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User:Jsarah29/sandbox

Mother to Son
Theme for Literature: Isolation and Community

“Motherhood isn't just about making babies, it's about making lives and molding destinies”.

--Agu Jaachynma N.E..

Background of the text:
Langston Hughes was regarded as “the most prominent African American poet of the twentieth century”. In 1922 he wrote the poem “Mother to Son” which talks about a mother's life experiences that she shares with her son. She emphasizes the obstacles she has faced and motivates him to persevere. She encourages him to use her struggles as a source of strength and courage and never give up.

A Motivational Poem about a Mother’s Resilience:  My Personal Reflections
"Mother to Son"  is a dramatic monologue spoken in African American vernacular English. The Poem "Mother to Son" by Langston Hughes –  in which a poor, hardworking black mother imparts advice to her young son about the struggles he will face in a segregated society where African Americans are oppressed, marginalized, and discriminated against. "“Life for me ain’t been no crystal stair/ It had tacks in it, / And splinters / And boards torn up” (2-5)."Crystal stairs are a metaphor for people who are extremely financially stable and luxurious. It symbolizes the segregation of people living in a society of color. A striking symbol used in the story was tacks and splinters to depict the hardships of a black mother living in a racially segregated community.

The mother of the poem points out that determination will give you power through life:. "“ So boy, don’t you turn your back/ Don’t you step down on the steps/Cause you find it’s kinder hard/Don’t you fall now/For I’se still goin, honey / I’se still climbing.” (14-19)."As we travel through life's estrangement, we should have the will to be brave and courageous. There should be the will to overcome life’s challenges and not giving up is the only way to succeed in life. Despite life's ups and downs we must move onward and forward to achieve our goals in life. The journey of life is not an easy one, and we must accept life as it is to appreciate the victories along the way.

Mothers' struggles can be very lonely and overwhelmingly exhausting, both mentally and physically. "“And sometimes going in the dark/ Where there ain’t been no light.' (12-13)."The trials and tribulations of a mother can feel so lonely in times of darkness. Because a mother shielded her own problems and presented a façade of a strong woman. This was so she could carry all her responsibility to her family and most of all to her children. This often leads to isolation, as she cannot express her true feelings. This can be a burden difficult to bear and have serious implications for her mental health. It is important to support mothers in these difficult times.

The mother emphasizes the power of resilience amidst her isolation and how it can help cope with all the hardships in life: "“But all the time/I’se been a-climbin’ on/And reachin’ landin’s/And turnin’ corners/And sometimes goin’ in the dark/Where there ain’t been no light.” (8-13)."Despite the trials she faces in life as an American African mother, she maintains a positive outlook. It is through her example that she teaches her young son the true values of life and the courage to never give up even in the face of discrimination or segregation. She believes that these values are what will keep him going in the face of adversity, and she wants him to understand that he has the power to make a difference. She encourages him to reach for his dreams and to never be afraid to stand up for what is right.

Even though the text, is meant to illustrate the African American experience, the trail and tribulations of this mother is universal to mothers of all colors who live under a similar circumstance of hardship. We should acknowledge the fact that our children are the future of our society. It is essential that they develop the grit necessary to overcome any challenges they may face. Therefore, it is important that parents equip their children with the necessary skills, values, and attitudes that will help them become resilient and successful individuals. Parents must also provide them with the tools and resources they need to make the right decisions and succeed. Moreover, providing our children with a role model of love, kindness, and compassion is the most effective way to ensure these values are instilled.

Glossary:

 * African-American Vernacular English - is the variety of English natively spoken, particularly in urban communities, by most working- and middle-class African Americans and some Black Canadians. Having its own unique grammatical, vocabulary, and accent features, AAVE is employed by middle-class Black Americans as the more informal and casual end of a sociolinguistic continuum.

 * Adversity - a state or instance of serious or continued difficulty or misfortune.
 * Grit - firmness of mind or spirit: unyielding courage in the face of hardship or danger.
 * Marginalized - to relegate to an unimportant or powerless position within a society or group.
 * Segregation -  ; the separation or isolation of a race, class, or ethnic group by enforced or voluntary residence in a restricted area, by barriers to social intercourse, by separate educational facilities, or by other discriminatory means ; the separation for special treatment or observation of individuals or items from a larger group  segregation of gifted children into accelerated classes
 * Tribulations - distress or suffering resulting from oppression or persecution also: a trying experience

Recommended Reading for Segregation:
To give you a better understanding of isolation, I have included a few poems and articles. They will help you to appreciate how it feels to be isolated and to understand the complexity of emotions that come with it. I hope these resources will provide you with insight and support.

 * 1) “What We Can Learn of History from Older African American Women Who Worked as Maids in the Deep South.”
 * 2) “My People” a poem by Langston Hughes
 * 3) " I, Too " a poem Langston Hughes

Further Reading: For better comprehension on the meaning of African-American Vernacular English

 * 1) 1.Wikipedia contributors. “African-American Vernacular English”. https://en.wikipedia.org/wiki/African-American_Vernacular_English. Wikipedia, The Free Encyclopedia.An article about the meaning and ideas of a spoken English used by native African Americans.

 * 1) 2.Wikipedia contributors. “Mother’s Day” https://en.wikipedia.org/wiki/Mother%27s_Day .Wikipedia, The Free Encyclopedia. Article about Mother's Day celebrations around the world.
 * 1) 2.Wikipedia contributors. “Mother’s Day” https://en.wikipedia.org/wiki/Mother%27s_Day .Wikipedia, The Free Encyclopedia. Article about Mother's Day celebrations around the world.

Love letter: A Mother’s Day Project

Mother's Day is a very special occasion, and we want our kids to know we love and care for them. So, every year on this incredibly special and memorable occasion, I want you to write something special for your baby, kid, and children. This is even if they are grown up and have their own family. Easy but wait, here’s the catch! It is recommended that all mail be handwritten; the content of your letter can be anything from the lyrics to poems to short stories to anything you wish to express. If you have difficulty writing, no worries you can leave a personal voice message, a voice message of you reading a poem, or a voice message singing a few lines of your favorite song or saying something funny or cringe jokes and whatever you want to say to your kids. And every 5,10,15 years ask your children who saved the most letters or voice messages, and whoever saved the most gets a reward or the loser gets a sanctioned, like taking a family photo wearing matching ugly sweaters or treating the family to a dinner, or anything the whole family decides. Best of luck!

References:

 * https://owlcation.com/humanities/Analysis-of-Poem-Mother-To-Son-by-Langston-Hughes

 * Butler, Robert. “Langston Hughes: A Biography.” African American Review, vol. 40, no. 2, Summer 2006, pp. 386–87. EBSCOhost, search.ebscohost.com

 * Filmer, Alice Ashton. “African-American Vernacular English: Ethics, Ideology, and Pedagogy in the Conflict between Identity and Power.” World Englishes, vol. 22, no. 3, Aug. 2003, pp. 253–70. EBSCOhost

 * VAN WORMER, KATHERINE, et al. “What We Can Learn of History from Older African American Women Who Worked as Maids in the Deep South.” Western Journal of Black Studies, vol. 37, no. 4, Winter 2013, pp. 227–35. EBSCOhost, search.ebscohost.com

title: User:Jsarah29/sandbox


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User:PakardiMatematika

Hi! I am Achmad Ardiansyah. I am a mathematics teacher from Indonesia

Contact me at achmadardiansyah39@guru.smp.belajar.id

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:PakardiMatematika


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Cookbook:Wali (Tanzanian Rice)

Wali wa Junde na karot is a Tanzanian rice dish with peas and carrots. It is popular in Tanzania and East Africa in general. It can be served with curries, stews, and any kind of light meal.

Ingredients

 * Olive oil
 * Uncooked rice
 * Diced carrots
 * Peas
 * Turmeric powder
 * Salt
 * Coconut milk

Equipment

 * Knife
 * Pot
 * Stovetop
 * Bowl

Procedure

 * 1) Heat the olive oil in a pot over medium heat.
 * 2) Add the rice, carrots, peas, turmeric, and salt to the pot. Stir for a few minutes.
 * 3) Combine the coconut milk and some hot water. Pour a little bit into the pot, and bring to a boil.
 * 4) Simmer until the rice is cooked, stirring in more diluted coconut milk as needed until the rice has absorbed everything.
 * 5) Fluff with a fork, and serve hot.

title: Cookbook:Wali (Tanzanian Rice)


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Cookbook:Tanzanian Sweet Fried Spaghetti

Tambi za kukaanga na sukari ("fried noodles with sugar") is a Tanzanian or Swahili recipe of sweet fried noodles. It is easy to cook and can be eaten with egg sauce, chicken, etc.

Ingredients

 * Oil
 * 1 pound uncooked spaghetti
 * 3 cups water
 * ¾ cup sugar
 * Ground cardamom to taste
 * 1 pinch salt
 * Dried raisins (optional)

Special equipment

 * Frying pan
 * Stovetop

Procedure

 * 1) Heat a few tablespoons of oil in a frying pan.
 * 2) Add the spaghetti and fry it until golden.
 * 3) Add the water, sugar, cardamom, salt, and raisins.
 * 4) Cover the pan and cook until the pasta has absorbed the water, stirring occasionally. If necessary, add more water.
 * 5) Serve hot.


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Analytic Combinatorics/Cauchy-Hadamard theorem and Cauchy's inequality

Introduction
Two of the most basic means of estimating coefficients of generating functions are the Cauchy-Hadamard theorem and Cauchy's inequality.

We also include some background knowledge which will be useful for future chapters.

Limit superior
One key concept in analysis is a sequence of numbers. In our case, the sequence of numbers could be the coefficients of the generating function we are interested in, written $$\{ a_n \}$$.

A point of accumulation of a sequence is a number $$t$$ such that, given $$\epsilon > 0$$, there are infinitely many $$n$$ such that
 * $$|a_n - t| < \epsilon$$.

For example, the sequence of coefficients of $$\frac{1}{1 - z}$$ ($$\{1, 1, 1, \cdots \}$$) has point of accumulation $$1$$. $$e^z$$ ($$\{ 1, \frac{1}{2!}, \frac{1}{3!}, \cdots \}$$) has point of accumulation $$0$$. $$\frac{1}{1 - z^2}$$ ($$\{ 1, 0, 1, 0, \cdots \}$$) has two points of accumulation, $$0$$ and $$1$$.

One useful property of a sequence of numbers is its limit superior, written $$\limsup a_n$$. This is the least upper bound of the set of points of accumulation of the sequence $$\{a_n\}$$.

In our above examples, these would be $$1$$, $$0$$ and $$1$$ respectively.

Convergence
$$f(z)$$ is said to converge if its series expansion $$\sum a_n z^n$$ equals a finite value.

It may only do so for particular values of $$z$$. There are various tests for whether or not a series converges and for which values of $$z$$.

For example, $$\frac{1}{1 - z}$$ has series expansion $$\sum z^n$$. We can test this series for convergence with the D'Alembert's ratio test which states that the series converges if

 * $$\lim_{n \to \infty} \frac{a_{n+1}}{a_n} < 1$$

In our example, the ratio is $$\frac{z^{n+1}}{z^n}$$ which is only less than $$1$$ if $$|z| < 1$$. Therefore, the series converges for values less than $$1$$.

The radius of convergence of $$f(z)$$ is the value $$z_0$$ such that for $$|z| < z_0$$ the series expansion converges.

In our example, the radius of convergence of $$\frac{1}{1 - z}$$ is $$1$$.

It should be noted that the radius of convergence is equal to the smallest singularity of a function. We will read about singularities later.

Theorem
If $$f(z) = \sum a_n z^n$$ and $$R$$ its radius of convergence then :
 * $$\frac{1}{R} = \limsup_{n \to \infty} |a_n|^{1/n}$$

One consequence of this theorem is :
 * $$\left( \frac{1}{R} - \epsilon \right)^n \leq a_n \leq \left( \frac{1}{R} + \epsilon \right)^n$$ (for all $$\epsilon > 0$$ and sufficiently large $$n$$)

Proof
Proof due to Wilf and Lang.

The radius of convergence $$R$$ of a function $$f(z)$$ means that if $$|z| < R$$ then $$f(z) \ne \infty$$.

Take $$f(z) = \sum a_n z^n$$, $$R$$ its radius of convergence and $$t = \limsup_{n \to \infty} |a_n|^{1/n}$$. By definition of $$\limsup$$, for all but a finite number of $$n$$

 * $$|a_n| \le (t + \epsilon)^n$$.

$$f(z)$$ does not converge if $$|z| \ge \frac{1}{(t + \epsilon)}$$ (because otherwise $$\frac{a_{n+1} z^{n+1}}{a_n z^n} > 1$$ for all $$n$$ and so diverges by D'Alembert's ratio test), therefore $$R \ge \frac{1}{(t + \epsilon)}$$.

By definition of $$\limsup$$, there exist infinitely many $$n$$

 * $$|a_n| \ge (t - \epsilon)^n$$.

$$f(z)$$ does not converge if $$|z| = \frac{1}{(t - \epsilon)}$$, therefore $$R \le \frac{1}{(t - \epsilon)}$$.

If $$R \ge \frac{1}{(t + \epsilon)}$$ and $$R \le \frac{1}{(t - \epsilon)}$$ then $$R = \frac{1}{t}$$ and $$\frac{1}{R} = \limsup_{n \to \infty} |a_n|^{1/n}$$.

Now, we prove the consequence of the theorem.

If, $$\frac{1}{R} = \limsup_{n \to \infty} |a_n|^{1/n}$$ and, by definition of $$\limsup$$, for all but a finite number of $$n$$

 * $$|a_n| \le \left (\frac{1}{R} + \epsilon \right )^n$$

and there exist infinitely many $$n$$

 * $$|a_n| \ge \left (\frac{1}{R} - \epsilon \right)^n$$.

Complex numbers
A complex number is a number $$z = x + iy$$ where $$x$$ and $$y$$ are both real numbers and $$i$$ is the imaginary unit where $$i^2 = -1$$. $$x$$ is called the real component and $$y$$ the imaginary component (even though $$y$$ is itself a real number).

Contour integration
Because a complex number has two components, real and imaginary, complex integration involves integrating around a curve in the two-dimensional plane. This is called contour integration.

We denote this:

 * $$\int_C f(z) dz$$

where $$C$$ denotes the contour.

It is not necessary to know how to compute contour integrals in order to understand the later material in this book.

Analytic functions
A function $$f(z)$$ is analytic at a point $$z_0$$ if it is defined, single-valued and has a derivative at every point at and around $$z_0$$.

We say a function $$f(z)$$ is analytic on a set of points $$U$$ if it is analytic at every point of $$U$$.

One property of an analytic function is that when performing contour integration on a closed contour $$C$$ we can continuously deform the contour $$C$$ into another closed contour $$C^'$$ without changing the value of the integral (as long as in deforming the contour we do not pass through any singularities).

Cauchy's integral formula
Cauchy's integral formula states:

 * $$f(z_0) = \frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z - z_0}$$

where $$C$$ is a contour, $$z_0$$ is a point inside $$C$$ and $$f(z)$$ is analytic on and inside the contour.

Proof: Because $$f(z)$$ is analytic, we can replace the integral around $$C$$ with a contour $$\gamma$$ with centre $$z_0$$ and radius $$\rho$$

 * $$\frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z - z_0} = \frac{1}{2 \pi i} \int_\gamma f(z) \frac{dz}{z - z_0}$$

As $$f(z)$$ is analytic it is also continuous. This means for any $$\epsilon > 0$$ there exists a $$\delta > 0$$ such that $$|z - z_0| < \delta \implies |f(z) - f(z_0)| < \epsilon$$. We can do this by setting $$\rho \leq \delta$$.

 * $$\int_\gamma f(z) \frac{dz}{z - z_0} = f(z_0) \int_\gamma \frac{dz}{z - z_0} + \int_\gamma \frac{f(z) - f(z_0)}{z - z_0} dz$$

 * $$f(z_0) \int_\gamma \frac{dz}{z - z_0} = 2 \pi i f(z_0)$$

 * $$\int_\gamma \frac{f(z) - f(z_0)}{z - z_0} dz \leq \frac{\epsilon}{\rho} 2 \pi \rho = 2 \pi \epsilon$$

Finally,

 * $$\frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z - z_0} = \frac{1}{2 \pi i} \int_\gamma f(z) \frac{dz}{z - z_0} = \frac{1}{2 \pi i} (2 \pi i f(z_0) + 2 \pi \epsilon) = f(z_0)$$ as $$\epsilon \to 0$$.

Taylor series
If $$f(z)$$ is analytic inside and on a contour $$C$$, the Taylor series expansion of $$f(z)$$ around the point $$z_0$$ inside $$C$$:

 * $$f(z) = f(z_0) + f'(z_0) (z - z_0) + \frac{f''(z_0) (z - z_0)^2}{2!} + \cdots$$

Cauchy's coefficient formula
Cauchy's coefficient formula states that:

 * $$a_n = \frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z^{n+1}}$$

Proof: Cauchy's integral formula states:

 * $$f(z_0) = \frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z - z_0}$$

If you differentiate both sides with respect to $$z_0$$ $$n$$ times, you get:

 * $$\frac{f^{(n)}(z_0)}{n!} = \frac{1}{2 \pi i} \int_C f(z) \frac{dz}{(z - z_0)^{n+1}}$$

The Taylor series expansion of $$f(z)$$ around $$0$$:

 * $$f(z) = f(0) + f'(0)z + \frac{f''(0)z^2}{2!} + \cdots$$

Therefore:

 * $$a_n = \frac{f^{(n)}(0)}{n!} = \frac{1}{2 \pi i} \int_C f(z) \frac{dz}{z^{n+1}}$$

Theorem
Theorem due to Titchmarsh.

If $$R$$ is the radius of convergence of $$f(z)$$, for all $$n \geq 0$$ and $$0 < r < R$$
 * $$|a_n| \leq \frac{\max_{|z| = r} |f(z)|}{r^n}$$

Proof
Proof due to Titchmarsh.

By Cauchy's coefficient formula:

 * $$a_n = \frac{1}{2 \pi i} \int_{|z| = r} f(z) \frac{dz}{z^{n+1}}$$

We have :

 * $$|a_n| = \left|\frac{1}{2 \pi i} \int_{|z| = r} f(z) \frac{dz}{z^{n+1}}\right| = \frac{1}{2 \pi i} \int_{|z| = r} |f(z)| \frac{dz}{z^{n+1}}$$

and

 * $$\int_{|z| = r} |f(z)| dz \leq \max_{|z| = r} |f(z)| 2 \pi r$$

Therefore:

 * $$|a_n| = \frac{1}{2 \pi i} \int_{|z| = r} |f(z)| \frac{dz}{z^{n+1}} \leq \frac{1}{2 \pi} \max_{|z| = r} |f(z)| \frac{2 \pi r}{r^{n+1}} = \frac{\max_{|z| = r} |f(z)|}{r^n}$$

Pictorially, we are estimating the contour integral by taking $$|f(z)|$$ always at its maximum around the entire contour, shown by the green ring below.


text: Category:Book:History of world

title: Category:Book:History of world


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Themes in Literature/Isolation and Community/The Deluded Self

Everything has been figured out, except how to live.

~ Jean-Paul Sartre

Fear makes liars of us all.

~ Carmen Maria Machado, In the Dream House

Introduction
Humans in the modern world have grown to become smarter, a mindset that is constantly adapting to modern technology and new experiences. However, with the change of time, humans have also learned and developed ways on improving social relations and self-image, as the need for public approval and pride have become evident in recent times, such as the use of Instagram and the rising popularity of content creators. Young people, who are still learning what is their “truth”, may find it amusing to strive for that struggle of endless validation, however, what not many realize is the implications it can do on a person’s mental condition and morals. To not only let others validate for you, but also eventually become a slave to the pride that fears what the governing eyes of others may see and reveal.

Self-delusion has, and will always be, an unconscious psychological behavior that people in their daily lives have resorted to. To delude your true self, creating a lie that allows a person to switch their “image,” is an act more common than you think, and it does not mean it’s generally bad. While we are lying to ourselves, it does enable us to protect our vulnerable ego and our conscience from the pain of reality, boosting our ability to perform as self-delusion transforms into confidence. Not only that, but by convincing ourselves of that lie, it becomes easier to convince others of that lie, as now it is seen trustworthy as any other belief.

However, there are cases when self-delusion reveals itself to be self-deception, a lie that was made with the sole intent of improving social status, stemming from the exaggeration of over-confidence and insecurity. Cases where self-delusion becomes toxic towards the authenticity of oneself, distancing and mudding the lines between genuineness and “putting up an act”, aiming towards desire and grandeur. Instances like these are what we can see in the news, such as the case of Elizabeth Holmes. Through her strong self-belief of having the potential to become a successful entrepreneur, she was able to do so, eventually declared the youngest self-made billionaire in 2015. Be that as it may, the public did not realize the fraud she committed just to achieve that until 2018, the lies in her product that was undetected due to the strong persuasion she had in attracting investors sourcing from being self-delusional. She even continued to exhibit this type of behavior during her trial when trying to justify her products, refusing to admit the lie when evidence points out otherwise. To read more about the behavior of self-delusion, visit this BBC article or The Verge article on the studies of self-delusion, or watch this TedTalk by Courtney Warren about the psychology of self-deception.

Texts
In accordance with self-delusion, there are a couple of literary works that display such that which will be discussed:

“Dream House as Choose Your Own Adventure” is a chapter in Carmen Maria Machado’s latest memoir In The Dream House. The analysis made about this chapter is based on an audio version of the story dramatized by Zoë Winters on the podcast This American Life episode 703: Stuck! during Act Two: You Can’t Go Your Own Way.

“No Exit” is a 1944 French play produced by Jean-Paul Sartre, originally titled Huis Clos. This analysis is based on the transcript of the play provided by the Internet Archive and the 1964 cinematic BBC adaptation of the play.

Summaries
In the Dream House is a memoir of Machado's abusive relationship with an ex-girlfriend. Over the course of the memoir, Machado meets her girlfriend and finds herself rapidly infatuated, wooed, love bombed, and then, eventually, the abuse begins. The memoir includes chapters that are iterations of the abusive recount in different forms of storytelling. One of which is titled “Dream House as Choose Your Own Adventure”, where the story is told from the perspective of the main character, Machado, with the reader determining the choices taken in the Dream House, thus affecting the “outcome” of the story. However, as any toxic relationship goes, it proves to be a fruitless endeavor as the abuse repeats itself day after day. The reader either ends up restarting the day or meets an ending accompanied by harsh commentary by Machado herself about the course of actions taken.

“No Exit” is an existentialist play centered around three damned souls sent to a “hellish space”, condemned to be stuck together for the rest of eternity. They are Garcin, a revolutionary who betrayed his own cause and wants to be reassured that he is not a coward; Estelle, an egomaniac who killed her illegitimate child and craves the objectivity of attention; and Inez, a sadistic lesbian that takes joy in torturing others. Each of the characters requires another person for self-definition and their means of salvation, yet each is most attracted to the person most likely to refuse and torment them. Their inability to escape from each other guarantees their eternal torture, thus having “no exit” from their never-ending need for self-definition and rejection of the past.

Key Terms
Before diving deep into analyzing both texts, there are a few terms that need to be emphasized and further analyzed to fully understand the stories:

The Dream House
From my perspective, a house can be two things. One is as a safe haven, the embodiment of our own secure, personal space from everything else, basically "the comfort of our own home". On the other hand, two, as a prison of our own making that becomes more torturous the longer we stay holed up in there. During the pandemic, for instance, when people were forced to stay at home for quite a while, people started out strong and happy to stay in the comfort of their homes. However, people became increasingly tired of always being at home and were actually relieved to finally be free after the pandemic ended.

Of course, a Dream House would mean that it's someplace not real, or intangible. Or, it could also mean a literal “dream house”, a home where you would dream of having all your favorite things and making happy memories there. But after listening to the transcript, I would say that she’s metaphorizing this Dream House as a construct in her mind, conjuring the abuse that polluted the memory of the Dream House. Looking back and questioning the what-ifs while now being able to see it from the bigger picture of how her Dream House slowly shifted from a warm place to cold torture. Really, it’s ironic that she calls it a Dream House, as it now lingers as a hellhole. She could never claim it as her dream home, as it did not provide the love and security she needed.

The Fawn
The narrator compares, or rather contrasts herself to a fawn, reminding herself of the position she’s in in the Dream House after trying to defy the actual course of actions. As we know it, a fawn is a vulnerable and fragile creature, a young deer that usually shies towards people and other foreign beings it might encounter. It understands its capability and weakness, so it’s extremely cautious of any potential predators it might detect and puts an effort into trying to protect itself, usually by fleeing from danger. Machado depicted in the story, however, while being fragile and vulnerable, still decided to stay in the toxic relationship, justifying it as something that can be fixed even though signs that she was hurting were clearly visible (see page 12). The narrator describes the fawn to help Machado realize this, but somehow, it is shown to be as if mocking her past self for being foolish.

The Box, The Clothes, The Dishes
She started off by describing the setting when she awakened, stating despite how messy it was, she felt that warmth of innocence and glow of contentment in the room, up until she realized the existence of her partner there. Thus, voiding the light and warmth that was once in the room and leaving the room left with the disheveled mess it was originally with. It clearly shows how messy their relationship was, with the Dream House being left to a mess and how there were no signs of ever cleaning it up, with the only time she does not acknowledge the presence of her partner being when the gloomy mess “disappears”. This could be referencing to her time during the relationship, how the only time she could enjoy her Dream House was when her partner wasn’t in the picture, when she could be happy and forget the mess they made. Her partner only became a parasite to the Dream House, bringing harm and disorder into the relationship.

Mirrors
It is usually used to see yourself physically or meant as a window to see one’s soul introspectively. Sometimes even used as a tool to reaffirm your own existence and essence, to fix and confirm your appearance on how others view you. Mirrors reveal a person's truth, which is their appearance, but ironically it is sometimes referenced as needed by characters to reflect what they "want" to see or hope for their lie to be the truth. A symbol of pride in self-image and arrogance. And of course, most of the time it does not go accordingly. Say, for instance, think of how the Evil Queen in Snow White asked the mirror "Who's the fairest of them all?” with confidence that she herself is, but instead shows the image of Snow White being the fairest. Then she goes on to mess with Snow White, which we all know did not end well for the Queen. They are restricted from ever having any means of defining themselves and are constantly conscious of that lack of definition, leading up to them resorting to needing each other to be their “mirror.”

A mirror reflects our gaze back at ourselves, giving us reassurance of our existence and our "true" definition, as it is an object that shows the undeniable truth, or at least, the truth that we want to see. Now, what happens if we were to be deprived of mirrors or any tool to reflect on ourselves? Then it would narrow down our options to relying on other people's gazes to affirm our true selves. It would be fine if it were an accumulation of many different people's views, but how about limiting it to two? Now that would simplify the affirmation of your "definition" to something cruder and more untrustworthy. Almost like if you see a paper uses a lot of sources, then you can say it is reliable. But if it just uses two, then its credibility becomes questionable. The problem is, a person's gaze can never be too reliable, as they too are human, something that can show our worth subjectively and objectively. Different from a mirror that can easily be manipulated or repurposed to define us just as what we want it to be, people bring in the judgment and the opinions of defining a person, revealing the "hard truth" or the "fabricated lie" that can easily torment the individual. Just like when Estelle decided to use Inez as her mirror, with Inez lying about Estelle having a pimple on her face, which she easily believed. Each character wants a mirror not only to reassure their existence and reflect their believed "definition", but because they know it will only show what they want to see or their interpretation of their truth, making it a means of escape from the "real truth" that the gaze of each other reveals.

Freedom
The definition of freedom in the text is a bit twisted. For one, they all tried to live in freedom, free from the obligations of their crimes, free from the guilt of their past, and free from the consequences of existence. They were even provided freedom in Hell when the door to their room suddenly opened after Garcin’s whines for escape. However, there is a difference between true freedom and the freedom we are comfortable with. The freedom we know of means to be free from obstacles that restrict our actions, to have the power to do, speak, and act the way we want, at least under the rules of law and order determined by a higher power, or essentially by others. True freedom, however, is a more reckless nature, where you are granted total liberty. To live life with no rules to define consequences, no one to dictate our actions, and no one to judge us except for us. But in return, we ourselves must become the regulator for our actions. Our whole life is our own, and the responsibility and obligation for our actions fall solely on us, with no one else to carry that burden, for with true freedom comes independence. And that is what the characters of “No Exit” want but can never get because of what they would have to sacrifice to obtain that. They would need to leave behind their attachment for validation and acknowledge their past to be able to achieve their desires without consequence. Basically, they would need to get rid of their need for others to dictate their existence and stop trying to reject their past, something that they are evidently not willing to let go of anytime soon as they decide to stay stuck in the room together to continue fighting for each other’s validation.

Huis Clos
As being the original, untranslated title of the play, Huis Clos roughly translates to “with closed doors”, or “behind closed doors.” This could be referencing literally to the overall setting of the story, as their torture is never-ending and their arguing is to be “behind the closed doors” of Hell for eternity, as their room was designed to be “life without a break” from the use of specific bad décor to the lack of use for the items in the room. Or, it could be the closed-off mindset of each character, the secrets and true nature they withheld throughout life. As we know each character (except for Inez) has an issue with their past, they succumb to this constant need for approval just to uphold the “closed doors” that separate their past from their delusions of self. The closed doors could also mean the separation between their self and reality, as they all fear the suffocating reality of freedom and the consequences of true independence when they were given the chance to escape. The closed doors are their only way to maintain their integrity and chance for salvation, nevertheless, it eventually proves to be their punishment. Which side of their reality really is behind closed doors, the choice of true freedom or their choice of eternal confinement?

Machado Between the “I’s” and “You’s”
In the chapter, Machado already starts it off by saying “you” in the second person perspective, immediately emphasizing the distance she has against her “self” in the recount. This also establishes the control over “you” or her younger self that the reader has, as this will be important in its choose-your-own-adventure format. The reader would go on to explore the variety of actions the “you” character can choose and the resulting abuse that their partner would respond with, told with occasional monologues, such as on page 191 during the making love scene that drifts off for a while, as if these were scenarios Machado had known too much and too well. The cycle would then continue, only for it to restart the day and reuse the same choices for the next. However, by breaking the cycle, or in this case, the reader finally chooses to arrive at a page that was never given, we start to realize who is actually in control of the story, as page 186 reveals the inner dialogue of the narrator criticizing towards the “you” of the Dream House. We see this dissonance happening between the present “I” that is introspectively viewing the endless suffering of the past “you” still stuck in the Dream House. With “I” being the narrator and present self of Machado, and “you” being the naïve younger version of Machado who lives in her memory of the Dream House. The same “you” that the reader tries to project its liberty of choice onto, especially in this section by choosing to defy against their partner, only to be scolded by the present Machado as something she would “never do.”

Later on, specifically on pages 190 and 186, we see more of this defiance, where an argument breaks out because of “you” trying to stray from the cycle of pages once more. Still, they, or rather the reader, are reminded by the narrator of how unchanging this memory is, how in reality their choices don’t amount to anything in a story that remains as a lingering regret of a foolish young Machado, saying that “[they] can’t make it not happen, no matter what [they] do.” Escape was only a red herring in this story. As a figment of her imagination, “you” is frequently depicted as a separate entity of Machado’s bound to the events of the Dream House, being the subject of criticism and portrayal of regrets that the present Machado continues to disassociate. Despite being just a different version of herself, Machado still rejects that past self and even displays her present self throughout the chapter as being a higher-power entity than the Machado in the Dream House, isolating the pain only to happen to her depiction of a younger self and never claiming to be the once foolish girl she was.

Prison of Her Own Making
It’s evident throughout the story that Machado imprisons herself in guilt, in the trauma that gives life to the Dream House. It matters that the abuse happens in the house as it sets the boundary of those memories, those feelings that she associates with the abuse that happened in that house, limiting to just her and her partner. No one else is able to interfere with those memories and the decisions she has already made, as the house is a barrier between one's "outside life" and one's "personal life", blocking people from looking in on what's happening inside. It also restricts her freedom of choice in contrast to the choose-your-own-adventure concept. There is essentially no "choosing" in this story, as she's only limited to making decisions that are provided by the house. It's reflected in how in this never-ending game, she was never given the option to leave the house. It only happened when the author made it up, "pretending" that's what they did during that time. The events of the Dream House are already set in stone, unchanging as it had already passed on but persisted.

Since the beginning, we also see the real Machado as a dominating person, being the present that knows the outcome of the story and ostracizes her younger self for being naïve. Her self-deluding has made her the officer as well as the prisoner. Instead of being the once foolish girl that was abused, she has taken on the mantle of abuse even if it meant for the peace of her current mental well-being after the relationship. As the weakest of her self tries to navigate towards a resolution from the abusive relationship, the reader, Machado and the residual memories of her partner are who are keeping her bound, warping the storyline and her choices. For what the young Machado builds, it is eventually to crumble at the inevitable mercy and choice of others.

Delusion of Bad Faith
Similarly, “No Exit” deals with the character’s delusions of disassociating their true self and rejection of their past, specifically that of Garcin and Estelle. As each of the characters had lived a life of selfish desires, they are met the same fate to be tortured together and isolated in a hellish space. As the play proceeds, we start to notice what their “hell” really is about. Both Garcin and Estelle are victims of bad faith, meaning that they require the views of others to dictate their existence and deceive themselves about the weight of responsibilities that they are already committed to, needing others to justify their reasoning for their misdeeds and as a way to disassociate with their past crimes.

The play gradually reveals this, starting with Garcin constantly checking in with his coworkers in the real world to see what they thought of him and if they ever saw him as the coward he was. But because of his constant need to justify his past of cowardice, he later becomes increasingly desperate to defend his "pacifist" life as brave, when only Inez sees him for the coward he is, leaving him stuck in a loop for approval.

Estelle, however, is somewhat a worse case than Garcin, as she wants to exist solely free from the obligations of being a subject, using bad faith to give up her freedom and become an object in the eyes of others. She begins by needing a mirror to see herself exist as the object she wants others to see her as, only to eventually crave the constant gaze and sexual attraction of others to grant that objectification of hers, specifically Garcin as he is the only man she “wants” to affirm her existence as an object of love. Because of this blind pursuit of objectification and being free from the obligations of true freedom, she also slowly reveals her delusional nature and the sins she had done to maintain her previous life of leisure, as far as murdering her own illegitimate child just because she didn’t want them. Being heartless, she didn’t even care when the father of the child committed suicide, only claiming that he “killed himself on [her] account.” Through and through, she doesn’t care about her past actions, disassociating them as if they meant nothing to her and justifying them as for her own gains.

Inez’s Consequence of Authenticity
On the other hand, in Inez’s case, while she lived as a sadist, she still accepts her situation in hell, even acknowledging her misdeeds, saying that she’s "always conscious of [herself] – in [her] mind. Painfully conscious", in contrast to the other two that struggle to flee from the reality of their crimes. So really, Inez is the only individual that is truly “authentic” in this situation, but is still damned as a person tormented of their past existence and requires others to fuel that reason of deserving damnation, a consequence of embracing their past nature. How could you acknowledge being a sadist if you have no one to torture for it? It’s shown as Inez seeks Estelle’s “love,” but in actuality she just wants to toy and torture her. We see this instance happening when Estelle asks Inez to be her mirror, only for her to tell lies that twist Estelle’s image and toy with her bad faith. At the end of the day, they are all endlessly competing for their own definition of authenticity, struggling for peace of mind, and preoccupied with rejecting the consequences of their freedom, even when given escape. Garcin and Estelle have become a slave to desire and condemned to ever gaining closure to the past crimes they try to disassociate from, with Inez being an anchor for their bad faith. Thus, looping the cycle, making them bound to be isolated together for eternity. There is no escape.

Cycle of Constant Rejection & Disassociation
Disassociation of the past has led each character into a spiral of looping torment, each stuck in a cycle of not owning up to their own mistakes and trauma. Machado, while already free from the abusive relationship, is still not free from the trauma it caused, still gripping onto that memory of the Dream House that she fears of even setting foot in. In turn, it creates this distance between her naïve younger self that is forced to relive the events of the Dream House, and the present self that tries to criticize every mistake they do, refusing to admit ever being that naive self as shown through her use of “I’s” and “you’s” and her harsh commentary toward herself. The characters of “No Exit” as well disassociate from the crimes of their past, claiming that it was for the better, or in reality, for their own selfish pursuit of desires. As a result of this rejection of their life's obligations and consequences, it has led them to Hell, condemned to struggle to fulfill their desires for eternity, shackled by the one thing they once primarily desired in life. What’s more, both stories portray how each character would resort to deception to deceive themselves, which in turn has led them to spiral even deeper into further painful lies and desperation, only making the truth a little harder to swallow. Machado tries to deceive herself and tweak the actions she’d taken during her past relationship, along with Garcin and Estelle trying to deceive their way toward peace of mind.

Can I Ask You A Question?
To analyze the concept of self-delusion in these texts thus far, here are a few questions to reflect upon:

 * Who do you think is Machado’s past self trying to deceive?
 * In what role does the reader play in Machado’s story? As the embodiment of her self-delusions, a passive bystander, or as the narrator that forces the torment of choice on her past self? Or, is there any other role not listed that you might agree with?
 * Why do you think Machado hasn’t given up on the nightmare? Is it guilt, is it self-justification, is it a responsibility?

 * Why is Inez the only one who hadn’t succumbed to self-delusion and is always self-aware? Why does she ultimately “win” in this ordeal?
 * Compared to the other two, Estelle died in a natural matter of pneumonia, while Garcin and Inez died in certain situations due to rejecting the consequences of reality. What made Estelle’s self-delusion and rejection of the past different than the other two?
 * Was Garcin’s punishment for cowardice deserving, or is his reason of self-delusion justifiable? Try being in his position and explain why.

Image Imagine
Here’s an interesting group activity – together, try to pick out a few key words or element from each of the stories. Then, using an AI image generator, conjure up each your own depictions of these key elements, and present these images together. Have each group member discuss what prompt they used in the AI search description for their own images and discuss which image from the group closely resembles to their combined depiction of the key element.

For sources of a free, AI image generator, here are a few links:

 * Bing Creator
 * Stable Diffusion
 * Dall-E (requires account)
 * Midjourney (requires account and joined as a member of the Discord server)

* Example Prompt: Joseph Garcin as a tall, mid-30’s, in a suit and tie, balding, with mustache, realistic art.

Storyteller
Interested in Machado's storytelling concept of utilizing a choose-your-own-adventure format? Luckily, there is a free, online service in creating those type of stories! Inklewriter will enable you to write complex stories, branching decision-making, and overall an in-depth story of your own making, which you can even share to others to experience for themselves!

Here's an example of my own short interactive story using Inklewriter.

External Sources

 * 1) Chen, Angela. “A Psychologist Explains Why We’re Probably All Delusional and How to Fix It.” The Verge, 21 May 2017, www.theverge.com/2017/5/21/15660894/insight-self-awareness-psychology-tasha-eurich-interview.
 * 2) Glass, Ira. “Stuck! | Act Two: You Can’t Go Your Own Way.” This American Life, performance by Zoe Winters, season 1, episode 703, 8 May 2022, https://www.thisamericanlife.org/703/stuck/act-two-10.
 * 3) Iglesias, Gabino. “‘in the Dream House’ Invents a New Form of Memoir to Convey a Haunting Nightmare.” NPR, 5 Nov. 2019, www.npr.org/2019/11/05/776316011/in-the-dream-house-invents-a-new-form-of-memoir-to-convey-a-haunting-nightmare.
 * 4) “Jean-Paul Sartre’s ‘No Exit’: A BBC Adaptation Starring Harold Pinter (1964).” YouTube, 17 Jan. 2017, www.youtube.com/watch?v=0v96qw83tw4.
 * 5) “No Exit by Jean-Paul Sartre.” Internet Archive, ia800700.us.archive.org/11/items/NoExit/NoExit.pdf. Accessed 11 June 2023.
 * 6) “No Exit Study Guide.” Shmoop, 11 Nov. 2008, www.shmoop.com/study-guides/literature/no-exit.
 * 7) Robson, David. “How Self-Deception Allows People to Lie.” BBC Worklife, 31 May 2022, www.bbc.com/worklife/article/20220525-how-self-deception-allows-people-to-lie.


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Cookbook:Chapati Za Maji (Tanzanian Pancakes)

Chapati za maji (literally "water bread/pancakes") are thin Tanzanian pancakes very similar to crêpes.

Ingredients

 * 1 cup milk
 * 2 eggs
 * ½ cup water
 * 1 cup all-purpose flour
 * ⅓ cup white sugar
 * 1 tsp salt
 * Canola oil

Equipment

 * Mixing bowls
 * Whisk
 * Frying pan
 * Stovetop
 * Spatula

Batter

 * 1) Combine the milk, eggs, and water.
 * 2) Combine the flour, sugar, and salt.
 * 3) Gradually whisk the wet mixture into the dry mixture until you get a thin batter similar to crêpe batter. If it feels too thick, add some additional water.
 * 4) Cover the batter and let rest for 30–60 minutes.

Cooking

 * 1) Preheat a frying pan over medium heat.
 * 2) Grease the pan with a small amount of canola oil, swirling the pan to coat the entire surface.
 * 3) Scoop or pour a small amount of batter into the pan. Immediately tilt the pan in all directions to coat the whole surface with a thin film of batter.
 * 4) Cook the pancake for about 1 minute. Then, carefully raise the edge with a spatula, flip it over, and cook for another minute. The pancake should be faintly browned on both sides.
 * 5) Remove the pancake and set aside.
 * 6) Repeat the greasing and frying process until all the batter is used up.
 * 7) Serve hot.

Notes, tips, and variations

 * You can sprinkle the pancakes with cinnamon and honey and roll them up to eat them.


text:
Themes in Literature/Isolation and Community/The Soul selects her own Society

The Power Of Selectivity
"“Unable are the loved to die, for love, is immortality.” - Emily Dickinson"

Introduction
The capacity to narrow one's attention to a single objective from many possibilities is called the Power of Selectivity. Being able to choose and choose what we pay attention to in a society where we are continuously being distracted by many things has become a vital talent. Numerous facets of life, including jobs, relationships, and personal growth, might benefit from this ability. We may increase our attention and productivity and our sense of fulfillment and purpose in life by strengthening our selection abilities. Our mental health and well-being can benefit from being selective with our attention. It is simple to feel stressed and overwhelmed in a society where information overload is the norm. However, we may lessen these uncomfortable emotions by focusing on what demands our attention. Furthermore, choosing the relationships we invest in carefully might result in stronger, deeper bonds. It is crucial to pay attention to the connections that matter to us the most and let go of the ones that do not. Making such crucial decisions might be challenging in the culture we live in today.

It might be challenging to discriminate between what is crucial and what is not since we are constantly inundated with information and messages. But by developing our ability to be selective, we may better manage our time and feel more satisfied with ourselves. We may have a stronger feeling of fulfillment and purpose in our lives and a more optimistic mental state by putting the selectivity principles to use in our daily lives. For our general well-being, it is also good to continue to develop our abilities of selection. We get more sense of control over our lives when we learn to say "no" to commitments and diversions that do not benefit us. Increased confidence and self-esteem can result from this feeling of control, generating a positive feedback cycle. Additionally, by allowing us to concentrate on our interests and passions, being selective can aid us in achieving a better work-life balance.

We are better able to make choices that support our objectives when we are aware of and value our own wants and preferences. In turn, this could result in a happier and more fulfilled life. Additionally, by making thoughtful decisions, we may prevent feeling overloaded and exhausted. Our productivity and stress levels can both be improved by concentrating on one activity at a time. We may therefore feel more well-being generally because of this. Being selective also enables us to prioritize the activities and opportunities that are consistent with our values and goals, which may help us stay faithful to them. The Power of Selectivity is a concept that is crucial to our lives. It is the act of choosing to focus on certain things while ignoring others. Emily Dickinson's poem "The Soul Selects Her Own Society" beautifully explores this idea. In this poem, the main character chooses to only allow certain people into their life while rejecting others. This poem is a fitting example of the power of selectivity. Dickinson emphasizes the importance of selective companionship to cultivate a fulfilling life. The speaker's ability to "shut the door" on certain individuals symbolizes the empowering nature of selective choice. By committing to only surrounding oneself with those who bring joy and upliftment, one can live a truly harmonious life. This poem highlights how the power of selectivity not only adds value to one's life but also helps in maintaining personal boundaries. (IvyPanda, 2022)

Context
Who was Emily Dickinson?

Emily Dickinson was born on December 10, 1830, in Amherst, Massachusetts. Emily Elizabeth Dickinson was an American poet. Little known during her life, she has since been regarded as one of the most distinguished figures in American poetry. She attended Mount Holyoke Female Seminary in South Hadley, but only for one year. Her father, Edward Dickinson, was actively involved in state and national politics, serving in Congress for one term. Her brother, Austin, who attended law school and became an attorney, lived next door with his wife, Susan Gilbert. Dickinson’s younger sister, Lavinia, also lived at home, and she and Austin were intellectual companions for Dickinson during her lifetime. ( https://poets.org/poet/emily-dickinson )

Summary
"The Soul Selects Her Own Society" by Emily Dickinson is a poem that speaks about the choice one makes to select their own companions. It highlights the idea that one's connections are important and are determined by the soul. The poem is Dickinson's way of expressing her belief that individuals are selective in their choices of friends and associates and that these choices are determined by a spiritual force - the soul. This idea is beautifully conveyed through the poem's imagery and language, which creates a sense of intimacy and connection with the reader. The poem is about the personal choices made by the soul, and its reflections on the nature of human connections. It is a poem about the nature of human relationships. The poem is written in a free verse format, and this is an amazingly effective form of writing that makes it easy for the reader. Free verse is a powerful technique used by the poet to emphasize the importance of individual choice. By not conforming to a traditional structure or meter, the poem itself becomes a metaphor for the freedom that one has in choosing one's own society. Also, the lack of forced rhyme and structure allows for greater focus on the imagery and language used, which further adds to the poem's intimacy. Overall, Dickinson's use of free verse reinforces the central message of the poem - that the soul has agency in the choices it makes, and that these choices are essential to our human connections.

Textual Analysis
 Keywords  The Soul

The soul is not simply an abstract idea, but a tangible, active force that selects its own community of like-minded individuals. Dickinson uses metaphors and personification to emphasize the power of the soul in determining one's social connections. Additionally, the poem can be interpreted as a commentary on individuality and the importance of staying true to oneself, rather than conforming to society's expectations.

Unmoved

The idea of the "unmoved" can be interpreted in numerous ways. The unmoved represents a person who chooses to remain unattached and distant from others in society. The speaker of the poem admires this characteristic, as it allows the unmoved to preserve their sense of self and individuality. However, the speaker also acknowledges the loneliness that can come from this choice. To me, the "unmoved" signifies a sense of selectivity. The soul only chooses those who are worthy of its company, those who share the same values and beliefs. These chosen few are the "unmoved" because they remain steadfast in their convictions and are not swayed by external forces. It is important to note that the concept of being "unmoved" can also be interpreted as a form of protection. The soul selects those individuals who it trusts and will not try to harm or manipulate it. These individuals serve as a barrier against outside influences that may try to sway the soul from its chosen path. This barrier allows the soul to remain true to itself and its values, even in the face of adversity.

Like Stone

When describing how carefully the soul selects its friends, the metaphor "like stone" is often used. It means that the soul makes decisions with firmness and constancy and that its choice of companion is not readily influenced. This line deepens the poem's meaning by highlighting both the significance of the soul's decision and its independence in doing so. By choosing its own society like a stone, the soul can resist the pressures of society and maintain its true self. This idea is particularly relevant in today's world, where people are constantly bombarded with external influences that can sway their beliefs and actions. The metaphor of the stone reminds us of the importance of staying true to ourselves, even in adversity. (Poetry for Students. 2023)

Analysis
Emily Dickinson’s poem "The Soul Selects Her Own Society" is a masterpiece that highlights her genius. The poem is a celebration of individuality and the power to choose. The central thesis of the poem is about how the soul selects and sticks to its chosen path despite the pressures of society. This poem explores the themes of free will, personal autonomy, and individual power by personifying the speaker's soul as an entity separate from the body and the world around it and suggesting that it has a unique ability to discern and select individuals who will make up its inner circle. In this poem, she expresses her belief that each person has a distinct path and purpose in life.

The poem is a fascinating examination of how much people want connection and companionship. The first stanza focuses on the soul's tendency to just open to a chosen group of people rather than to everyone. The concept that the soul has power over its own fate and can choose and select whom it wishes to be near to is highlighted in the second verse. The speaker underlines the exclusivity of the soul's group in the third verse by claiming that those who are not included feel abandoned and rejected. The significance of welcoming new members into the community of the soul is emphasized in the fifth verse. It draws attention to the fact that, despite being exclusive, the group is open to new members. As to the speaker, the soul must extend out and welcome new individuals into its inner circle to form meaningful connections. To promote more empathy and understanding among all community members, this is a necessary step. The poem's concluding verse stresses the major influence that each person can have on the neighborhood if they are open to letting others in and fostering a genuine sense of community and connection. The subject of social isolation is addressed in this poem. The speaker chooses her own company over other people's overt preference for isolation. The speaker's commitment to uniqueness is emphasized throughout the poem, and it can be assumed that Dickinson is arguing that finding true happiness requires staying loyal to oneself and resisting social influences. As the speaker expresses a yearning for solitude, isolation, and independence serve as the poem's key themes. The speaker emphasizes the importance of having the freedom to pick one's own route in life in this poem, which features a significant motif about choosing one's society. This concept may be seen as a denial of social standards and expectations. The poem's overall message is that seeking independence and rejecting conformity are the only ways to find true happiness.

Dickinson challenges us to think about the significance of selecting those whom we allow into our lives through her words. According to the poem, we must acknowledge the wisdom our souls have about those who will make our lives more fulfilling. We begin to see the value of carefully choosing our partners as we explore deeper into this poem's meaning. Dickinson's writings can act as a road map for negotiating the difficulties of interpersonal relationships. We may create a positive and stimulating environment that feeds our spirits by carefully choosing the people we spend time with. In contrast, allowing toxic or harmful individuals into our lives can have a devastating impact, leading to feelings of isolation and emptiness. Therefore, Dickinson's poem serves as a reminder to be intentional in our connections with others, choosing those who bring out the best in us and help us grow.

Personification is a literary technique that Emily Dickinson uses in her poem "The Soul Selects Her Own Society" to give the soul agency and human-like characteristics. The soul is portrayed as having free will and the ability to select the people it associates with. This tool additionally supports the idea that the soul is unique from the body and has its own goals and preferences. Dickinson gives a compelling and sympathetic picture of the soul as a being with free choice and action through personification. In addition to showing the soul as a distinct entity from the body, this illustration highlights its significance and power. The soul is not only a nebulous and abstract idea but rather an actual, breathing being that can make choices and has agency. In addition, the soul is defined as a social being that selects its own society. This indicates the soul's power to make decisions and choose its own path. The soul can choose whom it associates with and how it interacts with others.

This poem is a masterpiece that captures the essence of human nature. Dickinson creates a sense of closure as the poem ends, leaving the reader with a touching sense of conclusion while still encouraging them to consider the larger meanings of her words. This is a heartfelt poem, and I was impressed by how well Dickinson's words connected with me. I was very moved by the notion that we have the freedom to select the people we choose to be in our lives and the significance of discovering our own special position in them. She reminded me to be true to myself and my ideals through straightforward yet emotive words. Overall, I thought the poem was a moving work of writing that has the potential to move readers' emotions for many years to come.

Deliberation
Here are some queries to consider to examine how The Power of Selectivity has been used at this point in these texts:

 * What are the benefits of selective processes?
 * What are the potential drawbacks?
 * What criteria are being used to make these choices?
 * Who holds the power to make these decisions?
 * What factors are being used to determine what option is best?
 * How much weight is being given to each factor?
 * what motivates the soul to choose certain individuals or groups over others? We might examine how selectivity relates to power dynamics; does the soul have agency over its choices, or is it confined by external factors?
 * What factors influence our decisions to include or exclude certain people One of the central questions to ask when considering this theme is what criteria the soul uses to choose its society. Is it personal preference, shared values, or some other factor? Additionally, what does this say about the nature of individuality and identity?
 * What motivates the soul in its choices of companionship? Is it a desire for understanding? Is it a need for safety?

External Sources
Wilner, E. (1971). The Poetics of Emily Dickinson. ELH, 38(1), 126–154. https://doi.org/10.2307/2872366

''Dickinson, Emily, 1830-1886. (1961). Final Harvest: Emily Dickinson's poems. Boston: Little, Brown & Co.''

Habegger, A. (2023, May 11). Emily Dickinson. Encyclopedia Britannica. https://www.britannica.com/biography/Emily-Dickinson

https://poets.org/poet/emily-dickinson


text:
Cookbook:Sukuma Wiki (East African Greens)

Sukuma wiki is a Swahili dish of cooked kale or collard greens, popular throughout several East African nations like Kenya and Tanzania. It is often served with ugali, a corn-based swallow.

Ingredients

 * 2 tablespoons canola or cooking oil
 * Onion, chopped (optional)
 * 1–2 teaspoons minced garlic (optional)
 * Diced tomatoes (optional)
 * ½ teaspoon ground coriander (optional)
 * 1 tablespoon smoked paprika (optional)
 * ½ teaspoon curry powder (optional)
 * 1–2 cups minced/ground beef or chicken (optional)
 * 1 tablespoon bouillon powder or cube (optional)
 * 1 bunch kale or collard greens (optional)
 * ½ teaspoon or more ground cayenne pepper (optional)
 * ½ lemon, juiced (optional)

Equipment

 * Pot
 * Knife
 * Stovetop
 * Cooking spoon

Procedure

 * 1) Heat oil in a medium-sized pot. Add onions and garlic, and stir fry for about 2–3 minutes. Don't let burn.
 * 2) Stir in the tomato, coriander, curry powder, and paprika. Cook for about 2 minutes.
 * 3) Stir in the meat and bouillon powder until well-mixed. Cook for at least 5 minutes.
 * 4) Add the greens, cayenne, and lemon juice. Cook, stirring, for 5–10 minutes until the greens are done.
 * 5) Season with salt and pepper to taste.


text:
Themes in Literature/Isolation and Community/Mother to Son

Mother to Son

''“Motherhood isn't just about making babies, it's about making lives and molding destinies”. '' --Agu Jaachynma N.E..

Background of the text:
Langston Hughes was regarded as “the most prominent African American poet of the twentieth century”. In 1922 he wrote the poem “Mother to Son” which talks about a mother's life experiences that she shares with her son. She emphasizes the obstacles she has faced and motivates him to persevere. She encourages him to use her struggles as a source of strength and courage and never give up.

A Motivational Poem about a Mother’s Resilience:  My Reflections
"Mother to Son" is a dramatic monologue spoken in African American vernacular English. The Poem "Mother to Son" by Langston Hughes –  in which a poor, hardworking black mother imparts advice to her young son about the struggles he will face in a segregated society where African Americans are oppressed, marginalized, and discriminated against."“Life for me ain’t been no crystal stair/ It had tacks in it, / And splinters / And boards torn up” (2-5)."Crystal stairs are a metaphor for people who are extremely financially stable and luxurious. It symbolizes the segregation of people living in a society of color. A striking symbol used in the story was tacks and splinters to depict the hardships of a black mother living in a racially segregated community.

The mother of the poem points out that determination will give you power through life:."“ So boy, don’t you turn your back/ Don’t you step down on the steps/Cause you find it’s kinder hard/Don’t you fall now/For I’se still goin, honey / I’se still climbing.” (14-19)."As we travel through life's estrangement, we should have the will to be brave and courageous. There should be the will to overcome life’s challenges and not giving up is the only way to succeed in life. Despite life's ups and downs we must move onward and forward to achieve our goals in life. The journey of life is not an easy one, and we must accept life as it is to appreciate the victories along the way.

Mothers' struggles can be very lonely and overwhelmingly exhausting, both mentally and physically."“And sometimes going in the dark/ Where there ain’t been no light.' (12-13)."The trials and tribulations of a mother can feel so lonely in times of darkness. Because a mother shielded her own problems and presented a façade of a strong woman. This was so she could carry all her responsibility to her family and most of all to her children. This often leads to isolation, as she cannot express her true feelings. This can be a burden difficult to bear and have serious implications for her mental health. It is important to support mothers in these difficult times.

The mother emphasizes the power of resilience amidst her isolation and how it can help cope with all the hardships in life:"“But all the time/I’se been a-climbin’ on/And reachin’ landin’s/And turnin’ corners/And sometimes goin’ in the dark/Where there ain’t been no light.” (8-13)."Despite the trials she faces in life as an American African mother, she maintains a positive outlook. It is through her example that she teaches her young son the true values of life and the courage to never give up even in the face of discrimination or segregation. She believes that these values are what will keep him going in the face of adversity, and she wants him to understand that he has the power to make a difference. She encourages him to reach for his dreams and to never be afraid to stand up for what is right.

Even though the text, is meant to illustrate the African American experience, the trail and tribulations of this mother is universal to mothers of all colors who live under a similar circumstance of hardship. We should acknowledge the fact that our children are the future of our society. It is essential that they develop the grit necessary to overcome any challenges they may face. Therefore, it is important that parents equip their children with the necessary skills, values, and attitudes that will help them become resilient and successful individuals. Parents must also provide them with the tools and resources they need to make the right decisions and succeed. Moreover, providing our children with a role model of love, kindness, and compassion is the most effective way to ensure these values are instilled.

Glossary:

 * African-American Vernacular English - is the variety of English natively spoken, particularly in urban communities, by most working- and middle-class African Americans and some Black Canadians. Having its own unique grammatical, vocabulary, and accent features, AAVE is employed by middle-class Black Americans as the more informal and casual end of a sociolinguistic continuum.
 * Adversity - a state or instance of serious or continued difficulty or misfortune.
 * Grit - firmness of mind or spirit: unyielding courage in the face of hardship or danger.
 * Marginalized - to relegate to an unimportant or powerless position within a society or group.
 * Segregation - the separation or isolation of a race, class, or ethnic group by enforced or voluntary residence in a restricted area, by barriers to social intercourse, by separate educational facilities, or by other discriminatory means ; the separation for special treatment or observation of individuals or items from a larger group segregation of gifted children into accelerated classes
 * Tribulations - distress or suffering resulting from oppression or persecution also: a trying experience

Further Reading: For better comprehension on the meaning of African-American Vernacular English:

 * 1.Wikipedia contributors. “African-American Vernacular English”.  . Wikipedia, The Free Encyclopedia. An article about the meaning and ideas of a spoken English used by native African Americans.

 * 2.Wikipedia contributors. “Mother’s Day” .Wikipedia, The Free Encyclopedia. Article about Mother's Day celebrations around the world.

Recommended Reading for Segregation:
To give you a better understanding of isolation, I have included a few poems and articles. They will help you to appreciate how it feels to be isolated and to understand the complexity of emotions that come with it. I hope these resources will provide you with insight and support.

 * 1) “What We Can Learn of History from Older African American Women Who Worked as Maids in the Deep South.”
 * 2) “My People”  a poem by Langston Hughes
 * 3) " I, Too "  a poem Langston Hughes

Love letter: A Mother’s Day Project

Mother's Day is a very special occasion, and we want our kids to know we love and care for them. So, every year on this incredibly special and memorable occasion, I want you to write something special for your baby, kid, and children. This is even if they are grown up and have their own family. Easy but wait, here’s the catch! It is recommended that all mail be  handwritten ; the content of your letter can be anything from the lyrics to poems to short stories to anything you wish to express. If you have difficulty writing, no worries you can leave a  personal voice message , a voice message of you reading a poem, or a voice message singing a few lines of your favorite song or saying something funny or cringe jokes and whatever you want to say to your kids. And every 5,10,15 years ask your children who saved the most letters or voice messages, and whoever saved the most gets a reward or the loser gets a sanctioned, like taking a family photo wearing matching ugly sweaters or treating the family to a dinner, or anything the whole family decides. Best of luck!

References:

 * https://owlcation.com/humanities/Analysis-of-Poem-Mother-To-Son-by-Langston-Hughes

 * Butler, Robert. “Langston Hughes: A Biography.” African American Review, vol. 40, no. 2, Summer 2006, pp. 386–87. EBSCOhost, search.ebscohost.com

 * Filmer, Alice Ashton. “African-American Vernacular English: Ethics, Ideology, and Pedagogy in the Conflict between Identity and Power.” World Englishes, vol. 22, no. 3, Aug. 2003, pp. 253–70. EBSCOhost

 * VAN WORMER, KATHERINE, et al. “What We Can Learn of History from Older African American Women Who Worked as Maids in the Deep South.” Western Journal of Black Studies, vol. 37, no. 4, Winter 2013, pp. 227–35. EBSCOhost, search.ebscohost.com


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Themes in Literature/Isolation and Community/They shut me up in Prose

“We turn not older with years, but newer every day.”

Emily Dickinson, Letter to Frances and Louise Norcross, late 1872.

Biography
Emily Elizabeth Dickinson was born on December 10, 1830, in Amherst, Massachusetts, into a prominent family. Dickinson was an American lyric poet who lived in seclusion and is considered one of the leading 19th-century American poets known for her bold original verse, which stands out for its epigrammatic compression, haunting personal voice, and enigmatic brilliance. Dickinson spent virtually all her life, increasingly reclusive, in her family's home in Amherst, where she was considered eccentric by locals due to her penchant for white clothing, her disinterest in leaving her room, and her reluctance to greet guests. Emily Dickinson was a prolific writer as she wrote over 1,800 poems; however, only ten are known to be published during her lifetime. Even though Dickinson's passion for writing was not a secret, it was not until after her death that her work became public, most of her poems being significantly edited and purposely censored to follow the conventional poetic rules of the time. Dickinson never married and was suspected of having a romantic relationship with her sister-in-law "Susan," which is believed to be the inspiration for some of her poems. On May 15, 1886, at the age of 55, Emily Dickinson died of heart failure.

Introduction
We have progressed as a civilization so that now most people can be able to be themselves, express their ideas and points of view, and do any job imaginable. However, it is incredible to think that humanity took an exceptionally long time to get here. If we had a time machine and went back only 200 years, we could see how society was constructed uniquely with different rules. Men and women (especially women) had specific roles, behaviors, and tasks that were expected, but even though there were rules, there was also rebellion. Emily Dickinson, the 19th-century poet, was ahead of her time, constantly going against what was expected from her. She found a way of being free of these rules and did it not in a common approach. As Dickinson decided to do poetry, we can look through her poems and acknowledge the frustration she felt against the society of the time. In the poem “They Shut Me Up in Prose,” Emily Dickinson writes about the freedom she achieves from societal restrictions by secluding herself.

“The Shut Me Up in Prose” (1862)

They shut me up in Prose –

As when a little Girl

They put me in the Closet –

Because they liked me “still”  –

Still! Could themself have peeped –

And seen my Brain – go round –

They might as wise have lodged a Bird

For Treason – in the Pound –

Himself has but to will

And easy as a Star

Look down opon Captivity –

And laugh – No more have I –

Poem Analysis
When Dickinson started poetry, she found her voice and distinctive way of expressing her feelings about everything around her; however, the society of the time did not support female poets as the role expected of women was far from what Dickinson’s wanted it to be. At the time, women were expected only to occupy domestic affairs and be dependable on a husband without a legal or emotional existence of their own (Medhkour 9). According to the The Lady’s Token: or Gift of Friendship, published in 1848, “only with domestic affairs-wait till your husband confides to you those of a high importance-and do not give your advice until he asks for it.” In the first stanza of “They Shut Me Up in Prose,” we can acknowledge how the society of the 19th century is trying to control Dickinson’s will as she might be the speaker of the poem: They shut me up in Prose –

As when a little Girl

They put me in the Closet –

Because they liked me “still”   – In the first line of the first stanza, the speaker makes an emphasis how “They” are trying to lock her in prose, the prose being a boring, dull, and conventional ruling she is against, quite different from poetry, which in this poem is trying to be represented as a celebration of originality, freedom, and individuality. The second line starts with the speaker getting an epiphany from when she was “a little girl” and compares to her current situation. The third and fourth lines express how “They,” which is the authority, locks the speaker in the closet as a cruel punishment because she would not be “still.” This punishment explains how “They” are trying to confine her energy and freedom for not being well-behaved, alluding to Dickinson’s circumstances with society as she was not allowed to be a poet. Then, in the second and third stanza, the poem takes an interesting shift: Still! Could themself have peeped –

And seen my Brain – go round –

They might as wise have lodged a Bird

For Treason – in the Pound –

Himself has but to will

And easy as a Star

Look down opon Captivity –

And laugh – No more have I – The second stanza’s first line starts strong with “Still!” where the sarcasm can be immediately sensed. The speaker continues to explain how pointless trying to restrict her is, though she is being confined physically; her mind is always free and cannot be contained by walls (Walker 57). In the third and fourth lines of the second stanza, the speaker implies to how ludicrous “They” are; a bird obviously cannot be locked up for treason. “What makes it even more bizarre is the fact that birds sing melodious tunes. The metaphor for poet suggests that shutting up beautiful language makes just as much sense as imprisoning a bird for committing a crime against a king” (Medhkour 10). Finally, in the last stanza, the speaker continues with the bird example, expressing how easy it is to escape imprisonment. From the view the bird gets from above, it looks down at its would to be captors and laughs at them. The distinct perspective of the speaker, which is higher than “Theirs,” are the wings that are keeping her above and setting her free from the confinement being put on her. However, like the bird she had escaped it already.

The poem explores the themes of restriction and seclusion against an individual who does not believe or share the same beliefs as the surrounding community. Individuality is the ideology of being self-reliant and unique, making us different from one another as we will have different needs, rights, goals, and morals. Unfortunately, when individuality is taken away because of culture, religion, or in this case, society's expectations of all women behaving and acting in the same way, the sense of self is lost as the group (women) must act like one. As a result, different ideas or perspectives that go against the ideal beliefs of the community will be labeled as outrageous, atrocious, or even insane, and the person challenging the ideals will be separated from the group and labeled as demented. Emily Dickinson embraced the seclusion she was getting from society for being a woman trying to publish poetry and began to disappear from social life. This was the time in her life she was fully dedicated to her writing to the point Dickinson would only speak with visitors through a door instead of face-to-face. According to the essay Redefining Domesticity: Emily Dickinson and the Wife Persona, published in 2015:  "“At first glance, the way Dickinson shut herself up in her bedroom seemingly contradicts this poem’s message. She chose four walls over the usual concept of freedom. Nonetheless, this poem exemplifies Dickinson’s choice. The prison was outside of her room—her walls kept things out, not her in. Her room was where her mind could “go round” and be free of captivity, because that is where she wrote poetry. It is the place where “I” finds precedence over “They.” She chose to not publish traditionally because “They” would “shut [her] up in Prose” or force her to write poetry that was an “acceptable” subject for women or more regular in syntax, stanza, and rhyme as was the style of the time” (Medhkour 10)."In brief, the poem “They Shut Me Up in Prose” honors the liberty Emily Dickinson achieved from society. Even though Dickinson was lacking in contact, she was her true self; she explored her individuality and did what she liked the most, write poems. Society could not stop her from writing, as she wrote over 1,800 poems in her lifetime. Her mind and ideas were always free, not obeying the restrictive social conventions because it is laughably powerless compared to the power of one’s mind (Little, 2021). Emily Dickinson is the perfect example of a feminist poet revolutionary in a patriarchal society.

Glossary
Bird, n.
 * 1) Mortal being; transitory creature; [fig.] angel; spirit; essence of a dead loved one.
 * 2) Fowl; winged creature; warm-blooded vertebrate with feathers; member of the class Aves.
 * 3) Quick-moving creature; [fig.] feeling; emotion; sentiment; affection.
 * 4) Nestling; hatchling; chick; baby fowl; [fig.] child; offspring.
 * 5) Whistler; [fig.] informer; reporter; gossiper; messenger; secret-bearer; tattle-tale.
 * 6) Nesting creature; [metonymy] melody; song; tune; [fig.] happiness; hope; joy; good tidings.
 * 7) Far-flying creature; [fig.] explorer; navigator; sailor; mariner.
 * 8) Creature used in sacrifices and offerings; [fig.] Savior; Christ; (see Leviticus 12:8).
 * 9) Communicative creature; [fig.] thought; idea; intelligence.
 * 10) Singing creature; [metaphor] poet; minstrel; author of lyric verse.
 * 11) Phrase. “Patriarch's bird”: Noah's dove; the dove that Noah sent forth from the Ark to look for land after the flood (see Genesis 8:8-12).
 * 12) Phrase. “Blue Bird”
 * 13) Phrase. “Humming Bird”

Brain, n.

 * 1) Imagination; cognition; sensory perception; cognition; center of emotion.
 * 2) Cerebrum and cerebellum; master organ of the body; terminus of the central nervous system; soft viscus mass within the skull; center that enables various human functions, abilities, capacities, connections, and sensations.
 * 3) Memory; mind; remembrance; recollection; mental awareness.
 * 4) Intelligence; understanding; consciousness; center of thought; seat of the soul.
 * 5) Intellect; reason; logical capacity.
 * 6) Nucleus; core; kernel.

Captivity, n.

 * 1) Bondage; slavery; thralldom; imprisonment; servitude; subjection; state of being controlled; [fig.] embodiment; incarnation; mortality; (see Ephesians 4:8).

Closet, n.

 * 1) Chamber; cupboard; wine cabinet.
 * 2) Small room; storage place; [fig.] body; mind.
 * 3) Compartment; [fig.] area of the brain.

Laugh, v.

 * 1) Bubble; gurgle; chuckle; chortle; chirp; guffaw; giggle; make mirthful noises.
 * 2) Express joy; project gaiety; be cheerful, pleasant, or lively.
 * 3) Phrase. “laugh at”: mock; scorn; deride; ridicule; treat with some degree of contempt.

Lodge, v.

 * 1) Enclose; confine; detain; imprison; incarcerate.
 * 2) Place; plant; set to grow.
 * 3) House; host; board.
 * 4) Stay; rest; abide; find a place in.

Might, n.

Upon (opon), prep.
 * 1) Bodily strength; physical power.
 * 2) Strong force.
 * 3) Ability.
 * 4) Strength in mind and body.
 * 5) Supernatural power.
 * 6) Strength of affection.

 * 1) On; using; standing upward with.
 * 2) On; in contact with; at the point of.
 * 3) Affecting; opposing; up against; grating on.
 * 4) During.

Peep, v.

 * 1) Arise; awake; begin to appear; emerge from concealment.
 * 2) Watch carefully; observe secretly; look through a small opening.

Pound, n.

 * 1) Prison; jail; detention facility; holding place for impounded animals; enclosure for confinement of stray creatures.

Prose, n.

 * 1) Ordinary language; uninspired expression; unimaginative discourse; dull, commonplace words.

Star, n.

 * 1) Heavenly body; shining points of light in the night sky; [plural] Milky Way; stellar display.
 * 2) Celebrity; genius; great one; special person; selected individual.
 * 3) A general term for a point of light in a constellation.
 * 4) Wish; miracle; special phenomenon; beautiful thing; signal of hope; dream to come true.
 * 5) Small meteorite; shooting star.
 * 6) Lesser light; smaller celestial being; less prominent but nevertheless worthy of heaven.
 * 7) Sparkling entity; glittering orb.
 * 8) Reflection; glimmer.
 * 9) Lofty goal; unreachable object.
 * 10) Director; guide; heavenly map; divine guidance.
 * 11) Polar center; central point in the heavens around which other heavenly bodies move.
 * 12) The United States flag; the red, white, and blue emblem of the independent government in North America.
 * 13) Six-pointed symbol [*]; pointed punctuation mark in a text; [fig.] heavenly being; splendid multi-faceted person who has left mortality but leaves a hint of eternal life.
 * 14) Saint; righteous person; being of great renown.
 * 15) Bright orb; glowing point of light; distant object in the night sky.
 * 16) Phrase. “border star”: evening planet on faintly visible on the horizon at sunset; [metaphor] frontier newspaper in Missouri in the mid-1800's.
 * 17) Phrase. “Morning Stars”: pre-mortal choir; female singers who rejoiced when the Lord laid the earth's foundations; daughters of God who sang for joy when the world was created (see Job 38:4-7).
 * 18) Phrase. “the Morning Star”: Venus; the second planet from the sun in Earth's solar system; the star-like planet that appears in the east just before dawn; [fig.] the Lord; the resurrection of the dead (see Revelation 2:28, 22:16).
 * 19) Phrase. “Star of Bethleem/Bethlehem”: astrological phenomenon; extremely bright body of light that appeared in the sky at the birth of Jesus (see Matthew 2:1-10).
 * 20) Phrase. “the northern star”: polar center; Arctic view of the sky; compass point in the heavens around which other heavenly bodies move.

Still, v.

 * 1) Appease; assuage; placate; satiate; silence.
 * 2) Occupy; engage; busy; captivate; engross.
 * 3) Suspend; efface; disperse; dissolve; evanesce; cause to disappear; make to vanish.

Treason, n.

 * 1) Perfidy; act of betraying; attempt to overthrow the authority; subversion against one to whom allegiance is owed.
 * 2) Disloyalty; infidelity.
 * 3) Disclosure; revelation that betrays identity.
 * 4) Treachery; deception.

Wise, n.

 * 1) Seer; most intelligent person; one who usually possesses great discernment.

Activities
Let's write a poem! Just take a piece of paper and a pencil and start writing about a moment in your life, any! Just think about how you feel, where you were, what smelt like. It does not have to be perfect! After you have your first draft, let's shorten it and try to think of different words to express the same or deeper feelings. Instead of "love," you can use colors like "red," and instead of "passion," you can use objects like "fire." You can also use metaphors and compare emotions like "Love is like a rollercoaster" or "This passion is like a burning sun."

You can also go to Poem Generator and generate your own poem with your own specifications.

Further readings

 * “I’m nobody! Who are you?”
 * “I dwell in possibility”
 * “I heard a Fly buzz – when I died”
 * ““Hope” is the thing with feathers”

 * “I felt a funeral, in my Brain”
 * “The Soul selects her own Society”
 * “The Heart Asks Pleasure First”
 * “I died for Beauty – but was scarce”


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Pokémon Trading Card Game/Stadium Cards

Stadium Cards:

Stadium cards are used to give a player an extra bonus or special conditions. There can only be one stadium card during your play. However, you do not have to discard the stadium until you change into a new one. Also, if a stadium card is in your deck you can’t place it if you have a card that has the same as it that is in play. An example of an affect that happens is, “each Pokémon that has any fairy energy attached to it (both yours and your opponent’s) has no retreat cost” (Fairy Garden 100/124 Fates Collide).

title: Pokémon Trading Card Game/Stadium Cards


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Pokémon Trading Card Game/Supporter Cards

Supporter Cards:

Supporter cards help give the play an extra bonus if meeting the right conditions. It can be something as simple as drawing 2 cards or slightly healing your Pokémon. However, you are supposed to only play one supporter card per turn and before you decide to attack.


text:
Pokémon Trading Card Game/Pokémon-EX Cards

EX Cards:

EX cards are powerful Pokémon that have very powerful attacks but require a lot of energy cards to land an attack. There are 4 types of ex cards. They are normal, full arts, rainbow and promotional cards. However, these cards are hard to get in packs in are not too common to find. There is also a rule for ex cards for when they get knocked out. If they get knocked out then you or your opponent gets 2 prize cards.


text:
User:IzaiahP/sandbox

Main take:
"You have forgotten that leaving is an option"- Carmen Maria Machado

Introduction:
Around the world many women face toxic men around their life. Especially in toxic relationships. Being in a toxic relationship can affect your life without knowing. Sometime you don't realize until the end of the relationship. You risk thing like other relationship with family and friends, Your mental health, and your home.

Context:
In the story, "Dream House" by Carmen Maria Machado, she speak on her past relationship with a girl who was toxic and treated Machado like trash. In the chapter,"Choose your own adventure". She talk about a time of her waking up and dealing with her partner in the morning. Throughout the it she give option on what action should happen base on the situation. Depending on what Machado chose the page goes to a different page than going page by page.

Summary:
Throughout the story she know any of the action she chose it doesn't solve the relationship. She can choose the option to defend herself but she knew during that time she wouldn't have the nerve to speak out. Until the end she says,"You have forgotten that leaving is an option", when she finally is realizing the power she has to leave and let go.

title: User:IzaiahP/sandbox


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User talk:User42391

Welcome, User42391!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.

--Xania   talk 00:37, 19 June 2023 (UTC)

title: User talk:User42391


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User talk:JohnThorne

Thank you for your Biblical contributions
John, I wanted to say thank you for your Biblical contributions on Wikipedia. I saw you are no longer able to submit articles in English. I would love to hear why as well as learn more of your history when it comes to your Wiki entries. Have a great day and God bless. 74.124.33.178 (discuss) 15:52, 19 June 2023 (UTC)

title: User talk:JohnThorne


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Cookbook:Mishkaki (East African Meat Skewers)

Ingredients

 * 2 tbsp white vinegar
 * 50 ml (¼ cup) vegetable oil
 * 2 tbsp water
 * 1 tsp dried thyme
 * 1 tsp garlic powder
 * 1 tsp coriander powder
 * 1 tsp cumin powder
 * ½ tsp cayenne pepper
 * ½ tsp paprika powder
 * 1 tsp onion powder
 * 1 tsp ground black pepper
 * ¼ tsp ground allspice
 * 1 tsp garlic paste
 * 1 tsp ginger paste
 * Beef sirloin steak, in 1-inch cubes
 * 80 g fresh coriander, finely chopped

Special equipment

 * Metal skewers
 * Grill
 * Ziplock bag

Procedure

 * 1) Whisk together the vinegar, oil, water, thyme, spices, ginger paste, and garlic paste to make a marinade.
 * 2) Add the meat and toss well, then transfer everything to a large ziplock bag. Seal the bag and marinate in the refrigerator for 24–48 hours.
 * 3) Take the meat out of the refrigerator, and give it at least an hour to come to room temperature.
 * 4) Thread the meat on the skewers.
 * 5) Preheat a charcoal grill for some time.
 * 6) Grease the grill grate, and place the skewers on the grate. Cook until medium-done (internal temperature of 65°C / 145°F).
 * 7) Serve hot with fresh coriander.

Notes, tips, and variations

 * If you would like to use wood skewers, soak them in water for an hour before using. This prevents them from burning.
 * You could also broil the skewers in the oven instead of grilling.


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User:DIVINITY Q

I'm all about: 🏁 Nature 🏁 DIVINITY 🏁 Love 🏁 Wisdom Join me on the jurney to wisdom sharing.
 * 1) thebeautyofnature

title: User:DIVINITY Q