The Criminal Justice System

Assignment 1 The Criminal Justice System April 26, 2010 According to the American Heritage Dictionary, the criminal justice system is a â€Å"system of law enforcement, the bar, the judiciary, corrections, and probation that is directly involved in the apprehension, prosecution, defense, sentencing, incarceration, and supervision of those suspected of or charged with a criminal offense† (Mifflin, 2007). The criminal justice system aims to reduce crime by bringing more offences to justice and rise public confidence that the system is fair and will deliver for the law of abiding citizens. The criminal justice system consists of three areas (1) law enforcement (police), (2) adjudication (courts), and (3) correction (jail, prisons, probation, and parole). These agencies operate together in the criminal justice system under the rule of law and as the principal means of maintaining the rule of law within society. However, in the three areas, the police solve crimes and make arrests, the court sentences the offender and the correction system carry out the punishment and rehabilitate the offenders. The criminal justice system primary goals are justice for individual, personal liberty, dignity of human beings, and the right to due process. Justice for the individual requires that all should have what belongs to them, and so the just man will render to the society, or State, of which he is a member, what is due to it. Personal liberty means freedom from unlawful physical restraint or harm and freedom from arbitrary interference with one’s privacy and lawful belongings. On the other hand, human dignity is an expression of moral concept that human beings should not be treated as objects. One implication of human dignity is that every human being should be acknowledged as a valuable member of the human community and as a unique expression of life. Last but not least, due process is the principle that the government must normally respect all of a person’s legal rights instead of just some or most of those legal rights when the government deprives a person of life, liberty, or property. The due process clause in the Fourteenth Amendment protects against state of local government abuse of power. In conclusion, a criminal justice system that is honest, fair and effective is one of America's most important institutions. All law abiding citizens are govern by due process according to the criminal justice system. Therefore, it is very important for all citizens to follow the law according to the police statues, the court statues, and the correction systems statues because there is always improvement in this field. References American Heritage Dictionary A History of American Criminal Justice, http://www. en. wikipedia. org

You’re Not Important. You’re Not Anything

You’re not important. You’re not anything. † Granger is talking about how utterly insignificant Montag, and all human beings for that matter, are in the long scheme of time. He continues by saying: â€Å"But even when we had the books on hand, a long time ago, we didn't use what we got out of them. We went right on insulting the dead. We went right on spitting in the graves of all the poor ones who died before us. † Quite evidently, Granger is remarking on how important it is to relish the little moment your life consists of, to continually try throughout your life to make a withstanding impact.More importantly, he draws on how, in recent times, the members of society have become conceited and complacent, assuming there is nothing more to life than what surrounds them, life’s true meaning belittled by the anti-intellectual vision of the government. It is through this manifest that Granger divulges the major themes of the novel, showing not only that life is a constant cyclic process, rather, how important it is that we recognize the position of literature in our social development. As we will explore, Granger acts as the hallmark for part three, and ultimately the underlying messages of the book.Moreover, much like Bradbury seeks to impart on the reader, Granger (‘Modern Day Moses’), hopes to guide his group of literary disciples toward a promised land of free thought, alleviating the Dark Age and creating a new spark of intellectualism. This can be extended further, one could indeed say that Granger, remarking on how insignificant Montag is in the grand scheme of time and evolutionary expanse, is also saying that: on his own Montag isn’t much, but with the collective power of the group, the impact could be tremendous, a message quite similar to Bradbury’s.Throughout the novel we see Clarisse, then Montag, and then Faber, all try to create a humanistic spark within society, to change the minds of thos e who cannot see. However, despite their attempts, it is only when there is collective movement, that we see change. Bradbury is not saying that the individual is utterly useless when it comes to societal change, more so, if we want to avoid potential calamity within the social advancement of society, we too, must act collectively.Granger introduces cyclically regenerated mythological creature, the Phoenix, which becomes an enormously important literary tool for one of the underling messages of the novel. Bradbury uses the Phoenix to describe how its regenerative cycle is eerily similar to the ’swinging cycles’ of society. Just as the Phoenix destroys itself, so does mankind. From destruction to peace, despair to rejoice, society inevitably falls into a pendulum like cycle. Our ruinous actions consistently, much like the Phoenix; result in the destruction of our societal being.Then, the cycle swings back and new life is found, at least until our destructive habits once again reign. Bradbury, through the voice of Granger is invariably trying to warn us of this very cycle, armed with this knowledge mankind has the ability to prevent future calamity, to stop the cycle at its highest point. We differ from the Phoenix: â€Å"We know the damn silly thing we just did. † At this stage of the book, Montag is yet to realise the importance, position of influence, and subsequent responsibility he holds, or, the books hold.Granger acts as the flame for Montag, showing him his importance, showing him how, in the pendulum of time, he is insignificant. More importantly, that it is he who can freeze such a motion, and help society, mankind and all, prevent self-destruction. Granger sets the final tone for the novel, being one of the final voices; he ultimately decides how the reader comes away from their reading. Through his remarks on society’s cycle of self-destruction, and one’s duty to make an imprint on future generations, Granger provid es a summarised segment of the themes and motifs of the entire novel.Perhaps one of these segments one not often recognised; the mirror factory metaphor. Toward the end of the novel Granger remarks, â€Å"Come on now, we're going to go build a mirror factory first and put out nothing but mirrors for the next year and take a long look in them. † To be able to change the complacency and destructive attitudes of society, they need a reflection of what they have done, to recognise who they have become. In stark contrast to the parlour walls , where one sees a human they want to be, instead of one they already are, the mirror will show society what they are, allowing them to decide for themselves.It consolidates the process for self-reflection, helping society to rebuild, by first recognising their mistakes. Further, to an extent he also sets the tone for Bradbury’s final message: how are we to feel about the future, Hopeful? Depressed? Confused? It is Granger who acts as t he cohesion for the themes and underlying messages of Bradbury and that of the entire novel. His outlook, hopeful: â€Å"The wonderful thing about man†¦ [Is]†¦he never gets so discouraged†¦that he gives up†¦He knows very well it is mportant and worth the doing. † Withal, through his remark â€Å"You’re not important. You’re not anything†, Granger not only poses a message to Montag, showing him how to relight society by creating a collective power to combat past destruction. Additionally, through the continuation of his speech, including his Phoenix motif, comments on the cyclical process of society and metaphorical use of mirrors, helps to solidify the underlying themes of the novel, and to a greater extent, Bradbury’s personal manifestation.

Woody Case Research Paper Example | Topics and Well Written Essays - 500 words

Woody Case - Research Paper Example They will also put in place measures on how they install the new semi-automatic production training. This will include install ling air conditioning machines, using dust free paint and making room for extra compressor. Then, the team will proceed and assemble the material they need to actualize the designs. Here, they we buy the paint, air conditioners, cement, ballast, and additional equipments to meet the construction. In case, of shortage of manpower, they will hire more workers. These acquisitions will be passed by the management team of Woody 2000. Work breakdown structure From here the actual work will commence the team will put the design into action. Most of the work will be construction of the floor and the walls. Then there will be installation of the air conditioners. The work will be divided into phases depending on the agency and the chronological order. Construction work will be divided in phase one, two and three. Phase one will be broad, covering all issues of the plan two will be a breakdown of phase one, the secondary works of construction. Finally, phase three will involve finishing. Phase one will include floor construction, wall construction and roof construction. Phase two will be selecting and fixings the finishes that are roofing materials, windows frames and windows, doors, screens, exterior wall finishes and interior wall and ceiling cladding. Finally, phase three will be installation of the air conditioners, compressor and electricity. This is a horizontal bar chart that gives a graphical schedule that helps to coordinate, plan and track tasks in a project. The team will come up with this chart to help them to be able to stick to the tasks at hand. In the horizontal axis, they will indicate the time and the vertical axis will be the activity for the day. In this case, the team will have a maximum of eighteen months to complete the expansion. The team will be

Gender Discrimination - a Constraint to Educational Attainment in Essay

Gender Discrimination - a Constraint to Educational Attainment in South Asia - Essay Example This essay declares that most of the South Asian countries have also had a colonial past. This, in many ways, was pivotal in shaping the economy and the fabric of their societies. In India, Pakistan and Bangladesh, the historical legacy has translated to gender disparity and lower standards of living. Years of deprivation, neglect and other social taboos have created a huge gap in education and employability between men and women in South Asian nations. Historically women have been discriminated against, irrespective of religion, caste, class or social standing. The uninhibited show of masculine superiority and marginalisation of women have been mentioned in Hindu mythology and epics like Ramayana and Mahabharata. In medieval times it was first observed as customary practice in the feudal societies of these countries. This paper makes a conclusion that the pages of history will bear testimony to the generations of gender discrimination in fields such as education, employment and self-sufficiency in the South Asian context. South Asian countries like India, Pakistan, Sri Lanka and Bangladesh have a long and common past. Societal practices where women were relegated more to the domestic arena and were protected from external influences was common to all these societies. What started out as positive intent that of securing the lives and dignity of women, became exploitative with the passage of time. Cultural sanctions against women became common practise under the garb of religious and traditional values.

Fuel Cells Essay Example | Topics and Well Written Essays - 1000 words

Fuel Cells - Essay Example The fuel cell is designed such that a proton-conducting polymer membrane separates the anode and the cathode. On the anode electrode, hydrogen diffuses to the anode catalyst, and it later dissociates into protons and electrons. The protons will react with oxygen molecules at the cathode side, infusing via the polymer electrolyte membrane as well as the electrons coming through the outer circuit to make water molecules. The protons are conducted through the membrane to the cathode while the electrons travel through an external circuit since the covering is insulated electrically. The reaction on the cathode electrode involves oxygen molecules and both the electrons and the protons (Scherer 35). Phosphoric acid fuel cell In this type of cell, hydrogen ions are passed to the cathode using phosphoric acid. These cells usually work at moderate temperatures. The relatively high temperatures cause a heat and energy loss if the heat is not removed and properly used. The heat can be turned into a useful source of energy for air conditioners and other thermal energy consuming systems (Onovwiona ans Ugursal 389). This property makes the phosphoric acid fuel cell more useful and improves the efficiency to about 80%. The anode electrode in this cell uses a platinum catalyst that accelerates the conversion of hydrogen into free ions and electrons are produced (Scherer 34). The electrons travel from the anode to the cathode cell through an external electrical circuit since phosphoric acid is a non-conducting electrolyte.

21st Century Technology in Today's Classroom Essay - 1

21st Century Technology in Today's Classroom - Essay Example context, which includes â€Å"the institutional objectives of the e-learning program, the role and skills of any instructor, longevity of the resources, and cultural sensitivities†; and influence, which means how the e-learning design will influence the learner, the learning community, and the environment in which the learning is taking place (Brown & Voltz, 2005, pp. 4-7). Article 2 Abstract: Teacher’s conception of e-learning and e-teaching is also crucial. Teacher’s like e-learning because it excites their students, and provides a way for lectures to become more interesting. Moreover, students have a way of exploring their tacit knowledge, and learn more about co-operative learning and how to behave in social situations. Teachers also like e-learning because it gives them a way to give students extra information, outside the lecture and it also gives the teacher a way to give information to the masses. On the other hand, for some cultures, self-study is difficult. For instance, for a Chinese student, who still expects the teacher to provide information through the lectures, self-study through e-learning is difficult. Therefore, there needs to be ways to overcome these challenges (McConnell & Zhao, 2006). Article 3 Abstract: This article talks about cultural differences, which could prove a challenge to the e-learning community. Different cultures share knowledge in different ways. Some cultures are individualistic, which means that these cultures put personal goals in front of group goals; collectivistic cultures are the opposite. The individualistic cultures see information independent of context, while the collectivistic cultures need contextual cues and disregard information in writing. Anther difference in culture includes in-group and out-group orientation. Cultures which are out-group orientated do not have a problem sharing information outside their group; in-group orientated cultures do. Some cultures have a strong fear of losing

Justice as a larger loyalty and theory of recognition Essay

Justice as a larger loyalty and theory of recognition - Essay Example Richard Rorty is an American philosopher having graduated from the University of Chicago. He is a man well known in contemporary analytic of philosophy work as well as history of philosophy. In his research and writings towards justice and democracy, Rorty suggested that democracy can only be recognized world wide as moral legitimacy forms of government. From the mere observations, Rorty suggested that democracy establishment and preservation varies from one culture to another hence; democracy is affected by three major problems in general. Justice and democracy depends on the perspective ways of presentation, theoretical point of view and practical form. However, the author in his writings demonstrated distortion of democratic decision making which is brought by disparities in wealth, capitalist economies and reconciliation of democratic values are some of the major problems that democracy and justice meets. In his regards towards justice as a larger loyalty, Rorty believed that mos t of what passes for philosophy facet is puzzled, useless, solving, as well as clever towards culture and real life of people within a given community. The author suggested an aspect of pragmatists towards nature and gave an inquiry that one should simply make on what he or she see happening. In his writing however, the philosopher initiated other fellow to try some new ways of thinking and see the result as suggested.

Contemporary Essay Example | Topics and Well Written Essays - 1250 words

Contemporary - Essay Example This is because a formal disclosure framework helps to guide regulators, and preparers towards better and more material disclosure. However, while material disclosure is supposed to be free and within a given time frame, there are numerous cases where preparers have failed to disclose significant materials to users or vice-versa. This fact has been associated with the idea that many organizations lack proper disclosure framework (White, 2009, p.67). It was this lack of proper disclosure framework that led IASB to carryout survey recently about disclosure framework, and found that regulators, preparers and users are supposed to work together so as to improve disclosure. All disclosures need improvement. Disclosure is supposed to be guided by materiality, and that principle based disclosure guidance would be essential. This study will be therefore examining why regulators, preparers and users are supposed to work together so as to improve disclosure. All disclosures need improvement. D isclosure is supposed to be guided by materiality, and that principle based disclosure guidance would be essential According to United States Congress Staff (2002, p.788), one of the most significant findings of IASB is that disclosure should be guided by materiality. ... The main issue is a clear and comprehensive disclosure of information related to sound decision making by market participants, authorities, and the public. Majority of people held the view that crucial information regarding funds and expenditure has always been concealed from the users or in case where it is given, it is not clear and comprehensive. This fact has raised many concerns among the people who want that information disclosure should be improved because it has been facilitating corruption. Due to this increased demands, many organizations are implementing disclosure policies as they have started to come up with succinct disclosure framework. For instance, Financial Market Insurers (FMIs) have implemented a disclosure framework that was organized to supplement the CPSS-ISCO principles for financial market infrastructures, and help it in providing the comprehensive degree of disclosure that is expected of them under Principle 23 on disclosure of rules, main processes, and mar ket data (Fung et al., 2007, p.140). According to Bunger (2012, p.337), the disclosure framework was prepared in association with the CPSS-IOSCO Assessment methodology for the principles for FMIs and the accountabilities of the authorities to ensure a common framework that will reduce burden on FMIs and give assessors a basic set of information from which to start their assessment of FMIs. Heated debate about accounting regulation that calls for a formal disclosure framework has led to establishment and implementation of new rules and regulation that governs information disclosure. For instance, federally tax-exempt organizations stated under IRC sections 501(c) and 501(d) ought to comply

Global Management - Royal Mail Essay Example | Topics and Well Written Essays - 250 words

Global Management - Royal Mail - Essay Example During its entire existence, Royal Mail has encountered numerous challenges as it tries to fit it mandate to the twenty-first century, a century where postal services are not in use as they were previously. Royal Mail, with an employee base of more than 160,000 employees was on the verge of being privatized. To do so, it tapped the talents of Moya Greene to its top leadership position of Chief Executive Officer. As a leader, Moya has had prior experience in turning around the fortunes of the Canadian Post. An amazing accomplishment by its standards. The following group assignment looks at the leadership style used by Moya Greene in ensuring success for Royal Mail; the key performance indicators set by the leadership and how Royal Mail benefits from its use; explaining the concept of motivation and how the methods the company uses in motivating its behemoth workforce. In addition, how the company uses corporate social responsibility, which it terms as important to its long-term value and how it is fundamental to the operationalization and privatisation of the company. Finally, how the company recruits its best information technology employees because of their value in protecting the Royal Mail’s proprietary software, which it values. Leadership is important to Royal Mail and how it intends to achieve all the targets to be discussed further in the assignment. Royal Mail is a postal service company operating in the United Kingdom. The company was formed in 1516 and currently exists to provide mail collection and delivery services throughout the United Kingdom. Currently, the Royal Mail is headed by a chief executive, Moya Green. She replaced the departing Adam Crozier from July of 2010 becoming the first woman and the first non-Briton to hold the post. Her duties while at the helm include the privatisation of the Britain’s postal service, the Royal Mail. On her appointment to the helm of the company, Donald Brydon, the

Unilever international finance and accounting Essay

Unilever international finance and accounting - Essay Example Unilever, United Kingdom, has just dropped Boursin as one of its business entities.Unilever ia a global business focusing on personal care, food and other consumer products. It has entrenched itself in the home as one of the trusted and reliable but reasonably priced products in the market today.Unilever has always been a staunch follower of all social responsibility laws. The social responsibility laws focus on many issues (Sluyterman 2005, 12).Further, one such issue is the payment of minimum salaries to its workers. Another such issue is the implementation of work conditions where environmental laws are taken into consideration. Another issue of social responsibility it the company's role of uplifting the lives of people in its community, the customers of Unilever and the world as a whole. In this regard, companies like Unilever are required to produce products that are not harmful to the customers and the environment (Dingman 2008). Unilever is an institution today because it had gone through many years of trials and errors with the aim of making profits without sacrificing its social responsibility to the community and other stakeholders. The following paragraphs explain Unilever's important place in the business world in terms of making profits, divestment of segments and its social responsibility.Unilever (United Kingdom) is one of the country units of Unilever world. The company has been producing popular household brands that are needed by homes, offices and work places around the United Kingdom alone. The company is an institution in the field of food, home and personal care products. Unilever (United Kingdom) has under its big belt over thirty five brands that include Cornetto, Bertolli, Cif, and Sunsilk. In the area of highest country revenue, the United Kingdom is next only to the United States. The company has started smoothly the rough working conditions in order to streamline its operations. One such financially correct move was to cut its manag erial positions by half during the year. Reference: www.finance.google.com/financecid=5763516 Further, the company has also innovated its company -wide sales and marketing operational strategy. The company has reduced operating expense in its United Kingdom branch by relocating its three departments to one single location. This financially rewarding move is currently the right time for the company continue its retrenchment of more than three hundred twenty line and staff employees until the year 2009. Its office is located in St. James Road, Kingston -Upon-Thames, KTI 2BA, GBR. Reference: www.finance.google.com/financecid=5763516 Unilever company is a financially stable company. The Income statement of Unilever UK for the year 2006 shows that the company generated in billions of pounds of revenues to the tue of 26,714. This shows a two percent decrease from the prior year revenues. The 2005 revenues generated 27,304.4.This represented a decrease of four percent over the prior year revenues. The 2004 revenues generated only 28,584.1. The 2006 cost of sales amounted to 13,540.3. This shows a four percent decline over the cost of goods sold of the prior year. The prior year cost of goods sold is 14,037.6. This is definitely two percent lower than the prior year cost of sales. The prior year sales amounted to 14,309.8. The company also generated gross profit of 13,173.7 for the year 2006. This is a seven percent decrease from the prior year gross profit. The prior year gross profit only reached of 14,274.4. Also, the gross profit ratio for the year 2006 is high at forty nine percent (13,171.7 /26,714). The gross profit ratio for the year 2005 is lower than the 2006 data at forty eight ;/100 percent (13,266.8 /27,304.4). The gross profit ratio for the year 2004 is high at fifty percent (14,274.43,171.7 /28,584.1). The company's operating income for the year 2006

How to Create a Marketing Plan Essay Example for Free

How to Create a Marketing Plan Essay When was the last time you dusted off that marketing plan you created for your business? Wait, you do have a marketing plan, right? Well, if your marketing plan somehow found its way to the recycle bin or if you have actually never planned out a marketing strategy for your business then BusinessMarketingBlog is going to help you. Before we jump into the 6 Simple Steps to Developing A Marketing Plan, it is important that you understand the following elements of every successful marketing plan: 1) Spend the time and resources to plot out your marketing strategy and budget 2) Implement your marketing plan 3) Analyze and adjust your marketing plan as needed 4) Refine your marketing plan for the upcoming year, quarter, month, etc. 6 Steps to an Effective Marketing Plan Step 1: Define the Purpose of Your Marketing Efforts Before you can create a successful marketing plan you must have a strong understanding of what the purpose of your marketing plan is. QUESTION: What do I want people to do after they have been exposed to my marketing? Your answer should be something very specific, not something vague like â€Å"I want my marketing to help my business grow.† Here are some common purposes that business owners use to drive their marketing efforts: * Get someone to pick up the phone and call me * Entice someone to email me * Get people to tell others about my marketing / business HINT: The more thought and planning you put into this first step, the higher your conversion rates will be throughout your marketing efforts. Step 2: Determine Your Competitive Advantage and Emphasize It Now that you have pinned down a couple of the purposes for your marketing plan it is time to think about and plan out how you are going to get people to complete these actions. QUESTION: Why will people take the specified actions you have identified? You must determine what your competitive advantage is over your competitors. Sure, you probably have a lot of great benefits and value adds,  but you need determine your one strongest and most specific competitive advantage. HINT: Stress your competitive advantage as a solution to a problem (if possible). Step 3: Determine Your Target Audience Your marketing plan cannot be effective unless you know the specific demographics of the customers you are trying to reach. Again, try to be as specific as possible as the most effective marketing plans are centered around targeted, accurate broadcasting and not so much reaching the highest number of people possible. A thousand random prospects will usually not earn you as much profit as 10 of the right prospects. QUESTION: Which group of people will be most accepting and willing to receive my marketing message? You can save a ton of money by knowing who your target audience is and tailoring your marketing to that group of people. HINT: Identify ALL of your target groups, BUT market to each group with tailored, targeted messages. Step 4: Determine Your Marketing Methods There are so many ways to market a business these days; however, only a few marketing methods and mediums are raising to the top as being the most cost effective and penetrating. Get out of your old, set ways of how marketing needs to be and expand your efforts into some of today’s most effective means of reaching prospects. Ask yourself this question: QUESTION: Which marketing strategies will allow me to reach my prospects where they are without annoying or interrupting them and will I be able to directly track the results of these efforts? Online marketing is one of, if not, the most cost effective ways to market a business these days. We recommend a comprehensive marketing campaign that includes all of the following online marketing methods: * Business Website and/or Blog * Paid Search Marketing * Search Engine Optimization * Social Media Marketing * Email Marketing * Video Marketing HINT: Hire a professional to implement and maintain these online marketing services for you. You will save a ton of money in the long run. Step 5:  Determine Your Niche Now that you have pin-pointed your purpose, benefits and target market, you need to define your niche. Ask yourself this question: QUESTION: When people hear your product / business / company name, what’s the first thing that crosses their minds? Is it price, speed, exclusivity, service, value or something else? Your answer to this is your niche, also known as positioning, and it is what your prospects see and expect from you. The more defined and specialized your business becomes, the more likely it is to succeed in the long run so put some thought into this one. HINT: Once you define your niche, specialize in it as much as possible and communicate this niche throughout all of your marketing Step 6: Determine Your Marketing Budget Last, but most definitely not the least important, is to define what your marketing budget is for your business. Your marketing budget is something that should be evaluated at least 4 times a year, if not more. You should stick to your planned budget as much as possible. Too often do we see businesses get nervous in tough economies and decide to cut expenses with marketing being one of the first to see cuts. QUESTION: Do you really think that cutting your marketing budget or holding off on aggressive marketing is going to position your business appropriately in any economy? Marketing is not something you should ever cut corners on, especially in down economies when opportunities are ripe for cheaper market penetration. We recommend preparing to spend at least 10% of your gross sales on marketing your business. HINT: Calculate your marketing budget using your projected gross sales; this will help you operate in a growth mode. If you work off of your current sales then you will be plan ning a marketing strategy to just tread water. Putting It All Together These 6 steps are more than enough to get you started on developing a real marketing plan for your business. There are many more elements to a full scale marketing plan that deserves time, research and planning; however, once this work is done and you are able to see, follow, analyze and refine your marketing plan we can almost guarantee that your business will be taken to new levels of success that you have not experienced yet. Good luck and  please let us know if you need assistance or have specific questions about any or all of the steps outlined above.

A Discussion of Tim Walkers Work Essay Example for Free

A Discussion of Tim Walkers Work Essay Walkers’ upbringing in Guildford, surrounded by country has left in him with a feeling of love when it comes to Britain’s landscapes that he wants to show it off in his images, in any which way he can. This essay compares and contrast two works by Tim Walker that are identifiable as his signature style, however individually differ in diverse ways to each other. Taking into consideration the ideas behind the image and how and where he draws his inspiration from to create images that inspire others. His style so unique and recognisable, this essay will take into consideration the historical and social contexts to his works and if his style is a reflection of his inner self, childhood and naturally occurring ideas, or if this style is something he created and now lives within. After graduating from Exeter College of Art, where he studied photography for 3 years, Walker worked as a freelance photography assistant in London. However, it was his move to New York and assisting the photographer Richard Avedon that may have forwarded his career so that at the very early age of 25 he had shot his first fashion story for Vogue. Today a London based photographer, Tim Walker is at the top of his profession and internationally known for his cutting- edge fashion photography; taking fashion further so that fashion becomes seconded to fantasy and surrealism. Walkers innovative photography places him in the midst of the most creative and imaginative photographers out there today. ‘Tim sees pictures in front of him which are not yet there’ (DERRICK, 2008, p124. It is the detailed planning of every image and the ideas that starts the process of the final images he is famous for; for each project of Tim’s, you’ll be able to find a scrapbook full of clippings and ideas found from anywhere. ‘My ideas for all my photographs come from any number of places; a film, or a book I’m reading, a story someone tells me. I take loads of visual references and put them into scrapbooks. I’ve got hundreds of them. ’ (WALKER, 2009, [WWW]) It is these scrapbooks that have provided inspiration for a number of Tim’s shoots. But it’s to be remembered that the inspiration has come from things that have already been, but that he took interest in. ‘I don’t believe in originality. You take inspiration from whatever moves you and you find your own voice in those things’ (WALKER, 2008, p242) Tim Walker saying this, is almost find ironic because his pictures are often named original. However, if it is replicated from/inspired by something/anything he may have seen before- as like most pictures- it can only be your take with your voice on it. However Walker’s inspiration doesn’t stop at that, he also looks to photographers before him for inspiration. Cecil Beaton took so many photographs that purely to me represent the joy one gets from creating fantasy† (WALKER TIM, 2009, [WWW]) The opening to Tim Walkers book Pictures, like all others, start with a foreword. However, unlike all others Tim has handwritten his as if it was just another page in his scrapbook. Located only six pages in after only the credits and title, this is really the very first thing you see in the book and it gives great indication to the style of the book and if you did not know much about Tim beforehand; a great introduction to him, his style and how he thinks. Not only is it the actually content of the foreword: ‘as you tour your imagination you want to photograph what you are seeing†¦you are SO very keen to be able to show what you’ve seen that it somehow becomes true, and the picture you end up taking becomes a souvenir, a piece of proof brought back [all the way] from the daydream. ’ (WALKER, 2008, P6) But the design and the layout of the page also: He cleverly drops the control of the layout, slanting the writing just as he talks about his mind drifting. It’s a clever play on the typography that as we read, we too feel as if we’ve sunken into this relaxed state of daydreaming. The way Tim describes in depth the path he often goes on that lands him at the conclusion of an image shows deeply how creative it often is, usually because it begins with something as simple as walking round a clothes store. The pictures he takes then become a snapshot almost, and a gift he shares with us from his imagination†¦from his daydream. Tim’s childhood plays a big part in the ‘fun’ many of his images are filled with. ‘He draws upon his childhood to construct sets for his images that are witty and playful yet sufficiently sophisticated enough to perform for his fashion clients. (THOMAS, 2008, [WWW]) Bringing such essences of an adolescent age into something quite professional could be risky, but it is this that give’s Tim’s pictures that exciting, magical vibe. Tim Walker says in an ICP awards interview, ‘fashion is the dream department for photography and I’ve always been a daydreamer. Tim’s pictures relate to and reflect a time in the 1940’s era and the time of the Neo-Romantic artists, that happened at a time of Britain’s ‘dark hours’. Today, although we might not be in the middle of Second World War, the world is in a state of uncertainty. For Walker, it may just be that creativity in fashion photography and the understanding of make believe places in his imaginations may just be the sort of images that the world need to see, to remember themselves, how magical and escapist day-dreaming can be. The first image of Tim Walkers I have chosen is this one titled ‘Lily Cole on fish hook. ’ Surrealism is a big factor in the creation of a Tim Walker shoot and it is the surrealism in this image that makes it so striking. It grabs your attention straight away and with little effort in the actual design of the image. Although the content is completely random, the image works in so many different ways that you almost don’t recognise it until a few moments after looking. The whole image looks calm; the stillness of the water, the sunlight reflected off of it, the grip of her hands on the hook, her expression. This image is magical, because it looks right, for something that shouldn’t ever be. The shoot was located in Northumberland, England and the location only helps set this calm relaxed scene as well as adding to that ‘very English’ feeling he often brings forth to many of his images. Recreational fishing is fishing for pleasure, with the fisher not really too interested in catching fish, but for the tranquillity and relaxation of it. This shoot, is extremely reflective of this, oozing tranquillity with the colours and calmness. Lily allowing her tip toes to play with the surface of the water, creating disturbance in it, works well within the image; it doesn’t have a negative effect on it, but almost brings her as a model to life. This was not Lily’s first shoot with Tim, and posing as bait on a giant fish hook was nothing out of the ordinary madness. He loved working with the English model, who first posed for him at the age of 15. ‘Some Models know how to stitch and weave themselves into a picture. Lily instinctively knows how to become part of it. ’ (WALKER, 2008, p124) In this image of Lily on the hook, she really does own it; she pulls of her ‘act’ as bait, attracting the fish just with her stance and beauty, and looking calm and really engaged with the photographer. She’s wearing a random collaboration of 3 tutus and her hair fizzed up to mirror them. Although quite dainty and delicate in body, she looks strong and very in control ironic to her state as bait. But this works nicely as the setting of the lake and the fields in the background add to that gentle voice the image has, balancing it nicely. The second image is one that Walker had designed for Italian Vogue. The image named ‘Eglingham Stream’ was shot in Northumberland, England, 2004. The image shows a bedroom with a stream running through it from the fireplace. The room is cluttered, and filled with clear personal belongings of somebody. The contents of the coat stand and the drinks trolley-in which the whiskey is the most noticeable bottle-all refer to the occupant being a man. The fishes on the stone and those in the basket on the table suggest that the person that lives her is a man that has a fond passion for fishing. These objects that the viewer initially notices, cleverly lead them to be mysterious as to what the image is showing us. When looking further into the image, we notice smaller details such as the images framed on the wall that are not of any family members or portraits of him, but of horses and landscapes. This could suggest that he has no family members and is possibly quite a reserved man and this is strengthened by the big matter of his room being right by the lake. It raises questions as to how obsessed this man actually is with fishing, that he has moved his bedroom to live within meters of the lake. Although, there are some signifiers that suggest that a woman is present: the pink bedding and net chiffon, the frill trimmed lamps and the two tooth brushes on the chest of drawers. There is also a small portrait of a young boy in the frame above the fireplace. Because of how out of place this looks as the only one, it seems to be a ‘woman’s touch’, as do the shells on top of the fireplace. The image as a whole has a romantic, feminine and fantastical feel-created by the lighting and whispery stream-that is signature to Walkers style. The shoot seems to be set in the twilight hour, or in the early evening, indicated by the bluely tint to the night and the 3 lamps in the room being on. The absence in the room could well just mean that the man is off fishing with his dog shown by the empty dog basket. There are many things about both the images that make them similar when talking about them in context of Walkers style. Both images were shot in Northumberland in the same year and although it isn’t stated, the lake that we see Lily suspended above is likely to be part of the stream that is present in the second image. The images both have strong fishing references to them: Lily is suspended on a giant fishing hook, and the setting of the second is the home of someone completely obsessed with fishing. The images are not part of the same set or story, and do not look it either. However, contextually, they seem to work hand in hand. Having the countryside and fields in the background that run our eyes to the edge of the Fish Hook image just above the halfway line is similar in comparison to the way the Eglingham Stream image is cut off. This image is split by the striking pink/reddish colour of the walls meeting the grey wet slate form the stream that make the bedroom floor. Both splitting factors are of natural earthly objects; possibly representing that county, earthly, English vibe Walker has been known to create in many of his images. There is a terrible truthfulness about photography that the ideas which might work in a painting or a sketch won’t necessarily work in a photograph’ (UNKNOWN, 2008, p254. ) This statement is from Tim Walkers book Pictures and although this was not said in reference to Walkers work, it almost seems as if this is something he fights hard to overcome in his own pictures. He doesn’t let the normal be a limi t, he combines familiarity with fantasy and imagination to create what has never been seen before. This is what gives them that edge over many other fantastic editorials, and sketching ideas to visualise them is a big thing with Tim Walker; something he prides his work upon. Despite all their similarities, the images are in fact very different and not only of location and setting, but of story and design. In the first image of Lily on the hook, that is the surrealism; this beautiful girl dressed in a random combination of tutus with huge frizzy ginger hair hanging on a fishing hook. This is what we are supposed to look at and see the dreamlike, far from ordinary image in front of us. In the second image, the stream running out of the fire place through the middle of the room is also surreal, but that’s not only what the image is about. It’s about the story the scene creates. Yes you look at the stream and think ‘wow’ and begin to question it, but it doesn’t stop there, your questioning goes on to the room and what the contents of it mean. The images also differ in terms of layout. The first is portrait and works better in this format as it allows the full size of the hook to be appreciated. If this was on a landscape layout, the surrealism of the hook may not be fully valued due to it physically having to be shrunk on the page. However, the double page landscape layout for the second image allows a full viewing of the room and many details and objects to be noticed. This image in a portrait layout would not be successful as the image would have to be shrunken or cropped- both having negative effects on the way the image is viewed. The subject matter and the use of a model being used in the first image but not in the second is another differing factor between them both. Lily as a model is the subject in Figure 2 that the viewer connects with; she gives the image that presence so that when we look at it, it’s not just a picture, it’s a situation that we feel as if we are now part of. In Figure 3, Tim Walker is successful in including the viewer, but in a very different way and without using any models; we are invited to look into somebody’s bedroom while they are not there and just by looking at the photograph, the viewer becomes an intruder. But this intrusion plays as a foundation for the story behind the image, the one we seek out and uncover more of the more we look at it. Although the lamps warm up the image, it still has this cold feel created by the grey stones, real flowing stream and lack of natural light. The absence of anybody in the room assists in creating this ‘chill-in- the-air’ feeling. Figure 2, where Lily is standing on a large fishing hook, has a surprisingly warm tone to it and this may be due to her relaxed pose and the warming colours present in the image: The ginger of her hair, the red of her tutu and the fishing tackle and the brown/copper of the lake. The colours are softened by the sunlight adding to that warm tone. ‘Photography is a bit like cooking: you take the ingredients out of the cupboard and mix them up- old pictures, characters, colours, landscapes, to create something that is in your imagination that surprises you. ’ (WALKER, 2009, P208) It is clear to see that Walker uses certain ingredients in both of these images; fantasy and surrealism become like the salt and pepper; the underlying flavour and present always. After looking at Lily On The Hook and Eglingham Stream in comparison to each other, many similarities are because of Walkers ‘style’ that are consistent throughout. Even though both are editorials, contently, technically and visually, there is a big difference between them. Creatively, they are alike. These are just two out of hundreds of Tim Walkers photographs, but as like all of his images, there will always be something magical, fantastical or romantic to hint that the image was photographed by Walker. The images are real in their own terms; that is what they are. As a fashion photographer you are a documentary photographer within a fantasy land. ’ (WALKER, 2009, p210) By Walker referring to himself as a documentary photographer within a fantasy land gives us a clear insight to how he sees fashion photography; in a childlike day-dream way. He escapes to this place in which his imagination can be real and he sees his job as a photographer to document this.

Cultuur en Opvoeding

Cultuur en Opvoeding Interculturele Pedagogiek Extra opdracht Beoordeling Cultuur en opvoeding Cultuur en Opvoeding. Een recensie over het boek van Lotty Eldering. De discussie over het multiculturele karakter van de Nederlandse samenleving keert herhaaldelijk terug. Eà ©n van de redenen hiervoor is de toename van immigranten en vluchtelingen uit niet-westerse landen naar Nederland. Prof. dr. Lotty Eldering, emeritus hoogleraar Interculturele Pedagogiek aan de Universiteit Leiden, heeft vijfentwintig jaar lang onderzoek gedaan onder allochtone gezinnen. Naar aanleiding van dit onderzoek heeft ze begin 2002 een overzichtwerk geschreven, waarin aandacht wordt besteed aan zowel de huidige (opvoedings-)situatie van allochtone ouders en kinderen, als hun voorgeschiedenis en de daarbij behorende cultuur als hun verdere leefsituatie. Dit boek heet Cultuur en Opvoeding. Interculturele pedagogiek vanuit ecologisch perspectief. Niet eerder was er een studieboek verschenen over het onderwerp interculturele pedagogiek. Lotty Eldering is een van de eerste schrijfsters die zulk grondige informatie verschafte over de nieuw bevolkingsgroepen die in Nederland binnenkomen. Het doel van dit boek is het bij te dragen aan het tot stand komen van een beter inzicht in de culturele orià «ntatie en sociale positie van allochtone ouders en jeugdigen. Daarnaast is het de bedoeling de culturele sensitiviteit, ten opzicht van deze mensen, van haar lezers te vergroten. Het boek is bestemd voor een groot publiek, namelijk studenten en docenten die zich willen verdiepen in de opvoeding en leefwijze van allochtone jongeren, praktijkwerkers, onderzoekers en anderen die behoefte hebben aan kennis en inzicht van cultuur op de opvoeding. Daarnaast is het ook handig als naslagwerk te gebruiken. In Cultuur en opvoeding wordt de manier van opvoeden van allochtonen in Nederland duidelijk besproken, zodat je er een goed beeld van kan vormen. Telkens wordt hierbij ook gesproken over de islamitische en de hindoestaanse manier van opvoeden. De religie en tradities van deze groepen worden hierbij ook behandeld om een beeld te krijgen hoe zich dit in de Nederlandse samenleving inpast. Ook wordt hier een vergelijking gemaakt met de Nederlandse gewoontes en de christelijke opvoeding. Nederland wordt hier gezien als multiculturele samenleving, door toename van het aantal immigranten en vluchtelingen die afkomstig zijn uit niet-westerse samenlevingen. Wat hier allemaal bij komt kijken wordt beschreven te samen met de waarden en normen in Nederland. Eldering schrijft vanuit een ecologisch perspectief. Dit perspectief gaat er van uit dat de sociale en culturele context van het gezin, de omgeving, grote invloed heeft op de opvoeding en ontwikkeling van het kind. Tot nu toe is het ecologisch raamwerk voornamelijk gebruikt bij het bestuderen van een stereoculturele omgeving en niet, zoals Eldering doet, bij het bestuderen van kinderen die opgroeien in een multiculturele samenleving. Eldering beschrijft kritisch het ecologische model en het developmental niche model (ontwikkelingsgebieden) van respectievelijk Bronfenbrenner Harkness en Super. Cultuur en opvoeding geeft de informatie erg beschrijvend weer. Het leven van allochtonen in Nederland wordt beschreven en geÃÆ' ¯llustreerd aan de hand van voorbeelden in aparte kaders. Door het boek loopt over het algemeen een goed volgbare rode draad die de lezer langs al die aspecten leidt. De indeling van het boek verloopt op een logische manier, van het grote algemene (wat zijn allochtonen, waar komen ze vandaan) naar het meer uitgewerkte (hoe wordt er opgevoed, welk risico- en probleemgedrag komen er voor). Doordat de voorgeschiedenis en de cultuur in de landen van herkomst, van de allochtonen gezinnen die in dit boek worden behandeld, eerst toe te lichten kom je tot een beter beeld van deze gezinnen. Ook verklaard dit veel van wat er in de rest van het boek volgt. Deze twee punten hebben namelijk nog steeds invloed op zowel de opvoeding als de andere dagelijkse dingen in de allochtone gezinnen wanneer deze in Nederland wonen. Na een voorwoord van de schrijfster zelf, volgt een inleiding over de interculturele pedagogiek en het gebruik van dit boek. Hierin worden drie theoretische perspectieven, namelijk het ecologische model (invloed omgeving op de opvoedingssituatie), historisch en vergelijkend en acculturatie (dichterbij elkaar komen van mensen uit verschillende culturen) en cultuurverschillen, genoemd die gebruikt zijn in dit boek als richtlijnen. In hoofdstuk 2 worden de identificatiecriteria, herkomst en migratie van allochtonen in Nederland beschreven. De meeste aandacht gaat hier uit naar de (Creoolse en Hindoestaanse) Surinamers, de Marokkanen en de Turken. In hoofdstuk 3 gaat het om het theoretische kader. Hier worden de integratie, het multiculturalisme, het ecologische raamwerk (met hierin het ecologische model van Bronfenbrenner en de devolopment niche van Harkness en Super), de cultuur en de risicofactoren (zowel in het algemeen als speciaal voor allochtone jongeren) beschreven. De religie staat centraal in het volgende hoofdstuk. Hier worden de Islam en het HindoeÃÆ' ¯sme verder uitgewerkt, van het ontstaan tot de komst van dit geloof in Nederland. In hoofdstuk 5 draait het om de maatschappelijke participatie en de culturele orià «ntatie van de allochtonen hier in Nederland. Hier komen onder andere de sociale positie, taal en de banden met het land van herkomst aan bod. In hoofdstuk 6 gaat het boek vervolgens verder met de crossculturele verschillen in opvoeding. Hier wordt het socialisatiemodel van Kagità §ibasi en visies op kinderen en hun ontwikkelingen behandeld en de punten opvoeding, leren en identiteit worden nader uitgelegd. In hoofdstuk 7 gaat Eldering daarop door, want hier staat de opvoeding van allochtonen gezinnen centraal. Dit is geschreven vanuit de allochtonen gezinnen (Marokkaans, Turks, Surinaams) zelf. De adolescentie is het onderwerp van hoofdstuk 8. Hier gaat het over relaties (met ouders en leeftijdsgenoten), vrije tijd en vriende n, school en werk, seksualiteit en huwelijk. In het laatste hoofdstuk wordt tot besluit de risicofactoren en het probleemgedrag behandeld. Hier gaat het over wat een belangrijke basis is wat een jongere nodig heeft, welke risicofactoren er zijn en met welke psychosociale problemen ze te maken kunnen hebben. De manier van schrijven, de indeling van het boek en de vele voorbeelden, van zowel tekst als illustraties, maken dit boek tot een leerzaam boek die ook prettig is om te lezen. Wel mist er zo nu en dan wat structuur. Wat tussen hoofdstuk 6 en hoofdstuk 7 wel duidelijk is, is tussen andere hoofdstukken sporadisch. Tussen hoofdstuk   6 en 7 is een duidelijk verband, er wordt in het eerste hoofdstuk een achtergrond geschetst voor de tweede. Vrijwel alles waar aan gedacht wordt bij het denken aan allochtone mensen in Nederland, komen aan de orde. Aspecten die hier worden bedoeld zijn bijvoorbeeld religie, manier van opvoeden, sociale positie en andere cultureel specifieke dingen. Het is een interessant boek voor diegene die geÃÆ' ¯nteresseerd zijn in cultuurverschillen hier in Nederland. Alles bij elkaar maakt dit informatieve boek compleet.

Literature Supports Trigger-Dispersion Theory :: Biology Essays Research Papers

Literature Supports Trigger-Dispersion Theory Having seen epileptic seizures and talking qualitatively about the experience with people who have epilepsy, I made five basic hypotheses about epilepsy. I collectively call these hypotheses my trigger dispersion theory of epilepsy. My five hypotheses are: 1 There is an area in the brain where abnormal firing associated with seizures begins. I will call this area the trigger area. From the trigger area, abnormal firing spreads to other areas of the brain compromising the function of the affected area. 2 There is a stimulus either external or internal which excites the trigger area. I will call this stimulus the trigger. The trigger can be very specific. 3 The first area affected after the trigger area is sensory. 4 The abnormal firing spreads from the sensory area to an area for motor control. In this paper, I will go through the hypotheses of the trigger-dispersion theory and discuss literature that supports each hypothesis. Hypothesis 1- There is an area in the brain where abnormal firing associated with seizures begins. I will call this area the trigger area. From the trigger area, abnormal firing spreads to other areas of the brain compromising the function of the affected area. During a seizure, certain cells (a seizure focus) begin to fire rapidly. In fact, nerve cells in the brain fire electrical impulses at a rate of up to four times higher than normal during a seizure (5) . This abnormal firing is spread this to other neighboring cells. In the brain of an epileptic, there is not enough inhibitory neurotransmitters to stop the spread of the abnormal firing (2) . In the 1800s, it was noted by Jackson that epileptic seizures begin in isolated parts of the body such as the thumb and from there spread to neighboring regions perhaps the arm and then to the rest of the body. He hypothesized that there were areas in cerebral cortex that controlled isolated movements and that the areas that were adjacent in the brain were anatomically adjacent as well. Therefore, a seizure began in one area and spread to the rest of the cortex. His hypothesis was later substantiated by Fritsch and Hittig's excitation experiments on motor cortex or area 4. It is a band of neural tissue on the cerebral cortex lying on precentral fissure. The body's movements are mapped out on this band giving rise to the spreading fashion that Jackson described during seizures (6) .

The Comedy of Hamlet Essay -- Character Analysis, Polonius,Gertrude, C

How does the use of comic relief best contrast the tragedy of Hamlet? In great works of literature a comic relief is used as contrast to a serious scene to intensify the overall tragic nature of the play or to relieve tension. As illustrated in Shakespeare’s tragedy Hamlet, intense scenes are joined with character’s banter and vacuous actions as to add a comic relief. In Hamlet, Polonius acts as a comic relief by his dull and windy personality, Hamlet uses his intelligence and his negativity toward the king and queen to create humor, while on the other hand Rosencrantz and Guildenstern are a comic relief by their senseless actions and naà ¯ve natures. Polonius, Hamlet, Rosencrantz and Guildenstern are all used as a comic relief to increase the ultimate tragic nature of the play. Polonius is a comic relief because of his self-absorbed, dull personality. Polonius is over-eager and tries to give unwanted advice, during the play he is tactless and often rude. For instance, Polonius is a comic relief during his conversation with Gertrude and Claudius regarding Hamlet’s madness. Polonius rambling through his conversation contrasts with Gertrude’s seriousness of wanting to find out the reason to Hamlet’s madness. As Polonius begins to deliver to the king and queen the results of his investigation, he makes this statement, â€Å"My liege, and madam, to expostulate/ What majesty should be, what duty is,/ What day is day, night is night, and time is time,/ Were nothing but to waste night, day, and time;/ Therefore, since brevity is the soul of wit,/ And tediousness the limbs and outward flourishes,/ I will be brief. Your noble son is mad. . . .†(IIii,86-92) . Polonius’ speech is windy and nonsensical he wastes ti... ...d that he's been insulted for being stupid. Hamlet uses his intelligence and morbid sense of humor to portray the show how sad the play really is. In conclusion, a comic relief is used to relieve tension and to contrast serious scenes to increase the ultimate tragic nature of the play. Polonius uses his self absorbed dull personality to create humor in his scenes. Rosencrantz and Guildenstern act as the fool by their tactless actions and dialogue, their lightheartedness makes the tragic parts of the play seem all the more tragic. And finally Hamlet uses his morbid humor to intensify scenes of sorrow while he also bitterly teases others to relieve tensions at times. The comic relief in Shakespeare’s Hamlet contrasts intense scenes as to make them more intense. work Cited Shakespeare, William. Hamlet. Ed. Harold Jenkins. London: Methuen, 1982. Print.

A Worn Path :: Essays Papers

A Worn Path In the short story A Worn Path, by Eudora Welty there is only one main character Miss Phoenix Jackson, who is in barking on a journey that would lead her to the desired destination. Phoenix's personality would change as she gathered more land with her persistent walking, passing through many different settings. Although the change in scenery is blately obvious it is sometimes what we over look, when trying to examine the characters attitude, or morals in different situations. The attitude change in Miss Jackson is noticeable as she lumbers through the pines, crossing the stream, and again while sitting at the doctor's office. When Phoenix is walking early in the morning she is amongst the pine trees that seems to engulf her, she shows her determination as she lumbers along the trail. With the motion in her step going from side to side in a manner that would sagest the pace that she is keeping, although is a slow in general, may be a little quicker then she would normally be maintaining. This would be so that she could return before the sun goes down with the medicine for her little grandson. She knows this trail very well and walks with confidence, persistently taping the ground with her cane, possible not even looking at where it is her feet are landing. Upon the way she stops to scold and warn the foxes, and other small animals she was visualizing to stay out of her way that she had a far walk and that she must be getting on her way. She says this with a tone in her voice which I imagine to be a voice that a older women uses when they mean business and must finish what they set out to do. Phoenix waves her cane much like someone would at a horse, to persuade it to continue on the path. As Phoenix approaches the stream it becomes obvious that the spirit and imagination inside of her is that of a child. It almost appears that Phoenix has reached the fountain of youth, which releases the child inside of her. She takes a large first step raising her knee high walking onto the log that resemble that of a marching band, while holding the small cane straight out as if to point the direction.

The Twilight Saga 4: Breaking Dawn 37. Contrivances

Aro did not rejoin his anxious guard waiting on the north side of the clearing; instead, he waved them forward. Edward started backing up immediately, pulling my arm and Emmett's. We hurried backward, keeping our eyes on the advancing threat. Jacob retreated slowest, the fur on his shoulders standing straight up as he bared his fangs at Aro. Renesmee grabbed the end of his tail as we retreated; she held it like a leash, forcing him to stay with us. We reached our family at the same time that the dark cloaks surrounded Aro again. Now there were only fifty yards between them and us – a distance any of us could leap in just a fraction of a second. Caius began arguing with Aro at once. â€Å"How can you abide this infamy? Why do we stand here impotently in the face of such an outrageous crime, covered by such a ridiculous deception?† He held his arms rigidly at his sides, his hands curled into claws. I wondered why he did not just touch Aro to share his opinion. Were we seeing a division in their ranks already? Could we be that lucky? â€Å"Because it's all true,† Aro told him calmly. â€Å"Every word of it. See how many witnesses stand ready to give evidence that they have seen this miraculous child grow and mature in just the short time they've known her. That they have felt the warmth of the blood that pulses in her veins.† Aro's gesture swept from Amun on one side across to Siobhan on the other. Caius reacted oddly to Aro's soothing words, starting ever so slightly at the mention of witnesses. The anger drained from his features, replaced by a cold calculation. He glanced at the Volturi witnesses with an expression that looked vaguely†¦ nervous. I glanced at the angry mob, too, and saw immediately that the description no longer applied. The frenzy for action had turned to confusion. Whispered conversations seethed through the crowd as they tried to make sense of what had happened. Caius was frowning, deep in thought. His speculative expression stoked the flames of my smoldering anger at the same time that it worried me. What if the guard acted again on some invisible signal, as they had in their march? Anxiously, I inspected my shield; it felt just as impenetrable as before. I flexed it now into a low, wide dome that arced over our company. I could feel the sharp plumes of light where my family and friends stood – each one an individual flavor that I thought I would be able to recognize with practice. I already knew Edward's – his was the very brightest of them all. The extra empty space around the shining spots bothered me; there was no physical barrier to the shield, and if any of the talented Volturi got under it, it would protect no one but me. I felt my forehead crease as I pulled the elastic armor very carefully closer. Carlisle was the farthest forward; I sucked the shield back inch by inch, trying to wrap it as exactly to his body as I could. My shield seemed to want to cooperate. It hugged his shape; when Carlisle shifted to the side to stand nearer to Tanya, the elastic stretched with him, drawn to his spark. Fascinated, I tugged in more threads of the fabric, pulling it around each glimmering shape that was a friend or ally. The shield clung to them willingly, moving as they moved. Only a second had passed; Caius was still deliberating. â€Å"The werewolves,† he murmured at last. With sudden panic, 1 realized that most of the werewolves were unprotected. I was about to reach out to them when I realize that, strangely, I could still feel their sparks. Curious, I drew the shield tighter in, until Amun and Kebi – the farthest edge of our group – were outside with the wolves. Once they were on the other side, their lights vanished. They no longer existed to that new sense. But the wolves were still bright flames – or rather, half of them were. Hmm†¦ I edged outward again, and as soon as Sam was under cover, all the wolves were brilliant sparks again. Their minds must have been more interconnected than I'd imagined. If the Alpha was inside my shield, the rest of their minds were every bit as protected as his. â€Å"Ah, brother†¦,† Aro answered Caius's statement with a pained look. â€Å"Will you defend that alliance, too, Aro?† Caius demanded. â€Å"The Children of the Moon have been our bitter enemies from the dawn of time. We have hunted them to near extinction in Europe and Asia. Yet Carlisle encourages a familiar relationship with this enormous infestation – no doubt in an attempt to overthrow us. The better to protect his warped lifestyle.† Edward cleared his throat loudly and Caius glared at him. Aro placed one thin, delicate hand over his own face as if he was embarrassed for the other ancient. â€Å"Caius, it's the middle of the day,† Edward pointed out. He gestured to Jacob. â€Å"These are not Children of the Moon, clearly. They bear no relation to your enemies on the other side of the world.† â€Å"You breed mutants here,† Caius spit back at him. Edward's jaw clenched and unclenched, then he answered evenly, â€Å"They aren't even werewolves. Aro can tell you all about it if you don't believe me.† Not werewolves? I shot a mystified look at Jacob. He lifted his huge shoulders and let them drop – a shrug. He didn't know what Edward was talking about, either. â€Å"Dear Caius, I would have warned you not to press this point if you had told me your thoughts,† Aro murmured. â€Å"Though the creatures think of themselves as werewolves, they are not. The more accurate name for them would be shape-shifters. The choice of a wolf form was purely chance. It could have been a bear or a hawk or a panther when the first change was made. These creatures truly have nothing to do with the Children of the Moon. They have merely inherited this skill from their fathers. It's genetic – they do not continue their species by infecting others the way true werewolves do.† Caius glared at Aro with irritation and something more – an accusation of betrayal, maybe. â€Å"They know our secret,† he said flatly. Edward looked about to answer this accusation, but Aro spoke faster. â€Å"They are creatures of our supernatural world, brother. Perhaps even more dependent upon secrecy than we are; they can hardly expose us. Carefully, Caius. Specious allegations get us nowhere.† Caius took a deep breath and nodded. They exchanged a long, significant glance. I thought I understood the instruction behind Aro's careful wording. False charges weren't helping convince the watching witnesses on either side; Aro was cautioning Caius to move on to the next strategy. I wondered if the reason behind the apparent strain between the two ancients – Caius's unwillingness to share his thoughts with a touch – was that Caius didn't care about the show as much as Aro did. If the coming slaughter was so much more essential to Caius than an untarnished reputation. â€Å"I want to talk to the informant,† Caius announced abruptly, and turned his glare on Irina. Irina wasn't paying attention to Caius and Aro's conversation; her face was twisted in agony, her eyes locked on her sisters, lined up to die. It was clear on her face that she knew now her accusation had been totally false. â€Å"Irina,† Caius barked, unhappy to have to address her. She looked up, startled and instantly afraid. Caius snapped his fingers. Hesitantly, she moved from the fringes of the Volturi formation to stand in front of Caius again. â€Å"So you appear to have been quite mistaken in your allegations,† Caius began. Tanya and Kate leaned forward anxiously. â€Å"I'm sorry,† Irina whispered. â€Å"I should have made sure of what I was seeing. But I had no idea___† She gestured helplessly in our direction. â€Å"Dear Caius, could you expect her to have guessed in an instant something so strange and impossible?† Aro asked. â€Å"Any of us would have made the same assumption.† Caius flicked his fingers at Aro to silence him. â€Å"We all know you made a mistake,† he said brusquely. â€Å"I meant to speak of your motivations.† Irina waited nervously for him to continue, and then repeated, â€Å"My motivations?† â€Å"Yes, for coming to spy on them in the first place.† Irina flinched at the word spy. â€Å"You were unhappy with the Cullens, were you not?† She turned her miserable eyes to Carlisle's face. â€Å"I was,† she admitted. â€Å"Because†¦ ?† Caius prompted. â€Å"Because the werewolves killed my friend,† she whispered. â€Å"And the Cullens wouldn't stand aside to let me avenge him.† â€Å"The shape-shifters,† Aro corrected quietly. â€Å"So the Cullens sided with the shape-shifters against our own kind – against the friend of a friend, even,† Caius summarized. I heard Edward make a disgusted sound under his breath. Caius was ticking down his list, looking for an accusation that would stick. Irina's shoulders stiffened. â€Å"That's how I saw it.† Caius waited again and then prompted, â€Å"If you'd like to make a formal complaint against the shape-shifters – and the Cullens for supporting their actions – now would be the time.† He smiled a tiny cruel smile, waiting for Irina to give him his next excuse. Maybe Caius didn't understand real families – relationships based on love rather than just the love of power. Maybe he overestimated the potency of vengeance. Irina's jaw jerked up, her shoulders squared. â€Å"No, I have no complaint against the wolves, or the Cullens. You came here today to destroy an immortal child. No immortal child exists. This was my mistake, and I take full responsibility for it. But the Cullens are innocent, and you have no reason to still be here. I'm so sorry,† she said to us, and then she turned her face toward the Volturi witnesses. â€Å"There was no crime. There's no valid reason for you to continue here.† Caius raised his hand as she spoke, and in it was a strange metal object, carved and ornate. This was a signal. The response was so fast that we all stared in stunned disbelief while it happened. Before there was time to react, it was over. Three of the Volturi soldiers leaped forward, and Irina was completely obscured by their gray cloaks. In the same instant, a horrible metallic screeching ripped through the clearing. Caius slithered into the center of the gray melee, and the shocking squealing sound exploded into a startling upward shower of sparks and tongues of flame. The soldiers leaped back from the sudden inferno, immediately retaking their places in the guard's perfectly straight line. Caius stood alone beside the blazing remains of Irina, the metal object in his hand still throwing a thick jet of flame into the pyre. With a small clicking sound, the fire shooting from Caius's hand disappeared. A gasp rippled through the mass of witnesses behind the Volturi. We were too aghast to make any noise at all. It was one thing to know that death was coming with fierce, unstoppable speed; it was another thing to watch it happen. Caius smiled coldly. â€Å"Now she has taken full responsibility for her actions.† His eyes flashed to our front line, touching swiftly on Tanya's and Kate's frozen forms. In that second I understood that Caius had never underestimated the ties of a true family. This was the ploy. He had not wanted Irina's complaint; he had wanted her defiance. His excuse to destroy her, to ignite the violence that filled the air like a thick, combustible mist. He had thrown a match. The strained peace of this summit already teetered more precariously than an elephant on a tightrope. Once the fight began, there would be no way to stop it. It would only escalate until one side was entirely extinct. Our side. Caius knew this. So did Edward. â€Å"Stop them!† Edward cried out, jumping to grab Tanya's arm as she lurched forward toward the smiling Caius with a maddened cry of pure rage. She couldn't shake Edward off before Carlisle had his arms locked around her waist. â€Å"It's too late to help her,† he reasoned urgently as she struggled. â€Å"Don't give him what he wants!† Kate was harder to contain. Shrieking wordlessly like Tanya, she broke into the first stride of the attack that would end with everyone's death. Rosalie was closest to her, but before Rose could clinch her in a headlock, Kate shocked her so violently that Rose crumpled to the ground. Emmett caught Kate's arm and threw her down, then staggered back, his knees giving out. Kate rolled to her feet, and it looked like no one could stop her. Garrett flung himself at her, knocking her to the ground again. He bound his arms around hers, locking his hands around his own wrists. I saw his body spasm as she shocked him. His eyes rolled back in his head, but his hold did not break. â€Å"Zafrina,† Edward shouted. Kate's eyes went blank and her screams turned to moans. Tanya stopped struggling. â€Å"Give me my sight back,† Tanya hissed. Desperately, but with all the delicacy I could manage, I pulled my shield even tighter against the sparks of my friends, peeling it back carefully from Kate while trying to keep it around Garrett, making it a thin skin between them. And then Garrett was in command of himself again, holding Kate to the snow. â€Å"If I let you up, will you knock me down again, Katie?† he whispered. She snarled in response, still thrashing blindly. â€Å"Listen to me, Tanya, Kate,† Carlisle said in a low but intense whisper. â€Å"Vengeance doesn't help her now. Irina wouldn't want you to waste your lives this way. Think about what you're doing. If you attack them, we all die.† Tanya's shoulders hunched with grief, and she leaned into Carlisle for support. Kate was finally still. Carlisle and Garrett continued to console the sisters with words too urgent to sound like comfort. And my attention returned to the weight of the stares that pressed down on our moment of chaos. From the corners of my eyes, I could see that Edward and everyone else besides Carlisle and Garrett were on their guard again as well. The heaviest glare came from Caius, staring with enraged disbelief at Kate and Garrett in the snow. Aro was watching the same two, incredulity the strongest emotion on his face. He knew what Kate could do. He had felt her potency through Edward's memories. Did he understand what was happening now – did he see that my shield had grown in strength and subtlety far beyond what Edward knew me to be capable of? Or did he think Garrett had learned his own form of immunity? The Volturi guard no longer stood at disciplined attention – they were crouched forward, waiting to spring the counterstrike the moment we attacked. Behind them, forty-three witnesses watched with very different expressions than the ones they'd worn entering the clearing. Confusion had turned to suspicion. The lightning-fast destruction of Irina had shaken them all. What had been her crime? Without the immediate attack that Caius had counted on to distract from his rash act, the Volturi witnesses were left questioning exactly what was going on here. Aro glanced back swiftly while I watched, his face betraying him with one flash of vexation. His need for an audience had backfired badly. I heard Stefan and Vladimir murmur to each other in quiet glee at Aro's discomfort. Aro was obviously concerned with keeping his white hat, as the Romanians had put it. But I didn't believe that the Volturi would leave us in peace just to save their reputation. After they finished with us, surely they would slaughter their witnesses for that purpose. I felt a strange, sudden pity for the mass of the strangers the Volturi had brought to watch us die. Demetri would hunt them until they were extinct, too. For Jacob and Renesmee, for Alice and Jasper, for Alistair, and for these strangers who had not known what today would cost them, Demetri had to die. Aro touched Caius's shoulder lightly. â€Å"Irina has been punished for bearing false witness against this child.† So that was to be their excuse. He went on. â€Å"Perhaps we should return to the matter at hand?† Caius straightened, and his expression hardened into unreadability. He stared forward, seeing nothing. His face reminded me, oddly, of a person who'd just learned he'd been demoted. Aro drifted forward, Renata, Felix, and Demetri automatically moving with him. â€Å"Just to be thorough,† he said, â€Å"I'd like to speak with a few of your witnesses. Procedure, you know.† He waved a hand dismissively. Two things happened at once. Caius's eyes focused on Aro, and the tiny cruel smile came back. And Edward hissed, his hands balling up in fists so tight it looked like the bones in his knuckles would split through his diamond-hard skin. I was desperate to ask him what was going on, but Aro was close enough to hear even the quietest breath. I saw Carlisle glance anxiously at Edward's face, and then his own face hardened. While Caius had blundered through useless accusations and injudicious attempts to trigger the fight, Aro must have been coming up with a more effective strategy. Aro ghosted across the snow to the far western end of our line, stopping about ten yards from Amun and Kebi. The nearby wolves bristled angrily but held their positions. â€Å"Ah, Amun, my southern neighbor!† Aro said warmly. â€Å"It has been so long since you've visited me.† Amun was motionless with anxiety, Kebi a statue at his side. â€Å"Time means little; I never notice its passing,† Amun said through unmoving lips. â€Å"So true,† Aro agreed. â€Å"But maybe you had another reason to stay away?† Amun said nothing. â€Å"It can be terribly time-consuming to organize newcomers into a coven. I know that well! I'm grateful I have others to deal with the tedium. I'm glad your new additions have fit in so well. I would have loved to have been introduced. I'm sure you were meaning to come to see me soon.† â€Å"Of course,† Amun said, his tone so emotionless that it was impossible to tell if there was any fear or sarcasm in his assent. â€Å"Oh well, we're all together now! Isn't it lovely?† Amun nodded, his face blank. â€Å"But the reason for your presence here is not as pleasant, unfortunately. Carlisle called on you to witness?† â€Å"Yes.† â€Å"And what did you witness for him?† Amun spoke with the same cold lack of emotion. â€Å"I've observed the child in question. It was evident almost immediately that she was not an immortal child – â€Å" â€Å"Perhaps we should define our terminology,† Aro interrupted, â€Å"now that there seem to be new classifications. By immortal child, you mean of course a human child who had been bitten and thus transformed into a vampire.† â€Å"Yes, that's what I meant.† â€Å"What else did you observe about the child?† â€Å"The same things that you surely saw in Edward's mind. That the child is his biologically. That she grows. That she learns.† â€Å"Yes, yes,† Aro said, a hint of impatience in his otherwise amiable tone. â€Å"But specifically in your few weeks here, what did you see?† Amun's brow furrowed. â€Å"That she grows†¦ quickly.† Aro smiled. â€Å"And do you believe that she should be allowed to live?† A hiss escaped my lips, and I was not alone. Half the vampires in our line echoed my protest. The sound was a low sizzle of fury hanging in the air. Across the meadow, a few of the Volturi witnesses made the same noise. Edward stepped back and wrapped a restraining hand around my wrist. Aro did not turn to the noise, but Amun glanced around uneasily. â€Å"I did not come to make judgments,† he equivocated. Aro laughed lightly. â€Å"Just your opinion.† Amun's chin lifted. â€Å"I see no danger in the child. She learns even more swiftly than she grows.† Aro nodded, considering. After a moment, he turned away. â€Å"Aro?† Amun called. Aro whirled back. â€Å"Yes, friend?† â€Å"I gave my witness. I have no more business here. My mate and I would like to take our leave now.† Aro smiled warmly. â€Å"Of course. I'm so glad we were able to chat for a bit. And I'm sure we'll see each other again soon.† Amun's lips were a tight line as he inclined his head once, acknowledging the barely concealed threat. He touched Kebi's arm, and then the two of them ran quickly to the southern edge of the meadow and disappeared into the trees. I knew they wouldn't stop running for a very long time. Aro was gliding back along the length of our line to the east, his guards hovering tensely. He stopped when he was in front of Siobhan's massive form. â€Å"Hello, dear Siobhan. You are as lovely as ever.† Siobhan inclined her head, waiting. â€Å"And you?† he asked. â€Å"Would you answer my questions the same way Amun has?† â€Å"I would,† Siobhan said. â€Å"But I would perhaps add a little more. Renesmee understands the limitations. She's no danger to humans – she blends in better than we do. She poses no threat of exposure.† â€Å"Can you think of none?† Aro asked soberly. Edward growled, a low ripping sound deep in his throat. Caius's cloudy crimson eyes brightened. Renata reached out protectively toward her master. And Garrett freed Kate to take a step forward, ignoring Kate's hand as she tried to caution him this time. Siobhan answered slowly, â€Å"I don't think I follow you.† Aro drifted lightly back, casually, but toward the rest of his guard. Renata, Felix, and Demetri were closer than his shadow. â€Å"There is no broken law,† Aro said in a placating voice, but every one of us could hear that a qualification was coming. I fought back the rage that tried to claw its way up my throat and snarl out my defiance. I hurled the fury into my shield, thickening it, making sure everyone was protected. â€Å"No broken law,† Aro repeated. â€Å"However, does it follow then that there is no danger? No.† He shook his head gently. â€Å"That is a separate issue.† The only response was the tightening of already stretched nerves, and Maggie, at the fringes of our band of fighters, shaking her head with slow anger. Aro paced thoughtfully, looking as if he floated rather than touched the ground with his feet. I noticed every pass took him closer to the protection of his guard. â€Å"She is unique†¦ utterly, impossibly unique. Such a waste it would be, to destroy something so lovely. Especially when we could learn so much .. .† He sighed, as if unwilling to go on. â€Å"But there is danger, danger that cannot simply be ignored.† No one answered his assertion. It was dead silent as he continued in a monologue that sounded as if he spoke it for himself only. â€Å"How ironic it is that as the humans advance, as their faith in science grows and controls their world, the more free we are from discovery. Yet, as we become ever more uninhibited by their disbelief in the supernatural, they become strong enough in their technologies that, if they wished, they could actually pose a threat to us, even destroy some of us. â€Å"For thousands and thousands of years, our secrecy has been more a matter of convenience, of ease, than of actual safety. This last raw, angry century has given birth to weapons of such power that they endanger even immortals. Now our status as mere myth in truth protects us from these weak creatures we hunt. â€Å"Thisamazingchild† – he lifted his hand palm down as if to rest it on Renesmee, though he was forty yards from her now, almost within the Volturi formation again – â€Å"if we could but know her potential – know with absolute certainty that she could always remain shrouded within the obscurity that protects us. But we know nothing of what she will become! Her own parents are plagued by fears of her future. We cannot know what she will grow to be.† He paused, looking first at our witnesses, and then, meaningfully, at his own. His voice gave a good imitation of sounding torn by his words. Still looking at his own witnesses, he spoke again. â€Å"Only the known is safe. Only the known is tolerable. The unknown is†¦ a vulnerability.† Caius's smile widened viciously. â€Å"You're reaching, Aro,† Carlisle said in a bleak voice. â€Å"Peace, friend.† Aro smiled, his face as kind, his voice as gentle, as ever. â€Å"Let us not be hasty. Let us look at this from every side.† â€Å"May I offer a side to be considered?† Garrett petitioned in a level tone, taking another step forward. â€Å"Nomad,† Aro said, nodding in permission. Garrett's chin lifted. His eyes focused on the huddled mass at the end of the meadow, and he spoke directly to the Volturi witnesses. â€Å"I came here at Carlisle's request, as the others, to witness,† he said. â€Å"That is certainly no longer necessary, with regard to the child. We all see what she is. â€Å"I stayed to witness something else. You.† He jabbed his finger toward the wary vampires. â€Å"Two of you I know – Makenna, Charles – and I can see that many of you others are also wanderers, roamers like myself. Answering to none. Think carefully on what I tell you now. ‘These ancient ones did not come here for justice as they told you. We suspected as much, and now it has been proved. They came, misled, but with a valid excuse for their action. Witness now as they seek flimsy excuses to continue their true mission. Witness them struggle to find a justification for their true purpose – to destroy this family here.† He gestured toward Carlisle and Tanya. â€Å"The Volturi come to erase what they perceive as the competition. Perhaps, like me, you look at this clan's golden eyes and marvel. They are difficult to understand, it's true. But the ancient ones look and see something besides their strange choice. They see power. â€Å"I have witnessed the bonds within this family – I say family and not coven. These strange golden-eyed ones deny their very natures. But in return have they found something worth even more, perhaps, than mere gratification of desire? I've made a little study of them in my time here, and it seems to me that intrinsic to this intense family binding – that which makes them possible at all – is the peaceful character of this life of sacrifice. There is no aggression here like we all saw in the large southern clans that grew and diminished so quickly in their wild feuds. There is no thought for domination. And Aro knows this better than I do.† I watched Aro's face as Garrett's words condemned him, waiting tensely for some response. But Aro's face was only politely amused, as if waiting for a tantrum-throwing child to realize that no one was paying attention to his histrionics. â€Å"Carlisle assured us all, when he told us what was coming, that he did not call us here to fight. These witnesses† – Garrett pointed to Siobhan and Liam – â€Å"agreed to give evidence, to slow the Volturi advance with their presence so that Carlisle would get the chance to present his case. â€Å"But some of us wondered† – his eyes flashed to Eleazars face – â€Å"if Carlisle having truth on his side would be enough to stop the so-called justice. Are the Volturi here to protect the safety of our secrecy, or to protect their own power? Did they come to destroy an illegal creation, or a way of life? Could they be satisfied when the danger turned out to be no more than a misunderstanding? Or would they push the issue without the excuse of justice? â€Å"We have the answer to all these questions. We heard it in Aro's lying words – we have one with a gift of knowing such things for certain – and we see it now in Caius's eager smile. Their guard is just a mindless weapon, a tool in their masters' quest for domination. â€Å"So now there are more questions, questions that you must answer. Who rules you, nomads? Do you answer to someone's will besides your own? Are you free to choose your path, or will the Volturi decide how you will live? â€Å"I came to witness. I stay to fight. The Volturi care nothing for the death of the child. They seek the death of our free will.† He turned, then, to face the ancients. â€Å"So come, I say! Let's hear no more lying rationalizations. Be honest in your intents as we will be honest in ours. We will defend our freedom. You will or will not attack it. Choose now, and let these witnesses see the true issue debated here.† Once more he looked to the Volturi witnesses, his eyes probing each face. The power of his words was evident in their expressions. â€Å"You might consider joining us. If you think the Volturi will let you live to tell this tale, you are mistaken. We may all be destroyed† – he shrugged – â€Å"but then again, maybe not. Perhaps we are on more equal footing than they know. Perhaps the Volturi have finally met their match. I promise you this, though – if we fall, so do you.† He ended his heated speech by stepping back to Kate's side and then sliding forward in a half-crouch, prepared for the onslaught. Aro smiled. â€Å"Avery pretty speech, my revolutionary friend.† Garrett remained poised for attack. â€Å"Revolutionary?† he growled. â€Å"Who am I revolting against, might I ask? Are you my king? Do you wish me to call you master, too, like your sycophantic guard?† â€Å"Peace, Garrett,† Aro said tolerantly. â€Å"I meant only to refer to your time of birth. Still a patriot, I see.† Garrett glared back furiously. â€Å"Let us ask our witnesses,† Aro suggested. â€Å"Let us hear their thoughts before we make our decision. Tell us, friends† – and he turned his back casually on us, moving a few yards toward his mass of nervous observers hovering even closer now to the edge of the forest – â€Å"what do you think of all this? I can assure you the child is not what we feared. Do we take the risk and let the child live? Do we put our world in jeopardy to preserve their family intact? Or does earnest Garrett have the right of it? Will you join them in a fight against our sudden quest for dominion?† The witnesses met his gaze with careful faces. One, a small black-haired woman, looked briefly at the dark blond male at her side. â€Å"Are those our only choices?† she asked suddenly, gaze flashing back to Aro. â€Å"Agree with you, or fight against you?† â€Å"Of course not, most charming Makenna,† Aro said, appearing horrified that anyone could come to that conclusion. â€Å"You may go in peace, of course, as Amun did, even if you disagree with the council's decision.† Makenna looked at her mate's face again, and he nodded minutely. â€Å"We did not come here for a fight.† She paused, exhaled, then said, â€Å"We came here to witness. And our witness is that this condemned family is innocent. Everything that Garrett claimed is the truth.† â€Å"Ah,† Aro said sadly. â€Å"I'm sorry you see us in that way. But such is the nature of our work.† â€Å"It is not what I see, but what I feel,† Makenna's maize-haired mate spoke in a high, nervous voice. He glanced at Garrett. â€Å"Garrett said they have ways of knowing lies. I, too, know when I am hearing the truth, and when I am not.† With frightened eyes he moved closer to his mate, waiting for Aro's reaction. â€Å"Do not fear us, friend Charles. No doubt the patriot truly believes what he says,† Aro chuckled lightly, and Charles's eyes narrowed. â€Å"That is our witness,† Makenna said. â€Å"We're leaving now.† She and Charles backed away slowly, not turning before they were lost from view in the trees. One other stranger began to retreat the same way, then three more darted after him. I evaluated the thirty-seven vampires that stayed. A few of them appeared just too confused to make the decision. But the majority of them seemed only too aware of the direction this confrontation had taken. I guessed that they were giving up a head start in favor of knowing exactly who would be chasing after them. I was sure Aro saw the same thing I did. He turned away, walking back to his guard with a measured pace. He stopped in front of them and addressed them in a clear voice. â€Å"We are outnumbered, dearest ones,† he said. â€Å"We can expect no outside help. Should we leave this question undecided to save ourselves?† â€Å"No, master,† they whispered in unison. â€Å"Is the protection of our world worth perhaps the loss of some of our number?† â€Å"Yes,† they breathed. â€Å"We are not afraid.† Aro smiled and turned to his black-clad companions. â€Å"Brothers,† Aro said somberly, â€Å"there is much to consider here.† â€Å"Let us counsel,† Caius said eagerly. â€Å"Let us counsel,† Marcus repeated in an uninterested tone. Aro turned his back to us again, facing the other ancients. They joined hands to form a black-shrouded triangle. As soon as Aro's attention was engaged in the silent counsel, two more of their witnesses disappeared silently into the forest. I hoped, for their sakes, that they were fast. This was it. Carefully, I loosened Renesmee's arms from my neck. â€Å"You remember what I told you?† Tears welled in her eyes, but she nodded. â€Å"I love you,† she whispered. Edward was watching us now, his topaz eyes wide. Jacob stared at us from the corner of his big dark eye. â€Å"I love you, too,† I said, and then I touched her locket. â€Å"More than my own life.† I kissed her forehead. Jacob whined uneasily. I stretched up on my toes and whispered into his ear. â€Å"Wait until they're totally distracted, then run with her. Get as far from this place as you possibly can. When you've gone as far as you can on foot, she has what you need to get you in the air.† Edward's and Jacob's faces were almost identical masks of horror, despite the fact that one of them was an animal. Renesmee reached for Edward, and he took her in his arms. They hugged each other tightly. â€Å"This is what you kept from me?† he whispered over her head. â€Å"From Aro,† I breathed. â€Å"Alice?† I nodded. His face twisted with understanding and pain. Had that been the expression on my face when I'd finally put together Alice's clues? Jacob was growling quietly, a low rasp that was as even and unbroken as a purr. His hackles were stiff and his teeth exposed. Edward kissed Renesmee's forehead and both her cheeks, then he lifted her to Jacob's shoulder. She scrambled agilely onto his back, pulling herself into place with handfuls of his fur, and fit herself easily into the dip between his massive shoulder blades. Jacob turned to me, his expressive eyes full of agony, the rumbling growl still grating through his chest. â€Å"You're the only one we could ever trust her with,† I murmured to him. â€Å"If you didn't love her so much, I could never bear this. I know you can protect her, Jacob.† He whined again, and dipped his head to butt it against my shoulder. â€Å"I know,† I whispered. â€Å"I love you, too, Jake. You'll always be my best man.† A tear the size of a baseball rolled into the russet fur beneath his eye. Edward leaned his head against the same shoulder where he'd placed Renesmee. â€Å"Goodbye, Jacob, my brother†¦ my son.† The others were not oblivious to the farewell scene. Their eyes were locked on the silent black triangle, but I could tell they were listening. â€Å"Is there no hope, then?† Carlisle whispered. There was no fear in his voice. Just determination and acceptance. â€Å"There is absolutely hope,† I murmured back. It could be true, I told myself. â€Å"I only know my own fate.† Edward took my hand. He knew that he was included. When I said my fate, there was no question that I meant the two of us. We were just halves of the whole. Esme's breath was ragged behind me. She moved past us, touching our faces as she passed, to stand beside Carlisle and hold his hand. Suddenly, we were surrounded by murmured goodbyes and I love you's. â€Å"If we live through this,† Garrett whispered to Kate, â€Å"I'll follow you anywhere, woman.† â€Å"Now he tells me,† she muttered. Rosalie and Emmett kissed quickly but passionately. Tia caressed Benjamin's face. He smiled back cheerfully, catching her hand and holding it against his cheek. I didn't see all the expressions of love and pain. I was distracted by a sudden fluttering pressure against the outside of my shield. I couldn't tell where it came from, but it felt like it was directed at the edges of our group, Siobhan and Liam particularly. The pressure did no damage, and then it was gone. There was no change in the silent, still forms of the counseling ancients. But perhaps there was some signal I'd missed. â€Å"Get ready,† I whispered to the others. â€Å"It's starting.†