Gender trough the book Mask

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Mieko is modeled on the Rokujo Lady who appeared in The Tale of Genji. She is an intelligent woman of great complexity with extraordinary charm whose precious son dies in a disaster on Mt. Fuji. She manipulates her widowed daughter-in-law Yasuko in an attempt to obtain a surrogate for the son she has lost. It is a tale of erotic desperation and complexity. Fond of the using blood as a metaphor for talking about the way women are both linked in solidarity and also regarded as polluted in the male gaze, Enchi finds a way to both collude with dominant representations of females while simultaneously subverting them. One among many of Masks themes seems clear Japans matrilineal heritage is reclaimed through blood lineage handed down from generation to generation by and through women and thereby freed from its subordination to the dominant, patriarchal ideology. The structure tripartite, with each section named after three different types of onnamen or womens Noh masks, and it follows the jo-ha-kyuu developmental pattern in terms of the intensity of plot development, but it is literally teeming with other triads and triangular relations Yasuko-Ibuki-Mikame, spirit-medium-possessed, Mieko-Yasuko-Harume,Mieko-Togano Masatsugu-her mysterious lover, etc. There are even three sets of substitutions occurring in the text the twins for Aguris two abortions, Yasuko for the twins, and Harumes baby for Miekos miscarriage as well as for Akios loss. Thus, what brings and keeps Yasuko and Mieko together is the quest for a child.

Mieko has worn several masks as she has moved through different roles--from disillusioned lover and wearing the Ryoo-no-onna mask, to the end when she dons the Fukai mask, the Deep Woman mask. On the other hand, does she ever actually put it on? She stares at it, communes with it as a Noh actor might, her face becoming one with it, but then she drops the mask and must try to cover its face with her left hand while her right arm hangs paralyzed in space. Something that struck me almost immediately upon beginning the novel was that, based on both physical and mental characteristics, Ibuki and Mikame fit into the thin man and fat man dual archetype that appears in drama as the comic relief (and foil to the male hero) or in comedy as the centerpiece, where both are idiots but one is the straight man and one is the jokester. Countless examples of this archetype abound in both American and Japanese film, not to mention the English literary tradition, dating back at least to Rozencrantz and Guildenstern in Hamlet.

Whether found in comedy or drama, the fat/thin man is portrayed as a comical figure. I believe this is because both men are only seen as half a man - or rather two opposite sides of one-man split down the middle, and unhappily confined into two bodies that are perpetually unable to rejoin into a coherent whole. While the hero of the narrative is inevitably a whole man, (not necessarily a healthy or likable character; at times merely endowed with elevated value within the narrative scheme, seen as somehow rounded or capable of countenancing the thought of change within the scope of the narrative), the fat/thin man is trapped in a characture of bipolar vice, the two extremes that would ideally combine to form the Aristotle an mean. One is tall and thin, almost to the point of emaciation at times sardonic, at least semi-intellectual or clever, prone to pursuits of the mind and as such clueless in the ways of love. The other is short, fat (again, almost to the point of corpulence or gross obesity) gluttonous, rather stupid and outspoken, prone to the pursuit of physical pleasure and as such equally incapable of true love.

Masks presents an interesting spin on this archetype. The first immediate discrepancy of note is the absence of the male hero that takes the place of the whole individual implied to be necessary in the conventional dramaturgical scheme. After digging a bit, either Akio or Miekos lover could perhaps be supplied as a satisfactory hero (despite being dead); both are sufficiently defied by the narrative to serve in this role. Thinking now, perhaps that is the best way to account for the dramatic nature of the novel.Order custom research paper on Gender trough the book Mask

My original thought was that without the masks as symbols, Masks could be viewed as a black comedy; now I would like to revise that. Removal of the masks alone wouldnt be enough - Akio and Miekos lover would have to be removed as motivating forces for the novel to be truly transformed into a comedy (where the fat/thin man becomes the star, instead of a bit player or foil to the hero).

I would contend that despite being dead, Akio and his father are the true heroes of the novel. They ultimately get the girl in the end, and the fat/thin man who has been courting her is rejected and thrust back into his proper place as the comic relief. Both Ibuki and Mikame themselves admit to this at the end of the novel- they have been had. They do not fully understand how or why, just as surely as Rosencrantz and Guildenstern did not have a clue that they were sailing to their deaths when they left Denmark, but both pairs were dealing with narrative machinations far beyond the scope of their control, or their roles as second-string actors.

I see this manipulation of the fat/thin man archetype as one of the elements of Enchi Fumikos genius in this novel. Ibuki and Mikame seem like genuine characters, they seem like they might have a chance of winning, achieving elevated narrative status - it looks like there is no hero to get in their way. However, there is. It is just that he (or they) are dead... this unique take on the manipulation of an archetype is one of the things that, in retrospect, made the novel so compelling for me.

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Jazz Anecdotes

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Bill Crow has compiled a remarkable collection of stories from oral histories, interviews, biographies, and autobiographies. This book is an insightful look into the personalities and humor of the Jazz world. A bass player himself, Crow is obviously familiar with the life of a Jazz musician, and he has written down the tales that Jazz players have passed on to one another; tales that have created legends.

The entire book is filled, page by page, with laugh out loud stories of pranks, goofs, club owners, getting hired, getting fired, and unforgettable moments while playing at the clubs. Jazz Anecdotes shows the jazz world as it really is. It also offers extended sections on greats such as Louis Armstrong, Duke Ellington, and Charlie Parker.

One story Crow passes on is a discussion of Shelly Mannes work with bandleader Herman. it involves trumpeter Lee Katzman, "A few musicians, listening to an old Herman recording on the radio, were trying to identify the drummer. Is it Shelly Manne, or Jake Hanna? someone wondered. Crow reports that Katzman listened for a while, then said It must be Shelly, cause Jake dont jam like that."

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It also gives you a good feel for what the lives of jazz musicians were like the camaraderie and competition, the inventiveness, the struggles over money, the often terrible working (and especially recording) conditions. There are also poignantly funny stories about problems with drugs and alcohol, and even about the racial prejudice that musicians had to put up with. My favorite story in the book was about Bessie Smith storming out to confront a group of Klansmen gathering outside the tent where she was working. Peppering them with curses, she ordered them to pick up them sheets and run. They did. Great woman. There are lots of great women (and men- mostly men) in this book. I thoroughly enjoyed getting to know a little bit about them.

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How key themes and issues are signilled at the outset of Jane Eyre

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The Bildungsroman, a novel that details the growth and development of a main character through several periods of life, began as a German genre in the seventeenth century, but by the mid eighteen hundreds it had become firmly established in England as well. Such important Victorian novels as Great Expectations, base themselves on this form, which continues as an important literary sub-genre even today. The Bildungsroman typically told the story of a man growing from boyhood to adulthood. Charlotte Bronts appropriation of the form for her heroine, represents one of the many ways in which her novel, Jane Eyre, challenges the accepted Victorian conceptions of gender hierarchy, making the statement that a womans inner development merits as much attention and analysis as that of a man. Through a careful reading of Chapter one, this essay will attempt to suggest ways in which, in the light of my understanding of the novel; key themes and issues are signalled at the novel's outset.

The novel opens on a dreary November afternoon at Gateshead, the home of the wealthy Reed family. A young girl, Jane Eyre sits in the drawing room reading Bewick's History of British Birds. Janes aunt, Mrs Reed, has forbidden her niece to play with her cousins Eliza, Georgiana, and the bullying John. John Reed goes looking for Jane and finds her sitting at the window seat. He sits himself in an armchair and gestures for Jane to come and stand before him. He starts chiding Jane for being a lowly orphan who is only permitted to live with the Reeds because of his mothers charity. After asking Jane what she was doing and reminding her that she is not allowed to read his books, he hurls a book at Jane, pushing her to the end of her patience. "…Not at first aware what was his intention; but when I saw him lift and poise the book and stand in act to hurl it, I instinctively started aside with a cry of alarm not soon enough, however; the volume was flung, it hit me, and I fell, striking my head against the door and cutting it. The cut bled, the pain was sharp my terror had passed its climax; other feelings succeeded. Wicked and cruel boy! I said. You are like a murderer--you are like a slave-driver--you are like the Roman emperors! (C. Bront, Jane Eyre, Hertforshire Wordsworth Editions Limited, 1, p5-6).

Jane erupts and the two cousins fight, "He ran headlong at me I felt him grasp my hair and my shoulder he had closed with a desperate thing. I really saw in him a tyrant, a murderer. I felt a drop or two of blood from my head trickle down my neck, and was sensible of somewhat pungent suffering these sensations for the time predominated over fear, and I received him in frantic sort. I dont very well know what I did with my hands, but he called me Rat! Rat! and bellowed out aloud" (Bront, p5). Mrs. Reed holds Jane responsible for the scuffle and sends her to the red-room - the frightening chamber in which her Uncle Reed died, as punishment.

From chapter one, the reader can see how Bront establishes Janes character through her confrontations with John and Mrs. Reed, in which Janes good-hearted but strong-willed determination and integrity become apparent. This chapter along with chapter two also establishes the novels mood. Beginning with Janes experience in the red-room in chapter two, the reader senses a palpable atmosphere of mystery and the supernatural. Like Emily Bronts Wuthering Heights, Jane Eyre draws a great deal of its stylistic inspiration from the Gothic novels that were in vogue during the late eighteenth and early nineteenth centuries. These books depicted remote, desolate landscapes, crumbling ruins, and supernatural events, all of which were designed to create a sense of psychological suspense and horror. While Jane Eyre is certainly not a horror novel, its intellectually ambitious criticisms of society make it far more than a typical Gothic romance, it is Bronts employment of Gothic conventions that gives her novel popular as well as intellectual appeal.Order Custom Essay on How key themes and issues are signilled at the outset of Jane Eyre

From the beginning, Jane Eyre explores and challenges the social preconceptions of nineteenth-century Victorian society. Themes of social class, gender relations, and injustice predominate throughout. Jane Eyre begins her story as an orphan raised by a wealthy and cultivated family, and this ambiguous social standing motivates much of the novels internal tension and conflict. Janes education and semi-aristocratic lifestyle are those of the upper class, but she has no money. As a penniless orphan forced to live on the charity of others, Jane is a kind of second-class citizen. In some ways she is below even the servants, who certainly have no obligation to treat her respectfully. The tensions of this contradiction emerge in the very first chapter of the novel, when Jane suffers teasing and punishment at the hands of John Reed and his hateful mother. Janes banishment to the red-room exemplifies her inferior position with regard to the rest of the members of the Reed household.

The red-room is the first in a series of literal and metaphorical imprisonments in the novel. Although Janes imprisonment in the red-room is real, she will encounter spiritual, intellectual, and emotional imprisonment throughout the book. Chapter one suggests that the rigid Victorian hierarchies of social class and gender will pose challenges to her freedom of movement and personal growth, and corrupt morals and religion will also constitute menaces to her ability to realise her dreams for herself. Jane will even come to fear 'enslavement' to her own passions. At the same time, the red-room is also symbolic of Janes feeling of isolation with respect to every community she is 'locked in', but she is also, in a sense, 'locked out'. Again, class and gender hierarchies will contribute to Janes sense of exile. For example, her position as a governess at Thornfield once again situates her in a strange borderland between the upper class and the servant class, so that she feels part of neither group.

Throughout the novel, Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight against patriarchal domination, against those who believe women to be inferior to men and try to treat them as such. This issue is clearly signalled in chapter one when John Reed says, You have no business to take our books; you are a dependent, mama says; you have no money; your father left you none; you ought to beg, and not to live here with gentlemens children like us, and eat the same meals we do, and wear clothes at our mamas expense. Now, Ill teach you to rummage my bookshelves for they ARE mine; all the house belongs to me, or will do in a few years. Go and stand by the door, out of the way of the mirror and the windows" (Bront, p5).

Images of ice and cold are also signalled at the novel's outset. These images often appear in association with barren landscapes or seascapes, and they symbolise emotional desolation, loneliness, or even death. …The solitary rocks and promontories; the vast sweep of the Arctic Zone, and those forlorn regions of dreary space, that reservoir of frost and snow, where firm fields of ice, the accumulation of centuries of winters, glazed in Alpine heights above heights, surround the pole, and concentre the multiplied rigours of extreme cold; "Of these death-white realms" (Bront, p). The description of the arctic that Bewick describes in his History of British Birds parallel Janes physical and spiritual isolation at Gateshead, "I formed an idea of my own shadowy, like all the half-comprehended notions that float dim through childrens brains, but strangely impressive. The words in these introductory pages connected themselves with the succeeding vignettes, and gave significance to the rock standing up alone in a sea of billow and spray; to the broken boat stranded on a desolate coast; to the cold and ghastly moon glancing through bars of cloud at a wreck just sinking" (Bront, p).

Although only explained in chapter two, the red room is what ends chapter one, Take her away to the red-room, and lock her in there. Four hands were immediately laid upon me, and I was borne upstairs" (Bront, p6). From the end of the chapter one, it is suggested that the red-room is viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Janes position of exile and imprisonment first becomes clear. Although Jane is eventually freed from the room, she continues to be socially ostracised, financially trapped, and excluded from love; her sense of independence and her freedom of self-expression are constantly threatened.

The red-rooms importance as a symbol continues throughout the novel. It reappears as a memory whenever Jane makes a connection between her current situation and that first feeling of being ridiculed. Thus she recalls the room when she is humiliated at Lowood. She also thinks of the room on the night that she decides to leave Thornfield after Rochester has tried to convince her to become an undignified mistress. Her destitute condition upon her departure from Thornfield also threatens emotional and intellectual imprisonment, as does St. John's marriage proposal. Only after Jane has asserted herself, gained financial independence, and found a spiritual family, which turns out to be her real family, can she wed Rochester and find freedom in and through marriage.

The development of Jane Eyre's character is central to the novel and this is seen from chapter one. Jane possesses a sense of her self-worth and dignity, a commitment to justice and principle, a trust in God, and a passionate disposition. From a young girl, as I have shown in chapter one, she is forced to contend with oppression, inequality, and hardship. Although she meets with a series of individuals who threaten her autonomy, Jane repeatedly succeeds at asserting herself and maintains her principles of justice, human dignity, and morality.

Bibliography

1. Bront, C. Jane Eyre. Hertfordshire Wordsworth Editions Limited, 1.

. Campbell, S. Charlotte Bront Jane Eyre. London Penguin Books, 188.

. Gregor, I. The Bront's A Collection of Critical Essays. New Jersey Prentice-Hall, Inc, Englewood Cliffs, 170.

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Home sweet home

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Home. What do we think of when we think of a home? A roof, four walls, windows and a door, right? Ask a child to draw a home, and in most cases, that's what you'll get. But is that really the essence of a home, or is it a lot more than that?

Good afternoon parents, teachers, fellow students and all our guests. Today I will be talking about the topic of 'Home Sweet Home.'

Australia that's my 'home sweet home.' Definitely a lot more than just a roof, four walls, windows and a door. It is also home to many people of different nationalities and cultures. A place where the 'lucky' people of the world can call their home. Australia is a place where you can feel safe, where you have the freedom to pursue all your goals, and where the people and communities are made up of a diverse range of different cultures and backgrounds. We are all lucky to call Australia our home sweet home.

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Many people such as asylum seekers and immigrants are all examples of individuals and families who seek a new and better life. We take it for granted that we actually have a place where we can fulfil our basic needs, as well as be surrounded by the special people in our lives who make the places we live in, our homes. We'd like to think that everyone has a good home, just like us. That no one goes without. But unfortunately, this is not the case. Not everybody has a place to call home, let alone a home sweet home.

Think of all the asylum seekers. These are people whose native countries have been ruined because of the devastation and destruction of war. Millions of people have lost their homes and family members due to the conflicting views of the nations politicians, militia or religious leaders. And because of this devastation, they are forced to flee their countries, in order to save their lives. Their families have been broken as a result of war, and they no longer feel the safety and security which all individuals have a right to.

These asylum seekers must travel the seas, to look for a refuge, a place of safety a new residence away from the harsh environment they once used to call home. A place where they don't have to wonder whether they will see their family and friends the next day, or wonder what dangers are lurking behind the next corner.

We are extremely fortunate in Australia. We don't have wars taking place on our soil, we don't experience the terror of living under an oppressive government, and so far, our country has not been torn apart by racial ideologies or religious differences. That is why our country is so great - why asylum seekers come to Australia in the hope of making this nation their new home away from the oppression they face in their native countries.

We have to understand that what we have as a nation is not what all people around the world experience. We take it for granted that we have shelter, food, clothing to provide all of our basic necessities, a peaceful homeland, as well as people who support and care for us. No wonder people everywhere look upon us as the lucky nation, because we are. How can we not understand why many desire these fortunate circumstances for themselves and their families too? Who could blame them? We don't have the worries of living in a country of war. We don't have to be concerned that a bomb will be dropped on our house tomorrow, or that the next time we turn our street corner, we'll get shot by the militia. Australia is a country of peace and harmony, free of combat and warfare. It is a country which we can be proud to call home.

Immigrants. These are people who long for a better and brighter future for them and their children, who come to Australia in order to fulfil this dream. Unlike asylum seekers, immigrants actually do have former residences, many in peaceful countries. However they still choose to move to Australia, because of the opportunities and prospects this nation has to offer. Australia is a land where people can raise their children, provide them with a good education and a brighter future. A place where there is access to health, community services, sanitation, clean water and waste disposal. Where there is provision of law and order and control of crime. Job opportunities and high wages are available to ensure that families attain a decent standard of living. It is a country where we have the freedom to make our own choices, where we have the opportunity to pursue all our goals.

Ladies and gentlemen, the list goes on and on. This is Australia a great nation, a great system of living, a very sweet home.

It is no wonder that so many people from all around the world wish to come to our nation in the hope of attaining security, a healthy standard of living and freedom of choice. Our country is filled with such great opportunities. But not only does our country provide these benefits, the Australian people also have a strong sense of friendliness and affability. It is a place where the people have a kind and easy-going nature, and where it is easy to find friends wherever we go. It is also a unique blend of people from various nations who live together side by side in harmony. With this sense of multiculturalism, we are constantly learning from each other and becoming better people because of it. Everybody has a place here, everybody can call Australia their home.

It is here, in my home, that I feel my best. Australia- the lucky country. A country where we are safe from the ravages of war, where we have unlimited opportunities to pursue our goals and where we have a unique blend of people from different cultures who we can call our friends. No wonder I am proud to call Australia my home.

There is no denying that it is more than a roof, four walls, windows and a door. It is my home sweet home.

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Civilize them

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Civilize Them With a Stick (response)

Anna Long

Ever since the beginning of human history, people have induced their way of life upon others. Generally, this is because of a belief that their own beliefs are superior to others. The problem can be that people often tend to do whatever it takes to achieve these end results. Those who wish to change the world for what they believe to be for the better, use corrupt means. In the selection Civilize them with a Stick by Mary Crow Dog, she writes about a group of people who feel they have the right to tell others what to do. The oppressors in her story believe their ways to be superior and do not care how to achieve the end result, as long as it is achieved. The Catholic nuns in the story believe themselves to be qualified to rule over and change the Native Americans sent to their school. However, they are far from having the true authority to forcibly change the beliefs of others.

Mary Crow Dog writes about her experiences in a Catholic school. She explains how religion was forced down her throat in an attempt to socialize Indians into an Anglo way of life. The nuns taught theories of Catholicism, and then they would be completely hypocritical by beating the children. Crow Dog writes about one time when her grandmother was put in solitary confinement after getting caught playing jacks with another student, "After she came out she promptly ran away, together with three other girls. They were found and brought back. The nuns stripped them naked and whipped them." These nuns had especially no right to rule over the Native American children if they cannot even follow the basic pillar of Catholicism Love.

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Catholicism, in pure form, teaches religious tolerance to others and not to judge others. The little girls who would first arrive at the boarding school would have their hair cut off and would be bathed in a sort of rubbing alcohol solution. I am certain that these nuns did this because of their ethnocentric attitudes which caused them to believe Native American children were dirty. Without any evidence of any sort, when nuns would catch the little girls snuggling close to each other at night for comfort and moral support, they would judge them immediately and assume the worst by saying things like, "I smell evil in this room. You girls are evil incarnate. You are sinning. You are going to hell and burn forever. You can act that way in the devil's frying pan."

The main reason that the nuns should not have been given the authority to teach at the school was because instead of painting an accurate picture of Catholicism, they caused people to fear God and religion. Mary Crow Dog herself was so sickened by the whole affair that she says the closest she ever came to seeing Jesus was when her friend Charlene said, "Look at that poor Indian. The pigs sure worked him over." She said this in reference to a crucifix. By attempting to force religious beliefs upon others in such a way as these nuns did, they assured that many of the students would never truly believe in the tenants of Catholicism, even if they externally pretended to out of fear.

If a group wishes to show its beliefs to another group because they feel their beliefs to be superior, it is okay. It isn't okay to use coercive tactics and force beliefs upon people. As a matter of fact, forcing beliefs simply has the opposite effects anyhow. The nuns did not have the right to force their beliefs upon innocent children of any nationality, especially by using violence. The nuns felt that they had divine authority to show Christianity to others. However nowhere in the bible does it say that the ends justify the means or that violence was okay as long as the subject becomes a Christian.

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History of Jacques Louis, David

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David, Jacques Louis (1748-185), was the leading French painter during the French Revolution and the Napoleonic era. He painted primarily in the neoclassical style, which emphasises solidly modelled forms, realistic details, and balanced composition. Neoclassicists often used subjects from ancient history to make observations about contemporary events. Davids famous painting The Oath of the Horatii (1784) reflects neoclassical style and subject matter.

David was an active participant in the French Revolution and voted for the death of King Louis XVI. He started to depict the events of the revolution in the unfinished The Oath of the Tennis Court, which he began in 171. In 17, he painted The Death of Mart, a moving portrait of the assassinated revolutionary leader. David was an ardent supporter of Napoleon, and he glorified some of the main events of the emperors life in his paintings.

David was born in Paris. His work influenced many of the major artists of the 1800s, including many members of the impressionist movement.

Jacques Louis David was the leader of the neoclassical movement. He returned to the serious academic traditions that dominated French painting before the light-hearted rococo age. In The Oath of the Horatii, David painted a straightforward story without distracting details. The clothing and architecture are based on actual historical examples from Roman antiquity. The monumental figures are arranged in rigid poses across a shallow space in imitation of sculptural decorations called friezes found in classical buildings. In the stagelike setting of the painting, the harsh lighting and cool colours emphasise the crisp, hard outlines that define the forms in the composition. The surface of the painting is smooth and highly finished, emphasising the firmly modelled forms. Brushwork is rarely visible.

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Fried Green Movie Review

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For this paper I have chosen to review the film "Fried Green Tomatoes." It is a tale of a small old town, its more popular residents, and a murder mystery told in retrospect by the main character Idggy. I was able to identify several social structures within the small town during the movies flashbacks as well as its modern day narrative setting. There were no government officials present, but a sheriff kept order amongst citizens. That same sheriff, however, partied with the people that he enforced the law upon. It was the typical small town environment where everyone knew each other and was generally friendly towards one another. There was also a bad guy who became important when it was found out that he was abusing his wife and trying to control her and her child.0

There were a lot of blacks in town that were not treated as fairly as the white people. I saw these structures affect the characters at different times throughout the movie. The black/white issue was present throughout, as we saw them being butlers, doing white's chores, as well as other labor oriented tasks. The bad guy was confronted by nice town folk when it was found out that he abused his wife. As far as the sheriff, his role came into play when he had to arrest Idggy for the murder of the abusive man. The only time the structures were changed was when a black man, Big George, was accused of the murder. If Idggy hadn't gone on trial, George would've had to. He definitely would have been hung, but Iddgy cared for him and took responsibility knowing that she could win and spare his life too. Norms that were portrayed are similar to the situations above. They are also similar to today's small towns in some respects, such as being friendly and knowing everyone.

There are some big differences with other norms from today's society. The race issue is the biggest difference. While there are still some problems today, we have come a long way as far as treating people more equal. The racial issue is the biggest social issue that the characters symbolized about our social world. Even though it has gotten better through the years, racism is still very present today. The biggest difference is that in today's world it is a social deviance to be racist. Back then it was commonplace to treat people of color differently. That is where social conflict was depicted in this film. People of color were alienated and outcast from the white people's world. The sad thing is how they dealt with it was just to accept it. Inside they may have felt differently, but their actions on the outside would have you think that they didn't care and simply took what was handed to them. This conflict was not resolved during the film, nor is it completely resolved today in our society.

There was one scene where social control took place. That scene included the Klu Klux Klan. Although blacks were considered lower, the actions of the KKK were deviant and taken too far. The sheriff of the town disbanded their demonstration and actions, which included the caning of Big George. The KKK was also the most evident subculture represented in the film. Its social reality is very real because the KKK is still around today. They aren't as prevalent as they were back then, but nevertheless they are still here. And, until we can rid our society of haters like them, gender, race, class issues and differences will remain.

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Overall I enjoyed this film. For the most part it is a sweet film about an old railroad town in a quaint setting. The characters have some style and spunk and make the movie fun. I would recommend this movie to anyone looking for a funny, yet touching film on a free evening.

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