Seventeen and Insane
What kind of person should be labeled as ‘insane’? A girl who stays up all night walking around aimlessly? A woman who is addicted to television? A person who befriends strangers on the street, or a person who subconsciously overdoses on sleeping pills? Is it the person who behaves with the least logic, or the person who behaves least like acceptable society?
Mildred and Clarisse of Ray Bradbury’s Fahrenheit 451 are two such people. Mildred is married to Montag, the story’s protagonist, and is a typical member of acceptable society. She constantly listens to her Seashell radio, a nonstop broadcast from a piece that fits comfortably into her ear, and considers the characters on her wall-size television to be her family. Clarisse is nearly the opposite. She does not fit in with others at all. Clarisse doesn’t watching TV or listening to the radio, at least not as much as she enjoys going on walks, observing nature, and talking to people – all very peculiar to the people in the world that Ray Bradbury has placed her in. When she meets Montag, she claims to be, “seventeen and insane.” But is she really? To decide, it would make sense to compare her to an accepted person of society – such as Mildred.
Mildred, as what is considered to be a normal part of society, avoids learning and most forms of knowledge. She is almost ignorant, and intentionally so. If the new knowledge is different from something she already believes, or might complicate her life in the slightest, she denies it completely. Mildred never questions anything. Clarisse, on the other hand, questions nearly everything, and enjoys knowing different pieces of information and learning them. These traits are displayed in her various conversations with Montag, in which she both displays knowledge about how the city used to be and asks questions about Montag. In addition to asking questions, Clarisse learns things through observation and contemplation. One example is her thought process on the speed people go when driving.
In addition to new knowledge, Mildred doesn’t really like new anything. This is implied by her contentment to do the same things repeatedly, but also by her reaction to her husband’s books. She has a routine and a comfort zone, and she doesn’t want it disturbed. Clarisse loves to try things. She tries everything, “once, sometimes twice.” To her, everything is something to be discovered, experienced, and understood. Montag witnessed her trying a variety of things, from shaking trees, to knitting a sweater, to leaving flowers on porches.
Another trait Mildred has is that she is very isolated. This isn’t to say that she doesn’t like people, or doesn’t have any friends, because she does. However, she doesn’t feel compelled to get to know very much about them. Mildred, like everyone else, dislikes conflict, which is easy to come by when people express different opinions. So in addition to keeping any opinions that they might have to themselves, people don’t seek to know the opinions of others. Instead, Mildred sticks to her wall-sized TVs, or parlor walls, which are far less antagonizing than the inner workings of other people. In contrast, Clarisse is very, maybe even overly, friendly. Much of her curiosity is aimed towards people, or other living things, such as nature. It is possible that she doesn’t like other people all that well, since many people regard her as a freak and most likely treat her very poorly, but she is still interesting in knowing people and all about them.
Mildred is regarded as the normal, sane person of society. However, she is not happy. This conclusion is easily drawn from her potential suicide and the descriptions of her lifelessness. Clarisse is seen by most people as an oddity, but she doesn’t seem to really mind this. In fact, she seems to be perfectly content with her unconventional habits. So who here is really insane? More importantly, does it matter?
Wednesday, May 13, 2009
Wednesday, April 29, 2009
Essay - Worse Than Starving
“I’m sick of living in a world that’s taught my friends to hate themselves (PostSecret).”
“I’m waiting for a real magazine. The day there are headlines like, ‘It’s ok not to have sex with strangers,’ or, ‘Being chubby is ok,’ I’ll subscribe (PostSecret).”
“Beautiful women make me want to kill myself (PostSecret).”
These statements may seem melodramatic or sensational, but they are just a few real feelings expressed anonymously by real girls. One additional anonymous message was written over a blurred photograph of a girl and a mirror. It read, “Because the mirror hurts worse than starving (PostSecret).” Does it really? More accurately, I believe it could be said that the media hurts worse than starving. The media, including video games, movies, television shows, song lyrics, advertisements, and magazines, makes it difficult to accept that women of various shapes can be, and are, beautiful. Every day, young girls are bombarded by the media’s messages telling them how to look, act, and dress, and what they can expect in return. What the girls aren’t told is that not only are these messages untrue, but that they are actually dangerous.
Models are called such for a reason: They are meant to be the perfect example of what they are representing, not to mention the ideal that others are meant to build from. However, they are modeling in another way as well. Like a sculptor might make something from clay or wood, so are their images working with our minds. When women are presented with images of the “ideal” woman, they tend to feel more discontent with their own appearance, a feeling which can easily escalate into such emotions as “depression, shame, guilt, body dissatisfaction, and stress (About-Face).” And is that really any surprise? The average American woman is 5’4” and weighs 140 pounds, but the average American model is 5’11” and weighs 117 pounds (About-Face)! Nearly all models are more slender than 98% of America’s women (About-Face). In fact, many models would technically qualify as anorexic (About-Face). Yet, these are the women that are idolized by women across the nation and globe.
Media affects not only how girls see themselves, which is mostly inadequate, but also how males see them. In many advertisements, songs, video games, and movies, women are presented as objects, mostly sexual tools or attractive decoration. When women are portrayed solely as something to serve a man instead of as a human with an identity and emotions, it’s called objectification, and it’s the first step toward female-directed violence (About-Face). Studies have shown that when men start to think of women as objects more than as people, they are more willing to act out violently towards them (About-Face). The really sad thing is that not only do the men start to believe that it is okay to treat women like this, but because of their belief of their lack of value, women may start to believe that they deserve it, too. This may be because they think that all their value comes from their appearance, which they consider substandard, or it may be because they are so desensitized towards violence portrayed in the media that it has become commonplace in their minds.
In addition, girls may start to see themselves in a less individual way. Once girls are convinced that their personal value comes from their appearance, they are willing to conform to almost any standard to be valued. In the most widely distributed magazine for adolescents, Seventeen Magazine, articles about appearance take up the largest percentage of pages – and this does not even include advertisements (About-Face). When so much emphasis is placed on appearance, is it any wonder that these are the expectations that girls focus on? Media neglects the personal voice, passions, and identities of girls. Girls, consequently, ignore their own individuality in order to earn affection.
When a girl or woman’s individuality is neglected for sexual appeal, it’s called sexualization. Sexualization can also happen if a person is sexually objectified, or if someone is imposed by inappropriate sexuality, such as a young girl being instilled with adult sexuality (“Executive Summary”). When girls are sexualized, they determine how best to dress or behave based on its sexual appeal, even at the early ages of 10 to 12. Tween girls are girls between the ages of 8 and 12, and since the 1990s, sexual content has been increasingly directed towards these girls (“Media, Market ‘Sexualizing’”). According to journalism professor and author of The Lolita Effect, Gigi Durham, “The body ideals presented in the media are virtually impossible to attain, but girls don’t always realize that, and they’ll buy an awful lot of products to try to achieve those bodies” (qtd in “Media, Market ‘Sexualising’”) Females are shown from a young age that their appearance is what determines their “sexiness”, which is what determines how worthy they are of affection.
Furthermore, the media affects more than just the girls’ thoughts of themselves; it warps their perceptions of love, sex, and violence as well. Many unmarried couples on television are considered to be in love, and subsequently, engage in sexual intercourse. As a result of media repeatedly portraying them synonymously, girls may start to confuse sex and love, or mistake them for the same thing. Women may also start to see affection to be the same thing as respect. Much media portrays women who receive excessive amounts of affection to be powerful, and thus worthy of respect. In reality, someone may give affection to anyone; but if you want respect, you have to show that you deserve it. A point that was briefly touched on earlier, violence is often portrayed as an insignificant occurrence. Men are frequently depicted as naturally aggressive beings; Women then assume that violence is a typical part of humanity, and something to be submissively tolerated. The truth is, sex is not the same as love, affection is not the same as respect, and violence is a big deal.
In many songs, music videos, video games, and commercials, violence is portrayed as inconsequential. Some fashion ads even go so far as to include photos of dead women on the sidewalk, a woman’s legs sticking out of car trunks, or women with men holding knives to their throats – hardly funny, considering that three women are killed at the hands of their boyfriend or husband every day (About-Face). Yet many women don’t often see it as a big deal, or even offensive. This may be part of the reason that much violence towards women – a little over half of female-directed assaults – goes unreported (“Violence Against Women”).
This last topic deserved some expanding, because it brings to light a situation which ties together low self-esteem, objectification, violence, and sexualization. While the effect of media violence on boys may increase their violence towards girls, it can also desensitize girls to the severity of the situation. Women may also endure brutality because they may not consider themselves significant enough to bother anyone about it. In addition, objectification is a contributor to abuse inflicted on women who are perceived as an object as opposed to a human, and sexualization habitually act as a secondary form of objectification.
By showing young males “what they’ll get” and showing young females “what they’ll be”, the media has successfully distorted all youths’ view of women. The physical, mental, and emotional damage that this has done to young women is inestimable. How does one measure pain? Just consider the following. In his book Battle Cry For A Generation, Ron Luce informs us that after only a few weeks of viewing mildly sexualized media regularly, men started to show signs of lessened respect or concern for women. The longer they continued to view it, the more tolerant they became of violence and objectification or sexualization of women. Some men even changed their minds about the severity of rape and assault (91-110). In addition, several studies have shown that after just half an hour or less of looking through adolescent magazines, women tend to rank their appearance or value lower than before they viewed the magazines. The studies also discovered that the lower you originally rated yourself, the quicker your self-esteem fell (About-Face). What people need to think about is that if these effects are made visible in just thirty minutes to thirty days, what can it do to a person during an entire lifetime? What really hurts worse…the mirror or the media?
Work Cited
About-Face. 10 Sep. 2008. About-Face. 28 Sep. 2008.
“Executive Summary” APA Online. 2008. American Psychological Association. 3 Oct.
2008.
Luce, Ron. Battle Cry For A Generation. Colorado Springs: Nexgen, 2005
“Media, Market ‘Sexualising’ Young Girls For Profit.” AOL India News. 27 Apr. 2008.
AOL Interactive Media India. 3 Oct. 2008
.
PostSecret. 5 Oct. 2008. Ed. Frank Warren. 5 Oct. 2008.
.
“Violence Against Women Goes Unreported” Women In Distress. 18 Apr. 2003. Women
In Distress of Broward County. 3 Oct. 2008
.
“I’m waiting for a real magazine. The day there are headlines like, ‘It’s ok not to have sex with strangers,’ or, ‘Being chubby is ok,’ I’ll subscribe (PostSecret).”
“Beautiful women make me want to kill myself (PostSecret).”
These statements may seem melodramatic or sensational, but they are just a few real feelings expressed anonymously by real girls. One additional anonymous message was written over a blurred photograph of a girl and a mirror. It read, “Because the mirror hurts worse than starving (PostSecret).” Does it really? More accurately, I believe it could be said that the media hurts worse than starving. The media, including video games, movies, television shows, song lyrics, advertisements, and magazines, makes it difficult to accept that women of various shapes can be, and are, beautiful. Every day, young girls are bombarded by the media’s messages telling them how to look, act, and dress, and what they can expect in return. What the girls aren’t told is that not only are these messages untrue, but that they are actually dangerous.
Models are called such for a reason: They are meant to be the perfect example of what they are representing, not to mention the ideal that others are meant to build from. However, they are modeling in another way as well. Like a sculptor might make something from clay or wood, so are their images working with our minds. When women are presented with images of the “ideal” woman, they tend to feel more discontent with their own appearance, a feeling which can easily escalate into such emotions as “depression, shame, guilt, body dissatisfaction, and stress (About-Face).” And is that really any surprise? The average American woman is 5’4” and weighs 140 pounds, but the average American model is 5’11” and weighs 117 pounds (About-Face)! Nearly all models are more slender than 98% of America’s women (About-Face). In fact, many models would technically qualify as anorexic (About-Face). Yet, these are the women that are idolized by women across the nation and globe.
Media affects not only how girls see themselves, which is mostly inadequate, but also how males see them. In many advertisements, songs, video games, and movies, women are presented as objects, mostly sexual tools or attractive decoration. When women are portrayed solely as something to serve a man instead of as a human with an identity and emotions, it’s called objectification, and it’s the first step toward female-directed violence (About-Face). Studies have shown that when men start to think of women as objects more than as people, they are more willing to act out violently towards them (About-Face). The really sad thing is that not only do the men start to believe that it is okay to treat women like this, but because of their belief of their lack of value, women may start to believe that they deserve it, too. This may be because they think that all their value comes from their appearance, which they consider substandard, or it may be because they are so desensitized towards violence portrayed in the media that it has become commonplace in their minds.
In addition, girls may start to see themselves in a less individual way. Once girls are convinced that their personal value comes from their appearance, they are willing to conform to almost any standard to be valued. In the most widely distributed magazine for adolescents, Seventeen Magazine, articles about appearance take up the largest percentage of pages – and this does not even include advertisements (About-Face). When so much emphasis is placed on appearance, is it any wonder that these are the expectations that girls focus on? Media neglects the personal voice, passions, and identities of girls. Girls, consequently, ignore their own individuality in order to earn affection.
When a girl or woman’s individuality is neglected for sexual appeal, it’s called sexualization. Sexualization can also happen if a person is sexually objectified, or if someone is imposed by inappropriate sexuality, such as a young girl being instilled with adult sexuality (“Executive Summary”). When girls are sexualized, they determine how best to dress or behave based on its sexual appeal, even at the early ages of 10 to 12. Tween girls are girls between the ages of 8 and 12, and since the 1990s, sexual content has been increasingly directed towards these girls (“Media, Market ‘Sexualizing’”). According to journalism professor and author of The Lolita Effect, Gigi Durham, “The body ideals presented in the media are virtually impossible to attain, but girls don’t always realize that, and they’ll buy an awful lot of products to try to achieve those bodies” (qtd in “Media, Market ‘Sexualising’”) Females are shown from a young age that their appearance is what determines their “sexiness”, which is what determines how worthy they are of affection.
Furthermore, the media affects more than just the girls’ thoughts of themselves; it warps their perceptions of love, sex, and violence as well. Many unmarried couples on television are considered to be in love, and subsequently, engage in sexual intercourse. As a result of media repeatedly portraying them synonymously, girls may start to confuse sex and love, or mistake them for the same thing. Women may also start to see affection to be the same thing as respect. Much media portrays women who receive excessive amounts of affection to be powerful, and thus worthy of respect. In reality, someone may give affection to anyone; but if you want respect, you have to show that you deserve it. A point that was briefly touched on earlier, violence is often portrayed as an insignificant occurrence. Men are frequently depicted as naturally aggressive beings; Women then assume that violence is a typical part of humanity, and something to be submissively tolerated. The truth is, sex is not the same as love, affection is not the same as respect, and violence is a big deal.
In many songs, music videos, video games, and commercials, violence is portrayed as inconsequential. Some fashion ads even go so far as to include photos of dead women on the sidewalk, a woman’s legs sticking out of car trunks, or women with men holding knives to their throats – hardly funny, considering that three women are killed at the hands of their boyfriend or husband every day (About-Face). Yet many women don’t often see it as a big deal, or even offensive. This may be part of the reason that much violence towards women – a little over half of female-directed assaults – goes unreported (“Violence Against Women”).
This last topic deserved some expanding, because it brings to light a situation which ties together low self-esteem, objectification, violence, and sexualization. While the effect of media violence on boys may increase their violence towards girls, it can also desensitize girls to the severity of the situation. Women may also endure brutality because they may not consider themselves significant enough to bother anyone about it. In addition, objectification is a contributor to abuse inflicted on women who are perceived as an object as opposed to a human, and sexualization habitually act as a secondary form of objectification.
By showing young males “what they’ll get” and showing young females “what they’ll be”, the media has successfully distorted all youths’ view of women. The physical, mental, and emotional damage that this has done to young women is inestimable. How does one measure pain? Just consider the following. In his book Battle Cry For A Generation, Ron Luce informs us that after only a few weeks of viewing mildly sexualized media regularly, men started to show signs of lessened respect or concern for women. The longer they continued to view it, the more tolerant they became of violence and objectification or sexualization of women. Some men even changed their minds about the severity of rape and assault (91-110). In addition, several studies have shown that after just half an hour or less of looking through adolescent magazines, women tend to rank their appearance or value lower than before they viewed the magazines. The studies also discovered that the lower you originally rated yourself, the quicker your self-esteem fell (About-Face). What people need to think about is that if these effects are made visible in just thirty minutes to thirty days, what can it do to a person during an entire lifetime? What really hurts worse…the mirror or the media?
Work Cited
About-Face. 10 Sep. 2008. About-Face. 28 Sep. 2008
“Executive Summary” APA Online. 2008. American Psychological Association. 3 Oct.
2008
Luce, Ron. Battle Cry For A Generation. Colorado Springs: Nexgen, 2005
“Media, Market ‘Sexualising’ Young Girls For Profit.” AOL India News. 27 Apr. 2008.
AOL Interactive Media India. 3 Oct. 2008
PostSecret. 5 Oct. 2008. Ed. Frank Warren. 5 Oct. 2008.
“Violence Against Women Goes Unreported” Women In Distress. 18 Apr. 2003. Women
In Distress of Broward County. 3 Oct. 2008
Monday, April 27, 2009
Art Therapy for Children Outline
Introduction: Children may have trouble finding the words they need.
Experiences aren’t often verbal.
1. Children may have trouble expressing feelings regarding violence or trauma.
2. Children with autism may have trouble with therapy where speaking is the main medium.
3. Children and adolescents may not be comfortable enough during transition periods to talk about it.
Art therapy is visual as opposed to verbal.
1. Words don’t need to be found.
2. Art is simple and easier for some children to understand.
3. Art therapy is not threatening or intimidating.
Children who have experienced violence or trauma may benefit from art therapy.
Children are not uncommonly affected by violence or trauma.
1. Statistic
2. Statistic
Children affected by violence may be scared of “telling,” and be less frightened by “drawing.”
Children may feel more comfortable “doing stuff” instead of talking about “it.” (Art Therapy, Featured Articles)
Children with autism may benefit from art therapy.
Children with autism usually display symptoms in the first three years of their life, making the use of words even more difficult.
Children with autism have “intense sensory needs.”
Children with autism
Children with low self-esteem or depression may feel empowered by art therapy.
Art therapy can help release suppressed or hidden feelings of depression or low self-esteem.
Art therapy can help diminish these feelings by giving the child a sense of accomplishment.
Conclusion: Art therapy is flexible but complicated form of therapy.
Art therapy comes in many different forms, can treat different things, and helps different people.
It is necessary to be very well-educated in art therapy in order to apply it because there are so many ways for it to be used.
Experiences aren’t often verbal.
1. Children may have trouble expressing feelings regarding violence or trauma.
2. Children with autism may have trouble with therapy where speaking is the main medium.
3. Children and adolescents may not be comfortable enough during transition periods to talk about it.
Art therapy is visual as opposed to verbal.
1. Words don’t need to be found.
2. Art is simple and easier for some children to understand.
3. Art therapy is not threatening or intimidating.
Children who have experienced violence or trauma may benefit from art therapy.
Children are not uncommonly affected by violence or trauma.
1. Statistic
2. Statistic
Children affected by violence may be scared of “telling,” and be less frightened by “drawing.”
Children may feel more comfortable “doing stuff” instead of talking about “it.” (Art Therapy, Featured Articles)
Children with autism may benefit from art therapy.
Children with autism usually display symptoms in the first three years of their life, making the use of words even more difficult.
Children with autism have “intense sensory needs.”
Children with autism
Children with low self-esteem or depression may feel empowered by art therapy.
Art therapy can help release suppressed or hidden feelings of depression or low self-esteem.
Art therapy can help diminish these feelings by giving the child a sense of accomplishment.
Conclusion: Art therapy is flexible but complicated form of therapy.
Art therapy comes in many different forms, can treat different things, and helps different people.
It is necessary to be very well-educated in art therapy in order to apply it because there are so many ways for it to be used.
Sunday, April 26, 2009
Art Therapy Outline
I. Art therapy is effective for expressing emotion.
A. Art therapy can help reveal subconscious feelings or suppressed emotions.
B. Art therapy can help release emotions that are difficult to express verbally.
II. Art therapy is effective for children.
A. Art therapy is very non-verbal, and children may have trouble finding words to fit their emotions.
B. Art therapy is comfortable for a child.
1. A child may not be comfortable saying what they need to even if they know how.
2. A child may not be comfortable talking to a stranger.
III. Art therapy is effective, in part, because it is not threatening.
A. Art therapy is not as intimidating as another person may be.
B. Art therapy is does not pathologize the person by making the person feel as if their identity is in their problem.
IV. Art therapy is effective, in part, because it is flexible.
A. Art therapy can cover many different art forms.
1. Patients can develop a more personalized form of therapy for themselves.
2. Patients can find a medium that works well for them.
a. Patients will feel more comfortable with choices.
b. Patients will be able to find a medium that may help them feel empowered.
B. Art therapy can have different levels.
1. Art therapy can work on a basic therapeutic level of expressing and sorting emotions.
2. Art therapy can also empower patients if they exhibit or share their artwork.
A. Art therapy can help reveal subconscious feelings or suppressed emotions.
B. Art therapy can help release emotions that are difficult to express verbally.
II. Art therapy is effective for children.
A. Art therapy is very non-verbal, and children may have trouble finding words to fit their emotions.
B. Art therapy is comfortable for a child.
1. A child may not be comfortable saying what they need to even if they know how.
2. A child may not be comfortable talking to a stranger.
III. Art therapy is effective, in part, because it is not threatening.
A. Art therapy is not as intimidating as another person may be.
B. Art therapy is does not pathologize the person by making the person feel as if their identity is in their problem.
IV. Art therapy is effective, in part, because it is flexible.
A. Art therapy can cover many different art forms.
1. Patients can develop a more personalized form of therapy for themselves.
2. Patients can find a medium that works well for them.
a. Patients will feel more comfortable with choices.
b. Patients will be able to find a medium that may help them feel empowered.
B. Art therapy can have different levels.
1. Art therapy can work on a basic therapeutic level of expressing and sorting emotions.
2. Art therapy can also empower patients if they exhibit or share their artwork.
Thursday, April 23, 2009
Poetry - Untitled
"No," my voice is firm somehow.
"no. . ." it is a whimper now.
No! I cannot move my mouth.
Beneath his weight, I start to sink.
I can't move - I can't think
Do I fight? Do I scream?
No, just wait, it's just a dream
Keep your eyes shut and stay still
It's not real, It's not real.
And it's back to reality
As he throws my jeans at me.
Why am I shaking? I'm so scared!
Last thing I knew, I was only laying there!
It was just only a nightmare . . .
I am only a child!
And I'm also in denial.
"no. . ." it is a whimper now.
No! I cannot move my mouth.
Beneath his weight, I start to sink.
I can't move - I can't think
Do I fight? Do I scream?
No, just wait, it's just a dream
Keep your eyes shut and stay still
It's not real, It's not real.
And it's back to reality
As he throws my jeans at me.
Why am I shaking? I'm so scared!
Last thing I knew, I was only laying there!
It was just only a nightmare . . .
I am only a child!
And I'm also in denial.
"Stopping By Woods On A Snowy Evening"
I don't know whose woods these are,
The ones I've stopped by in my car.
I can't see the shadows beyond the trees,
And I think I'd like to discover these.
And from afar,
I feel a breeze,
So I climb out and leave my car to freeze.
Before long, day turns to night,
And I'm thinking Robert Frost was right
To not have entered the woods,
But I'm not convinced this isn't good.
Judging by the snow,
This is a path where no others go.
I stayed in the woods so long,
And I heard many a sad bird's song,
Was stalked by many a creature,
Thinking, "I should have listened to my teacher,"
Because Robert Frost had known this was wrong.
And - Is that my car alarm? -
But these trees are too full of charm.
So I walk obliviously through and into self-harm,
Not feeling the threat brushing my arm.
But now I know better,
Like to always take a sweater,
And the road not taken
May make you feel forsaken,
And in every stranger
Is a small amount of danger.
Don't think I'm mistaken;
I'm not all that easily shaken,
But it's easy to be taken
By something lovely, dark, and deep,
Where the wild creatures creep.
And as far as I'm concerned,
If there's one thing I learned,
Each lesson is learnable,
Every bridge burnable,
All tables are turnable,
And nothing ever really gets returned.
Also,
Bad things can be exciting,
And though exciting can be nice,
Nice and bad aren't the same.
But depending on the lighting,
And on the price,
And on the game,
And on how well you play,
Nice and good could also be two different ways.
The ones I've stopped by in my car.
I can't see the shadows beyond the trees,
And I think I'd like to discover these.
And from afar,
I feel a breeze,
So I climb out and leave my car to freeze.
Before long, day turns to night,
And I'm thinking Robert Frost was right
To not have entered the woods,
But I'm not convinced this isn't good.
Judging by the snow,
This is a path where no others go.
I stayed in the woods so long,
And I heard many a sad bird's song,
Was stalked by many a creature,
Thinking, "I should have listened to my teacher,"
Because Robert Frost had known this was wrong.
And - Is that my car alarm? -
But these trees are too full of charm.
So I walk obliviously through and into self-harm,
Not feeling the threat brushing my arm.
But now I know better,
Like to always take a sweater,
And the road not taken
May make you feel forsaken,
And in every stranger
Is a small amount of danger.
Don't think I'm mistaken;
I'm not all that easily shaken,
But it's easy to be taken
By something lovely, dark, and deep,
Where the wild creatures creep.
And as far as I'm concerned,
If there's one thing I learned,
Each lesson is learnable,
Every bridge burnable,
All tables are turnable,
And nothing ever really gets returned.
Also,
Bad things can be exciting,
And though exciting can be nice,
Nice and bad aren't the same.
But depending on the lighting,
And on the price,
And on the game,
And on how well you play,
Nice and good could also be two different ways.
Poetry - A (Not-So-)Short Poem
If you were as small as me
You’d see why each short height joke has me
Rolling my eyes and acting disaffective.
But either you’re just blind,
Or out of your mind,
Or it requires a more down-to-earth perspective.
Fewer things go over my head than you realize.
But if one of the few
That actually do
Is your line of vision,
Maybe you’d better get a new set of eyes;
I wasn’t responsible for that collision,
Seeing as the only one moving was you.
Aside from your jokes,
Being short is better than being tall.
I don’t trip over other folks,
And if I did, I’d have a shorter distance to fall.
I’m the human version
Of fun-size bars of candy.
I’m the perfect size for travel,
See – being small can come in handy.
Small bits of music make a medley,
And microscopic germs can be deadly.
Dynamite comes in little bundles,
But its effect can be huge.
Diamonds are among the most beautiful,
Although some eyes
Might consider their size
To be a subterfuge.
Don’t make fun of my height for frivolity
You may have more quantity,
But what matters most is quality
You’d see why each short height joke has me
Rolling my eyes and acting disaffective.
But either you’re just blind,
Or out of your mind,
Or it requires a more down-to-earth perspective.
Fewer things go over my head than you realize.
But if one of the few
That actually do
Is your line of vision,
Maybe you’d better get a new set of eyes;
I wasn’t responsible for that collision,
Seeing as the only one moving was you.
Aside from your jokes,
Being short is better than being tall.
I don’t trip over other folks,
And if I did, I’d have a shorter distance to fall.
I’m the human version
Of fun-size bars of candy.
I’m the perfect size for travel,
See – being small can come in handy.
Small bits of music make a medley,
And microscopic germs can be deadly.
Dynamite comes in little bundles,
But its effect can be huge.
Diamonds are among the most beautiful,
Although some eyes
Might consider their size
To be a subterfuge.
Don’t make fun of my height for frivolity
You may have more quantity,
But what matters most is quality
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