and to the couch in the living room. â€Å"Dad, I'm all wet,† I objected feebly. â€Å"That doesn't matter.† His voice was gruff. And then he was talking to someone else. â€Å"Blankets are in the cupboard at the top of the stairs.† â€Å"Bella?† a new voice asked. I looked at the gray-haired man leaning over me, and recognition came after a few slow seconds. â€Å"Dr. Gerandy?† I mumbled. â€Å"That's right, dear,† he said. â€Å"Are you hurt, Bella?† It took me a minute to think that through. I was confused by the memory of Sam Uley's similar question in the woods. Only Sam had asked something else: Have you been hurt? he'd said. The difference seemed significant somehow. Dr. Gerandy was waiting. One grizzled eyebrow rose, and the wrinkles on his forehead deepened. â€Å"I'm not hurt,† I lied. The words, were true enough for what he'd asked. His warm hand touched my forehead, and his fingers pressed against the inside of my wrist. I watched his lips as he counted to himself, his eyes on his watch. â€Å"What happened to you?† he asked casually. I froze under his hand, tasting panic in the back of my throat. â€Å"Did you get lost in the woods?† he prodded. I was aware of several other people listening. Three tall men with dark facesfrom La Push, the Quileute Indian reservation down on the coastline, I guessedSam Uley among them, were standing very close together and staring at me. Mr. Newton was there with Mike and Mr. Weber, Angela's father; they all were watching me more surreptitiously than the strangers. Other deep voices rumbled from the kitchen and outside the front door. Half the town must have been looking for me. Charlie was the closest. He leaned in to hear my answer. â€Å"Yes,† I whispered. â€Å"I got lost.† The doctor nodded, thoughtful, his fingers probing gently against the glands under my jaw. Charlie's face hardened. â€Å"Do you feel tired?† Dr. Gerandy asked. I nodded and closed my eyes obediently. â€Å"I don't think there's anything wrong with her,† I heard the doctor mutter to Charlie after a moment. â€Å"Just exhaustion. Let her sleep it off, and I'll come check on her tomorrow,† he paused. He must have looked at his watch, because he added, â€Å"Well, later today actually.† There was a creaking sound as they both pushed off from the couch to get to their feet. â€Å"Is it true?† Charlie whispered. Their voices were farther away now. I strained to hear. â€Å"Did they leave?† â€Å"Dr. Cullen asked us not to say anything,† Dr. Gerandy answered. â€Å"The offer was very sudden; they had to choose immediately. Carlisle didn't want to make a big production out of leaving.† â€Å"A little warning might have been nice,† Charlie grumbled. Dr. Gerandy sounded uncomfortable when he replied. â€Å"Yes, well, in this situation, some warning might have been called for.† I didn't want to listen anymore. I felt around for the edge of the quilt someone had laid on top of me, and pulled it over my ear. I drifted in and out of alertness. I heard Charlie whisper thanks to the volunteers as, one by one, they left. I felt his fingers on my forehead, and then the weight of another blanket. The phone rang a few times, and he hurried to catch it before it could wake me. He muttered reassurances in a low voice to the callers. â€Å"Yeah, we found her. She's okay. She got lost. She's fine now,† he said again and again. I heard the springs in the armchair groan when he settled himself in for the night. A few minutes later, the phone rang again. Charlie moaned as he struggled to his feet, and then he rushed, stumbling, to the kitchen I pulled my head deeper under the blankets, not wanting to listen to the same conversation again. â€Å"Yeah,† Charlie said, and yawned. His voice changed, it was much more alert when he spoke again. â€Å"Where?'† There was a pause. â€Å"You're sure it's outside the reservation?† Another short pause. â€Å"But what could be burning out there?† He sounded both worried and mystified. â€Å"Look, I'll call down there and check it out.† I listened with more interest as he punched in a number. â€Å"Hey, Billy, it's Charliesorry I'm calling so early no, she's fine. She's sleeping Thanks, but that's not why I called. I just got a call from Mrs. Stanley, and she says that from her second-story window she can see fires out on the sea cliffs, but I didn't really Oh!† Suddenly there was an edge in his voiceirritation or anger. â€Å"And why are they doing that? Uh huh. Really?† He said it sarcastically. â€Å"Well, don't apologize to me. Yeah, yeah. Just make sure the flames don't spread I know, I know, I'm surprised they got them lit at all in this weather.† Charlie hesitated, and then added grudgingly. â€Å"Thanks for sending Sam and the other boys up. You were rightthey do know the forest better than we do. It was Sam who found her, so I owe you one Yeah, I'll talk to you later,† he agreed, still sour, before hanging up. Charlie muttered something incoherent as he shuffled back to the living room. â€Å"What's wrong?† I asked. He hurried to my side. â€Å"I'm sorry I woke you, honey.† â€Å"Is something burning?† â€Å"It's nothing,† he assured me. â€Å"Just some bonfires out on the cliffs.† â€Å"Bonfires?† I asked. My voice didn't sound curious. It sounded dead. Charlie frowned. â€Å"Some of the kids from the reservation being rowdy,† he explained. â€Å"Why?† I wondered dully. I could tell he didn't want to answer. He looked at the floor under his knees. â€Å"They're celebrating the news.† His tone was bitter. There was only one piece of news I could think of, try as I might not to. And then the pieces snapped together. â€Å"Because the Cullens left,† I whispered. â€Å"They don't like the Cullens in La PushI'd forgotten about that.† The Quileutes had their superstitions about the â€Å"cold ones,† the blood-drinkers that were enemies to their tribe, just like they had their legends of the great flood and wolf-men ancestors. Just stories, folklore, to most of them. Then there were the few that believed. Charlie's good friend Billy Black believed, though even Jacob, his own son, thought he was full of stupid superstitions. Billy had warned me to stay away from the Cullens The name stirred something inside me, something that began to claw its way toward the surface, something I knew I didn't want to face. â€Å"It's ridiculous,† Charlie spluttered. We sat in silence for a moment. The sky was no longer black outside the window. Somewhere behind the rain, the sun was beginning to rise. â€Å"Bella?† Charlie asked. I looked at him uneasily. â€Å"He left you alone in the woods?† Charlie guessed. I deflected his question. â€Å"How did you know where to find me?† My mind shied away from the inevitable awareness that was coming, coming quickly now. â€Å"Your note,† Charlie answered. surprised. He reached into the back pocket of his jeans and pulled out a much-abused piece of paper. It was dirty and damp, with multiple creases from being opened and refolded many times. He unfolded it again, and held it up as evidence. The messy handwriting was remarkably close to my own. Going for a walk with Edward, up the path, it said. Back soon, B. â€Å"When you didn't come back, I called the Cullens, and no one answered,† Charlie said in a low voice. â€Å"Then I called the hospital, and Dr. Gerandy told me that Carlisle was gone.† â€Å"Where did they go?† I mumbled. He stared at me. â€Å"Didn't Edward tell you?† I shook my head, recoiling. The sound of his name unleashed the thing that was clawing inside of mea pain that knocked me breathless, astonished me with its force. Charlie eyed me doubtfully as he answered. â€Å"Carlisle took a job with a big hospital in Los Angeles. I guess they threw a lot of money at him.† Sunny L.A. The last place they would really go. I remembered my nightmare with the mirror the bright sunlight shimmering off of his skin Agony ripped through me with the memory of his face. â€Å"I want to know if Edward left you alone out there in the middle of the woods,† Charlie insisted. His name sent another wave of torture through me. I shook my head, frantic, desperate to escape the pain. â€Å"It was my fault. He left me right here on the trail, in sight of the house but I tried to follow him.† Charlie started to say something; childishly, I covered my ears. â€Å"I can't talk about this anymore, Dad. I want to go to my room.† Before he could answer, I scrambled up from the couch and lurched my way up the stairs. Someone had been in the house to leave a note for Charlie, a note that would lead him to find me. From the minute that I'd realized this, a horrible suspicion began to grow in my head. I rushed to my room, shutting and locking the door behind me before I ran to the CD player by my bed. Everything looked exactly the same as I'd left it. I pressed down on the top of the CD player. The latch unhooked, and the lid slowly swung open. It was empty. The album Renee had given me sat on the floor beside the bed, just where I'd put it last. I lifted the cover with a shaking hand. I didn't have to flip any farther than the first page. The little metal corners no longer held a picture in place. The page was blank except for my own handwriting scrawled across the bottom: Edward Cullen, Charlie's kitchen, Sept. 13th. I stopped there. I was sure that he would have been very thorough. It will be as if I'd never existed, he'd promised me. I felt the smooth wooden floor beneath my knees, and then the palms of my hands, and then it was pressed against the skin of my cheek. I hoped that I was fainting, but, to my disappointment, I didn't lose consciousness. The waves of pain that had only lapped at me before now reared high up and washed over my head, pulling me under. I did not resurface.