Dear all:
Have you ever wanted to saw open the top of a calculator and see where all the numbers live?

Thursday, July 29, 2010

Beauty in the Sad and Mournful

It seems timeless - sad, foggy, gray, desolate... but beautiful
What is it about the gentle hum of mournful song that's so relaxing? What makes the sad and haunting beautiful? Why are rhythms that echo the supernatural soothing? Why are so many people drawn to mournful sounds? 
And I'm no different. The gentle callings of a lone piano or the soft wail of a solo violin draws my attention right away. Likewise, the husky, pleading voice will enthrall me. So will the cry of a guitar. And as much as I love the oversexualized rhythms of drums, I'll take the gentle beat. 

Teenage angst -- no thanks. Leave the teenage and the emo behind. Just give me the angst. Give me a sad story, lyrics that makes me want to cry, a melody that haunts my dreams. Give me movie lines that move me -- ones that I can watch a thousand times and never tire of. (To this day, I still cannot watch the movie "Finding Neverland" without balling my eyes out. Nor can I watch/read "Bridge to Terabitha" without crying like a baby.)

Give me the gentle Gothick over any pop diva today. Give me Xandria over Ke$ha or Britney Spears or any teeny-bopper. Give me "Like A Rose on the Grave of Love" over "3". 

Don't get me wrong; I like the good up-beat song every now and again, but when I want to be inspired, give me the weeping mournful. Give me something that speaks to me -- that moves me. How can a song about a threesome ever compare to this:
 Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love

I curse the day I first saw you
Like a rose that is born to bloom
Don't look at me the way you do
Like the roses, they fear the gloom

Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love

Your thorns, they kiss my blood
Your beauty heals, your beauty kills
And who would know better than I do?
Pretend you love me

Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love

Indeed reality seems far
When a rose is in love with you
Slaves of the heart; that's what we are
We loved and died where roses grew

Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love

They watched us silently
A rose is free, a rose is wild
And who would know better than I do?
Roses are not meant for love

Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love

Come like the dusk
Like a rose on the grave of love
You are my lust
Like a rose on the grave of love 
This song, while the true meaning of the lyrics are only meant for the person who wrote them, seem to say that one can love with all of their hearts, but no matter how strong that love is, it can't last forever. At least, that's what it says to me. And this woman -- because it's a female lead -- seems like she's been jaded before. That she's lost a very dear lover. And now she's fallen in love again and she's scared to death that she'll lose him like she lost her other lover. 

I love the next passing fad as much as the next person, but give me the lasting, give me the epic. Sure, let me dance to Britney and have a good time, but let me still have my darkness. Let me still have that beauty that is so hard for others to see. It's special because I see it. It's special because it lasts.  

Saturday, July 24, 2010

BoBo the Zombie

Shall I let you in on a little secret? I've always wanted a pet zombie. Well... not always -- more like for the past decade of my life (wow, I can actually say that without being like five). Anyway, back to the zombie. I've wanted a pet zombie for years. I would name him BoBo -- and it would be pronounced Bob-o... sort of like Hawaii 5-0... you know, like book 'em, Dano. 

And stop and think about it -- how awesome would it be to have a zombie for a pet...?! No one would want to be mean to you because you'd have a snarling, foaming-at-the-mouth, hungry zombie on a leash behind you just waiting to get out there and eat someone. But BoBo wouldn't eat just anyone -- no; just my enemies and people who epically annoy me. (Wait... then there would be very few people that would still be alive...) I would say that I would take BoBo to Hollywood and let him feast on the little starlets, but then poor BoBo would always be hungry. I really don't want that to happen. It would be cruel and unusual punishment. 
But the question that would arise would be whether or not having a pet zombie would constitute as some sort of crazy slavery. On the one hand, I would be owning a humanoid -- meaning something that looks like a person with hands and fingers and toes and whatnot. But on the other hand, BoBo wouldn't know anything from his life before he was dead. (Or at least, I don't think he would know anything.) What made Bobo a human -- his free thinking, free will, and conscience and personality -- would be gone. The only things left would be the primal urge to feed -- and on actual conscience humanoids. 

But the issue of crazy slavery aside, think about how cool it would be to have a zombie. Just think about it. Seriously. Think about it.

Thursday, July 22, 2010

Of Starlets and Steal Bars

Alright, first: I feel bad about everything that's happened to whatever starlet celebrity is in jail right now. One part of me doesn't want to see them go through something like that. The other part of me is laughing uncontrollably thinking that they deserve nothing more. 

And I can't help but think that my views would be changed if they (a) didn't get chance after chance after chance and lenient punishments, and (b) if they would be treated like "normal" people who might get a five minute spot on the local news but not national and perhaps international news. It almost seems that, when a young celebrity has their popularity falling, boozing things up, getting high, flashing crowds with various body parts, and acting like you have a negative IQ will top out your ratings. Acting like a fool will get you your popularity back. 

And sometimes I don't even think that that will help. I don't think that you can really have a comeback until you've cleaned yourself up. Look at Robert Downing Jr. He was a mess, and then he got cleaned up, got his act together, and became Tony Stark AKA Iron Man. I haven't seen the second movie yet, but the first one seemed like a huge success. With his downward spiral, his work suffered. It was only after he got things together did his work seem to improve. No longer was he cast in bad movies. Now he's working in the superhero gig -- which is becoming the new "big" Hollywood thing to do. Why? Because that's what's interesting people nowadays. And if you're working in some sort of superhero (or even Zombie movie, because, let's face it: zombies kick ass!), you're working with what's popular among the "little people" -- i.e. us. 

So, maybe this will be a lesson to Miss Lohan and all the other stars that are young, getting into the wrong crowds, doing drugs and booze, and acting like an idiot. Maybe this will show them that they're not going to be exempt from the same laws that govern us just because they have money. When it comes right down to it, just because they're actors doesn't mean that they can do illegal things -- things that would land the rest of the population in jail with no second or third or fourth chances. (Although, the glass-half-empty side of me is telling me that this is just going to go through one ear and out the other. When you're young, you think that nothing can touch you, but, baby, you're dead wrong.) 

Hollywood says that no publicity is bad publicity, but I think they're wrong. I think that it's ridiculous how celebrities are behaving -- young, old, and everything in between. There should be a public persona and a private persona -- something that doesn't need to be aired out like dirty laundry. It's not good for their fans -- especially the younger ones who idolize and look-up to these people. Yes, they should have the ability to be people -- to not have their mistakes and wrongs broadcast all over the place every five minutes on every other channel -- but they should also realize that, with their fame and popularity, there comes people who can't separate between the fantasy and reality or forgive mistakes or realize what these celebrities are doing is wrong or some form of illegal -- be it because they're young and impressionable, blinded by their fandom-love, or decreased awareness. And I'll be honest -- I think that it's also the parents' job or the job of their caretaker to try to show them that there is a difference between how they act and what is actually "socially acceptable." A parent shouldn't let their daughter, for example, dress like a two-dollar hooker because Celebrity X is dressing that way. It may seem like the parent is being too strict or harsh or "square", but once the daughter learns that dressing like a whore isn't going to make life any easier, they'll look back and thank their parent. And it would likewise make the job of the guardian easier if the really popular stars set a good example. Let's face it -- an impressionable child would rather listen to Hollywood and magazines than their parents. That's life: how it's always been and probably always will be. 

(If there were more role models like the Mythbusters cast, I think that it wouldn't be so bad. They're intelligent and funny, popular, and they haven't had any serious -- or not so serious -- run in's with the law. Just saying!)  





Tuesday, July 20, 2010

The Pinball Machine

It’s a little disconcerting thinking about having control – or lack thereof. Do I have control issues? Yes, I think so. There have been very few times in the course of my score on this Earth that I’ve3 lost control – and only once that I’ve completely lost all sense of control. But I tell myself that I was young and had just realized that young people can die too – I gave my first eulogy at the somewhat tender age of 13 at a friend’s funeral (she was only 12). Would that be considered being slammed into one of those things that go “ding!”? ‘Cause it sure felt like it. Realizing my own mortality at an age where everyone else thinks they’re indestructible – it never seemed fair. Of course, I know I’m not the only one this happens too, but still, ne? 

Anyway, major tangent, ne? Yeah, that happens a lot. 

So – control. Maybe it’s just an illusion – whether God (or a god, goddess, being, reality, or insert other word here) really exists or not. Isn’t ‘control’ a concept created by humans? Aren’t all – or most – things a concept created by humans? Or maybe no concepts are human creations, ne? See, there’s that funny thing called control again. 

For that matter, how can anyone really believe in anything? How can anyone when neither philosophy nor modern science can prove human existence? And yet, here we are with billions of our fellow man – with more coming and leaving every second! And that’s another semi-creepy-crazy thing! To think that people are being born and dying as I sit here writing this – it’s a wee bit… well, I don’t thing I can think of a word for how it feels to think about it. 

But no matter what lies beyond the final breath I draw, I hope it’s something. I can’t believe that we’re just a fluke – that we were never meant to be. That out existence was a cosmic condom break. I don’t think I can accept that we’re all just a bunch of accidents. Wouldn’t that mean that everything is an accident? That the silly human concept that we’ve created and called science and taught in schools over the many years that we’ve been illegally squatting here on this random rock just proved itself false? (Eto, talk about an oxy-moron, ne?) 

I don’t really care if that’s the actuality – if someone came up to me with 100% proof that that’s what happened and we’re all just some messed-up, bastardized space silt, I would smile and nod and tell them that I still believe in something – something bigger than me and you and everyone and everything. You can call it whatever scientific name you want; I’ll stick with simply ‘God.” 

I have this running joke with the sister closest to me in age (we’re 15 years apart, she and I), and it goes a little something along the lines of I’m just an illusion in her head and every single second of my day is whatever she makes up in her head. And she’s not really living the life she thinks she is – she’s actually in a padded cell somewhere. (Ok, so, it’s not really a joke, but she’s the one who started it; I was just cruel enough to keep it going.) There’s this little voice in the back of my head every time I think about it that questions how true that really is. What if I really am just her imagination and she’s my god – my creator? What if I’m not real? What if none of us are real, and we’re all just in someone imagination? It doesn’t have to be my sister’s, because, at least in my head, that opens up a whole new paradox. Anyway, what if God’s just someone’s imagination? Or something…. Sometimes, when I’m getting really into the scenario, I have to remind myself that I’m here and not just in her head. And then she laughs at me because I’m freaking myself out. So maybe it is kind of a joke, I dunno…. 

But anyway, if we are bastard children of a cosmic explosion, who’s launching the ball? Who’s playing the pinball machine? It’s not me. It’s not you. Therefore, I will decide to call the player Bob. I don’t know why Bob, but the name makes me smile. Don’t ask me why. It just does.
Agoraphobia

Agoraphobia is a fear of being in places where help might not be available. It usually involves fear of crowds, bridges, or of being outside alone.

Causes
Agoraphobia often accompanies another anxiety disorder, such as panic disorder or a specific phobia. If it occurs with panic disorder, it usually starts in a person's 20s, and women are affected more often than men.

Symptoms

• Anxiety or panic attack (acute severe anxiety)
• Becoming housebound for prolonged periods of time
• Dependence on others
• Fear of being alone
• Fear of being in places where escape might be difficult
• Fear of losing control in a public place
• Feelings of detachment or estrangement from others
• Feelings of helplessness
• Feeling that the body is unreal
• Feeling that the environment is unreal
• Unusual temper or agitation with trembling or twitching
Additional symptoms that may occur:
• Abdominal distress that occurs when upset
• Breathing difficulty
• Chest pain
• Confused or disordered thoughts
o Intense fear of dying
o Intense fear of going crazy
• Dizziness
• Excessive sweating
• Heartbeat sensations
• Lightheadedness, near fainting
• Nausea and vomiting
• Numbness and tingling
• Skin flushing
Exams and Tests
The individual may have a history of phobias. Family, friends, or the affected person may tell the health care provider about agoraphobic behavior.
Signs include:
• High blood pressure
• Rapid pulse (heart rate)
• Sweating

Treatment
The goal of treatment is to help you function effectively. The success of treatment usually depends on the severity of the phobia.

Systematic desensitization is a technique used to treat phobias. You are asked to relax, then imagine the things that cause the anxiety, working from the least fearful to the most fearful. Gradual exposure to the real-life situation also been used with success to help people overcome their fears.

Anti-anxiety and antidepressant medications are often used to help relieve the symptoms of phobias.

Outlook (Prognosis)
Phobias tend to be chronic, but respond well to treatment.

Possible Complications
Some phobias may affect job performance. People with this disorder may become housebound for years, which is likely to hurt their social and interpersonal relationships.

When to Contact a Medical Professional
Call for an appointment with your health care provider if you develop symptoms of agoraphobia.

Prevention
As with other panic disorders, prevention may not be possible. Early intervention may reduce the severity of the condition.

References
Moore DP, Jefferson JW. Agoraphobia (panic disorder with agoraphobia and agoraphobia without history of panic disorder). In: Moore DP, Jefferson JW, eds. Handbook of Medical Psychiatry. 2nd ed. Philadelphia, Pa: Mosby Elsevier;2004:chap 84.

Katon W, Geyman JP. Anxiety disorders. In: Rakel RE, ed. Textbook of Family Medicine. 7th ed. Philadelphia, Pa: Saunders Elsevier;2007:chap 57.
++++++++++++++++++


OCD
Obsessive-compulsive disorder is an anxiety disorder in which people have thoughts, feelings, ideas, sensations (obsessions), or behaviors that make them feel driven to do something (compulsions). A person may have both obsessions and compulsions.
Causes

Obsessive-compulsive disorder (OCD) is more common than was once thought. Most people who develop it show symptoms by age 30.

There are several theories about the cause of OCD, but none have been confirmed. Some reports have linked OCD to head injury and infections. Several studies have shown that there are brain abnormalities in patients with OCD, but more research is needed.

About 20% of people with OCD have tics, which suggests the condition may be related to Tourette syndrome. However, this link is not clear.

Symptoms
• Obsessions or compulsions that are not due to medical illness or drug use
• Obsessions or compulsions that cause major distress or interfere with everyday life
An example of obsessive-compulsive disorder is excessive, repeated handwashing to ward off infection.
The person usually recognizes that the behavior is excessive or unreasonable.
Exams and Tests
Your own description of the behavior can help diagnose the disorder. A physical exam can rule out physical causes, and a psychiatric evaluation can rule out other mental disorders.

Questionnaires, such as the Yale-Brown Obsessive Compulsive Scale, can help diagnose OCD and track the progress of treatment.

Treatment
OCD is treated using medications and therapy.

The first medication usually considered is a type of antidepressant called a selective serotonin reuptake inhibitor (SSRI). These drugs include:
• Citalopram (Celexa)
• Fluoxetine (Prozac)
• Fluvoxamine (Luvox)
• Paroxetine (Paxil)
• Sertraline (Zoloft)
If an SSRI does not work, the doctor may prescribe an older antidepressant called clomipramine. Clomipramine is the oldest medication for OCD. It works better than SSRI antidepressants in treating the condition, but it has unpleasant side effects, including:
• Difficulty starting urination
• Drop in blood pressure when rising from a seated position
• Dry mouth
• Sleepiness
In some cases, an SSRI and clomipramine may be combined. Other medications such as benzodiazepines may offer some relief from anxiety, but they are generally used only with the more reliable treatments.
Psychotherapy is used to:
• Provide effective ways of reducing stress
• Reduce anxiety
• Resolve inner conflicts
Behavioral therapy may include exposure/response prevention: You are exposed many times to a situation that triggers anxiety symptoms, and learn to resist the urge to perform the compulsion.

Outlook (Prognosis)
OCD is a long-term (chronic) illness with periods of severe symptoms followed by times of improvement. However, a completely symptom-free period is unusual. Most people improve with treatment.

Possible Complications
Long-term complications of OCD have to do with the type of obsessions or compulsions. For example, constant handwashing can cause skin breakdown. However, OCD does not usually progress into another disease.

When to Contact a Medical Professional
Call for an appointment with your health care provider if your symptoms interfere with daily life, work, or relationships.

Prevention
There is no known prevention for this disorder.

Alternative Names
Obsessive-compulsive neurosis; OCD

References
Moore DP, Jefferson JW. Handbook of Medical Psychiatry. 2nd ed. St. Louis, Mo: Mosby; 2004:167-170.
Rakel RE, ed. Textbook of Family Practice. 6th ed. Philadelphia, Pa: WB Saunders; 2005:1348-1350.

Koran LM, Hanna GL, Hollander E, Nestadt G, Simpson HB, et al. Practice guideline for the treatment of patients with obsessive-compulsive disorder. Am J Psychiatry. 2007;164:5-53.

Denys D. Pharmacotherapy of obsessive-compulsive disorder and obsessive-compulsive spectrum disorders. Psychiatr Clin North Am. 2006;29:553-584.

Dean Koontz Book Review

On What is Man and What is Monster

Let me being by saying that Koontz is a flipping genius with this series. His retelling of the classic Frankenstein totally rocked my world when I first read it. My brother got it for me when he was at the store one day – it was right after the first book came out – and he thought I’d like it. Ha! I read the whole book in under a day. I devoured it. I was actually really sad when I finished reading the series.

The books come in a series of three, and if I remember correctly from reading one of the press releases, he first meant it to be a television series or movie or something like that. Anyway, the producers didn’t see eye to eye with him, so he left and took his story with him. And I did a happy dance.

The story turns the classic on its head. It makes the reader question just who is the man and who is the monster.

The first book, Prodigal Son, opens in a Tibetan Monastery. Interesting place for it to start. Here, in the snowy mountain monastery, there lives a creature unlike any other. The goliath of a man has no real name, so he calls himself Deucalion. Deucalion could be handsome save for the hideous scar that mars the side of his face. He is open with the monks to an extent, telling them little of his past. But the monks know he is old – very old. And the monks don’t seem to be frightened by this giant of a man; verily, Nebo, one of the head monks, and Deucalion have a conversation about Cheeze-its. Then, as the conversation winds down, a message arrives from an old-ish friend from the US, and Deucalion must leave. However, before the mysterious leviathan departs, Nebo tattoos the scared side of his face. It will help him blend into society, sort of, but his size will make him stand out without a doubt.

Readers then skip to New Orleans pre-Katrina. There they’re introduced to Det.s Carson O’Connor and her partner Michal Maddison. Readers learn that O’Connor is a tough-as-nails chick who won’t take crap from anyone, and Maddison is a goofball who loves movies but will totally kick some bad-guy butt when the time comes. They’re both the youngest to make Detectives in the city, and many of the other cops resent them for that. The pair is working a case called the Surgeon.

As the story progresses, readers are introduced to Victor Helios, a millionaire in the city who owns several biolabs, Erika, Victor’s wife, who is young and beautiful and seems to have a soup slurping problem, Randal Six – an 18-year-old autistic boy who is really only four months in age and is a “Child of Mercy, Mercy-born and Mercy-raised” – and Harker, a Detective who works on the same squad as O’Connor and Maddison. {Koontz1, 37)

Basically, Deucalion is/was Frankenstein and Helios is the man who created the monster from the parts of dead criminals. And this is where readers may think that they’d have the plot figured out, but no, they don’t.

Frankenstein – the man – has made himself into a monster. He looks no older than his 40s, however he is really over 200-years-old. He sustains himself by electrical coils that snake through his body – and instead of being repulsed by them, he sees the beauty in the scars he inflicted on himself. One day, Frankenstein hopes to transplant his brain into one of his newest creations – the New Race – a race of superhuman people who come in all shapes and sizes and colors, blend in perfectly with society, and function normally until commanded to do otherwise as dictated by Victor.

Deucalion was Victor’s first creation and most crude (by Victor’s current standards). Because of the crudeness of design, Deucalion was able to go against his master’s wishes, for unlike his newest creations, Deucalion wasn’t programmed to obey everything Victor said. But Deucalion wasn’t able to kill Victor – something stopped his hand, something that Victor had installed into him. And because of that inability, Victor stomped Deucalion down, scared him, and thought he killed his first creation.

And yet, Deucalion seems to be more man than monster. Although he was created by bits and parts of killers, he himself doesn’t seem to be one. True, he does have such rage that lives in him, but don’t all free-thinking humans? Deucalion said again and again that the storm that gave him life also gave him something else – something that surpassed humanity and anything Victor could ever give him. It gave Deucalion an understanding of, well, everything.

To put the rest simply and without giving away all the awesome twists and turns, there’s an epic battle that ensues between men and monsters – but who’s who will have readers turned on their heads. Koontz shows his mastery with the modern retelling of the classic Gothic novel.

In front of each of the books, there’re press reviews – of course. And the one that made me smile the most – mostly because it’s such an odd source, and they made it funny – was from Playboy. They said: “If Stephen King is the Rolling Stones of novels, Koontz is the Beatles.” In all, the series topped the New York Times’ Best Sellers List when they each came out – combined, it was over twenty weeks.

Book One: The Prodigal Son : 2005
“Bobby was sort of a geek. But… why would someone cut out his heart?”
Michael shrugged. “Souvenir. Sexual gratification. Dinner.”
Appalled, repelled, Nancy Whistler bolted for a toilet stall.
To Michael, Carson said, “Oh, nice. Real nice.” {91}

Book Two: City of Night: 2005
Victor loathed him. “Perhaps one of my creatures is more pathetic than anything I would have believed I could create.”
Duchaine spoke not to the monster suspended above him, but to one of the cameras and, through its lens, to his maker. “I forgive you, Father. You know not what you do.” {338,340}

Book Three: Dead and Alive: 2009
The pleasure is intense. The word Chameleon knows for the pleasure that comes from killing is orgasm.
Chameleon wants an orgasm. Chameleon wants an orgasm. Chameleon wants an orgasm. {309}






Koontz, Dean. “Frankenstein Book One Prodigal Son” Bantam Dell, New York, New York. Feb. 2005.
Koontz, Dean. “Frankenstein Book Two City of Night” Bantam Dell, New York, New York. Aug. 2005.
Koontz, Dean. “Frankenstein Book Three Dead and Alive” Bantam Dell, New York, New York. 2009.

Frye and the Queene:

A Study in the Romantic Quest

Everyone has heard of the term “summer of romance.” Romance seems to blossom when the sun is shining and warm, the grass is green, the birds are chirping – it’s the perfect time for a quest, right? After all, centuries of literature can’t be wrong. For hundreds upon hundreds of years, since writing and plot evolved, authors have been sending brave heroes out into lush forests, beautiful landscapes, and across enchanting seas in pursuit of distressed damsels, lost trinkets, stolen treasure, and missing magical mystics. And although love or romantic intentions are often involved, the real romantic element is more for the benefit of the reader, in that the reader is romanced by the idea of the Quest. Go-to critic – as well as one of the most well known – Northrop Frye will argue that the Quest is the focus of any plot. What makes a Quest fall into the Romantic category is not that the characters fall in love with each other (although that is sometimes the case) and Harlequin-esque plots ensue.(Frye 200, Smith) Rather, what makes a Quest Romantic is that the hero is a figure that the reader looks up to – there’s some attribute that makes him greater than the rest of the people in the real world, be that virtue valor, chastity, prudence, temperance, patience, etc. – that “normal” people don’t have.(Frye 200, Smith) Not only is this hero somehow better than John Q. Everyman, the hero is also able to complete a quest with elements with elements that the Everyman would succumb to within an instant.(Frye 200, Smith) To further illustrate Frye’s idea of the Romantic Quest is Edmund Spenser’s epic “The Faerie Queene.”

The very basic overview of Spenser’s epic is that a knight who is only called Redcrosse in the tale (who many say is based off of St. George the Dragon Slayer) must save Una (who is the personification of the only true religion) from various perils and complete or defeat various inglorious obstacles in his search for Glorianna (who is the characterization of Queen Elizabeth I).(Spenser Book I) Nor is the only knight in this epic Redcrosse, for there are five other knights that take quests at the urging of Glorianna, Queene of Faeland, that span out across five other books of this epic.() Spenser never finished this epic, for only six books out of twelve were completed; Glorianna sent out twelve knights to partake in epic quests, yet only six of these tales were written down(). For the sake of time – and the fact that to tackle all six books of “The Faerie Queene” would be herculean and therefore a Romantic Quest in and of itself – hither and so-forth will use only the first book of the six dealing with Redcrosse and Una.

Frye perhaps classified “The Faerie Queene” as a Romantic Quest because Spenser uses a base idea of Arthurian Legends reminiscent of tales like “Sir Gawain and the Green Knight”, “Mort D’Arthur”; yarns of Sir Lancelot Du Luc and Guinevere, Sir Tristan and Isolde, Sir Kay, and Sir Galahad the Pure. To pick a knight that Redcrosse would be most like in this book of Spenser’s saga would be Sir Galahad the Pure(Spenser Can I). Although Redcrosse is naïve in the beginning of the story, as it goes along, he becomes more and more holy, and Sir Galahad is very often compared to Christ in his selflessness and piety.

It would also be fair to argue that “The Faerie Queene” is purely a quest on the Romantic level. In all aspects Redcrosse completes every obstacle that is placed in front of him in a successful manor. Take, for example, the passage of Canto I where Redcrosse and Una along with the dwarf get lost in the woods during a storm and take shelter in a cave(Spenser Can I). However, unbeknownst to them, the cave was home to Errorurs, a hybrid monster whose lower half was serpent and whose upper was that of a human female, suckling her numerous babies on black bile and poison(Spenser Can I). This is the first time the reader sees the small gang, and they are told that Una is beautiful in ways that words cannot possibly describe, Redcrosse is a greenhorn knight whose armor and shield bare a red cross for Jesus Christ and the Holy Lady and that the armor is dented and old and perhaps not his at all.(Spenser Can I) This is where readers are also introduced to Redcrosse’s boyish headstrong determination to be like those knights of yore, for Spenser writes, “But full of fire and greedy hardiment,/ The youthfull knight could not for ought be staide, {120}/ But forth unto the darksome hole he went,/”(Spenser Can I). Redcrosse, against both Una and the dwarf’s warnings, goes into the den of Errorurs, desire to prove himself greater than his ability to listen to Truth (Una) and Common Sense (the Dwarfe).

Once inside the den, when he’s alone and Una and the dwarf are looking on, Errorurs is able to overpower Redcrosse and wrap her serpent tail around him (Spenser Can I)). Once, however, Redcrosse listens to the urgings of Una and the dwarf, he’s able to lop off the head of the hybrid beast whereupon,
Therewith she spewed out of her filthy maw
A floud of poison horrible and blacke,
Full of great lumpes of flesh and gobbets raw {175}
Which stunck so vildy, that it forst him to slacke
His grasping hold, and from her turne him backe:
Her vomit full of bookes and papers was,
With loathly frogs and toades, which eyes did lacke,
And creeping sought the way in the weedy gras {180}
Her filthy parbreake all the place defiled has. (Spenser Can I)

It is Redcrosse’s first great victory in his knighthood – borrowed armor and all – against a monster “whom God and man does hate:” (Spenser Can I). Here, where Redcrosse defeats Errorurs, is very reminiscent of St. George and the Dragon Slayer in that here Redcrosse kills this demon that terrorizes the surrounding area, much like the dragon in the legend. It is here that Redcrosse proves his chivalry and begins to earn his place among the other knights. This victory, when Redcrosse learns to listen to two of several elements that really matter that he was elevated to the status of being greater than everyday people.

Likewise, “The Faerie Queene” is also heavily toned towards the anagogic and ethical. Every single character in the epic can be construed to fit some historical figure or some religious idea. Take, for example, the Queene herself, Glorianna. She is the characterization of Queen Elizabeth I, as aforementioned, so that would satisfy the historical and/or figurehead. Also, take the name of the Queene – Glorianna; to break it down, the reader will have Glori – or Glory, and that would satisfy the moral element to that character (mostly the fact that under Elizabeth’s rule, England prospered and won over the Spanish Armada), and lastly, also using Glory, the reader has the spiritual component of deep and/or profound spiritual beauty.

Also, take the character of Redcrosse; his historical figurehead is St. George the Dragon Slayer. However, notice that his armor is painted with the red crosses (thus his name as well) which once symbolized Christ dying on the Cross as well as Redcrosse’s servitude to everything that that symbol meant under Una (Spenser Can I). Also remember that if one were to compare Redcrosse to the Arthurian Knights of lore, it would be Sir Galahad the Pure that he would be most like. Therefore his moral element would be that of Holiness, which, with the help of Una, he is able to achieve by the end of the first book.

Finally, take the character of Una. In real life, she has no historical figurehead per se, and yet to give her one it would undoubtedly be the Protestant religion or reformed religion – which would also satisfy the religious aspect of her character. Spenser, because of some of the events of the time with Mary, Queen of Scots and the Church of Rome , was heavily focused on the idea that the Protestant religion was the one true religion, so Una in this book, is Truth and True Religion.

Now the battle with Errour wasn’t the culmination of his Quest. This battle was only the beginning of his Quest to protect Una. Redcrosse faces several other trials in his Quest – of which include his confrontation with Orgoglio, a giant who holds Una captive in his castle (Spenser Can VII – IX). It’s possible that Orgoglio represents carnality or pride in committing carnal sins. Likewise, it’s equally possible that this is one of Redcrosse’s toughest battles.

To break Orgoglio down into the different forms of representation is just a little more difficult than either Redcrosse or Una, mostly because, aside from carnality, there’s also a chance that the giant could be – to an extent – the antichrist. Mostly the reason for that comparison is that Spenser believed that the Pope of the Catholic Church was full of hot air – a slob and an ugly creature that would be hypercritical when it comes to intimacy and sexual relations. Comparing Orgoglio to the antichrist, however, seems a bit of a stretch. While it makes sense that, from Spenser’s point of view, the Pope was leading the people away from the right and true religion, most legends of the antichrist portray him as a handsome man who would persuade his followers with a suave tongue rather than using brute force.

Because Orgoglio captured and held Una away from Redcrosse, he faltered slightly in his abilities to slay Orgoglio. But, just when the hero was about to give up, out from the mists came Prince Arthur to help Redcrosse defeat the giant and rescue Una from the lecherous depths of the monster’s castle (Spenser Can VIII-IX).

In this story, Arthur’s three allegories include Magnificence (the moral), Protestantism (the religious), and Lord Leicester (the person and/or the political). Prince Arthur is the best of the best, the crème de la crème. He’s what every man should be, according to Spenser. In terms of “hero”, Arthur would be perfection incarnate. While Redcrosse, for example, only stands for one moral virtue, Arthur is the combination and the culmination of all virtues. Arthur is what Redcrosse is striving towards in his Romantic Quest.

It is only with Arthur’s help – and a bit of magick – that Redcrosse is able to defeat Orgoglio and save Una (Spenser Can IX).

Probably, however, the deciding test in the Redcrosse Knight’s tale is when he is tempted by and follows Duessa to the kingdom of Lucifera where he comes into contact with all of the Seven Cardinal Sins in a parade of blasphemy, the climax of which being Lucifera herself (Spenser Can VI).

There are several reasons why this confrontation is the most important factor for Redcrosse – one being because he was led away from the right path by Duessa. Judging by her name, Duessa would be all manner of falseness – including false religion. Likewise, to put a person to this character, Spenser was probably landing a blow to Mary, Queen of Scots – also known in some circles as Bloody Mary for her ruthless beheading of countless Protestants to convert to Catholicism.

Lucifera, in Spenser’s eyes, would be the worst of the Seven Cardinal Sins in that her sin is Pride, and in Spenser’s eyes, Pride went hand in hand with the Catholic Church (also sometimes called the Church of Rome or the Vatican).

Because there is no Una at first to stand by him, Redcrosse must face these two great obstacles alone – thanks mostly to a glamour cast on the poor knight by Duessa to lure him away from Una (Spenser Can VI). There is no Glorianna, there is no Prince Arthur, there is only Redcrosse to choose the right path that this junction. Therefore, it is this test that’s the climax for Redcrosse – this is his time to prove himself and really be a hero – be one step closer to Prince Arthur.

It would seem to fully understand Spenser’s intentions, the reader need must only break the names of the characters down and read them carefully. Once that is done, they will be able to understand how the supporting characters aide Redcrosse so much in his greatness that helps to qualify this part of the epic series as a Romantic Quest.

Therefore, because of the heavy religious and political overtones, some would say that it is difficult to see “The Faerie Queene” as any type of romance. But it’s not so much the content that slips a literal work into any one slot. Neither is it the idea that love occurs in the story – although that does happen in some cases. There needn’t be any Harlequin-esque plot lines with bawdy bodice-rippers to qualify a text into the Romantic Quest category. More, it’s along the lines of what the hero does in the story – Redcrosse is successful in his quest and his trials, hence, he’s better than any Everyman that anyone would ever encounter. Redcrosse is able to defeat the monster Errorurs and all other obstacles that are place in front of him with the help of Una and the other virtues. It’s what makes him great. It’s also what gives him his Holiness and satisfies the criteria needed to be considered one of the great Knights of Arthurian lore. It’s also because he’s able to be better than Everyman and complete these quests, the reader looks up to this hero, and that’s what qualifies Spenser’s epic “The Faerie Queene” as a Romantic Quest.






Works Cited
1 – Frye, Northrop. “Anatomy of Criticism” Princeton University Press. New Jersey Fifteenth printing 2000.

2 – Spenser, Edmund. “The Faerie Queene”

3 – Smith, Prof. “Class Notes and Handouts” Spring Quarter 2010.

The Meshing of the Magical and the Real:

 One Person’s Idea of What Constitutes as Magical Realism

What’s the difference between the magic and the real? What’s it mean to be magic and/or magical? What’s it mean to be real? What is magic? What is real? Again, is there any difference at all? There’s a whole genre that combines the two so seamlessly that readers can’t tell the difference between the two anymore than they would be able to tell the difference between the two colors blue-green and green-blue or a Mandarin orange and a Clementine – there are very, very subtle differences. Admittedly, it can be more than a little confusing to readers if they either don’t know what they’re looking for or they don’t have much experience with the genre. The authors, however, more than make up for the confusion-factor with their wit, craft, colorful, rich characters, and masterful storytelling. The loaded storylines and true-to-life characters – be they lifelike in appearance, personality, or attitude – are great for pulling readers into the worlds that they create and whet the audiences’ appetites for more.

Perhaps the places best known for these luxurious stories are the far Southern tip of North America, Central America, and most of South America – thus this genre, most commonly called Magical Realism, has a sort of sub-genre or parent-genre of Latin American. Of course the entire genre has roots from all over the world and from all times; the clique didn’t really take off until the late 19th and early 20th centuries in Central and South America (Notes). Throughout time, the masterful stories slowly made their wise all around the world and in many different languages, and by the mid-to-late 20th century, the books, genre, and real life struggles of the actual people of the countries became wildly popular (Notes). Likewise, most – if not all – of these authors have a great deal of personal experience from the struggles of their prospective countries, and their writing greatly reflects and publicizes the wrong-doings and political/economic strife (Notes).

Some of the most well-known, groundbreaking, and influential authors include – but are not limited to – Luis Borges, Gabriel Garcia Marquez, and Isabel Allende; their works – all equally splendiferous and epic – involve and draw attention to many different issues that humankind either has faced, will face, or will continue to face as time moves on (Notes). Some of the larger topics that their novels deal with include political strife, economic strife, gender inequalities, human nature with man’s various downfalls and achievements, sexuality, and taboo issues/themes/undercurrents such as rape, incest, and torture (Notes). (Also, please take note: that not every novel deals with all of these things at once; some novels have only a few, some have all, some of none of these aforementioned but others not said here (Notes).)

Borges uses Magical Realism to make his readers question the line between reality and dream; he has the ability to take that line and make it so small and thin that readers need a high-powered microscope to find it. Take his short story about the mythical Tlon… or at least those who read it will tell themselves the world is mythical (Borges 3-18). Because of his masterful technique, the fantastic and outlandish becomes the normal and every day. The reader must tell themselves that the lost volumes of Tlon are, indeed, just something Borges created and have not been discovered (Borges 4-6). Likewise, Borges makes the things readers encounter on a daily basis seem monstrous, strange, and something to be feared. Borges takes the mirror – a common household item in most if not all homes – into something that readers want to shy away from with a funny feeling in their stomachs by using just one or two sentences (Borges 3).

Marquez, on the other hand, takes a different route. Unlike Borges, who deals with the various facets of the human mind/nature, Marquez has undertones of politics and a broader focus on the sexuality and taboo, while his main theme is the effects that solitude has on different people and the many different forms that solitude takes. This novel is a little more difficult for some readers because Marquez gives most of his male characters some form of the same name (Marquez, 0). Once the reader gets deeper into the novel, it can be very difficult for them to keep people and events together – the who did what and what did who; thankfully, before the first page of the first chapter is a sort of family tree to help keep everyone separate (Marquez 0). What makes Marquez’s novel fall into Magical Realism, some would say, is the way that he isolates the town of Macondo (Marquez 1-417). Even though people from the outside of Macondo come in, the town still seems strangely isolated. It almost seems that the more outsiders come in, the farther down the town and people fall into a vertex of incest and isolation. The family and town began that way – that strange, secluded incest – and it ended that way as well (Marquez 20, 415). It is almost certainly that fact that makes readers uncomfortable – what does life come down to, then, if all efforts are for naught?

It isn’t until readers read Allende, however, that they get a full glimpse at the political. While authors such as Marquez retreat deeper into the magical element rather than expose the faults of politicians, Allende does just the opposite. She uses the magical to draw readers into her tale and then gives them a “healthy” dose of reality. Take Alba. So what if her hair is greenish (Allende 262)? None of that really matters to readers, because green hair or no, Alba still gets tortured later in her life in the novel (Allende 406-411). It wasn’t some petty torture, either: it was the real thing; the kind that happens during war, and readers simply forget that Alba does, in fact, have hair that greenish.

If readers want some help navigating the vast waters that is Magical Realism, it’s suggested that they take a look at Scheherazade’s Children, an essay by Wendy B. Faris that details some of her personal ideas on what Magical Realism is. It’s a good essay because it lays out in numbered points what Faris thinks falls into the category of Magical Realism and vice versa, as well as being clear and easy to understand, for example:

(1) Metafictional dimensions are common in contemporary magical realism: the texts provide commentaries on themselves, often complete with occasional mises-en-abyme – those miniature emblematic textual self-portraits. Thus the magical power of fiction itself, the capacities of mind that makes it possible, and the elements out of which it is made – signs, images, metaphors, narrators, narratees – may be foregrounded. (Faris, 175)

Likewise, it’s nice because Faris also gives readers books that fit both into Latin American Magical Realism and Magical Realism from around the world. This way, readers have two types of texts: ones that they haven’t encountered before and wouldn’t know how it fits into the genre, and ones they have read and can say, “Oh, that’s it; I get it.”

Therefore, simply put, one facet of Magical Realism is a tool used by authors to confuse the mind, bring to light problems that happen in the world, and offer a form of escape from those problems. Magical Realism is in the everyday little things as well as the everyday huge things – from the family to the country. It’s everywhere and nowhere, and it’s really small details that readers might miss – like the color of someone’s hair or someone’s personality, or even a type of book that’s mentioned in a story.


Works Cited/Consulted


Allende, Isabel. The House of the Spirits. New York, New York: Bantam Books/ published by arrangement with Alfred A. Knopf Inc., 1993.

Borges, Luis. Labyrinths. New York, New York: New Directions Publishing Corporation, 2007.

Faris, Wendy B. "Scheherazade's Children." Zamora, Lois Parkinson. Magical Realism: Theory, History, Community. Duke University Press Durham & London, 1995. 163-190.

Marquez, Gabriel Garcia. One Hundred Years of Solitude. New York, New York: Harper & Row Publishers Inc., 2006.

Notes, Magical Realism Class. "Class Notes on Magical Realism." 2010, The Class of Spring. n.d.


Allende, Isabel. The House of the Spirits. New York, New York: Bantam Books/ published by arrangement with Alfred A. Knopf Inc., 1993.

Borges, Luis. Labyrinths. New York, New York: New Directions Publishing Corporation, 2007.

Faris, Wendy B. "Scheherazade's Children." Zamora, Lois Parkinson. Magical Realism: Theory, History, Community. Duke University Press Durham & London, 1995. 163-190.

Marquez, Gabriel Garcia. One Hundred Years of Solitude. New York, New York: Harper & Row Publishers Inc., 2006.

Notes, Magical Realism Class. "Class Notes on Magical Realism." 2010, The Class of Spring. n.d.

Jack the Ripper: The Man, The Monster, The Mystery

Why is it that only those people who commit the most gruesome of crimes obtain that one simple thing which everyone desires? Why are people who strike fear into the hearts of millions immortalized forever in their minds? What makes them so unforgettable? Is it the brutality of the crime? Is it the people they kill? Or is it because people are obsessed with the mystery and intrigue that surrounds the fiend? Well, then, what about Jack the Ripper? The man – or woman – took the lives of women guilty only of trying to survive. This person was never caught for the murders that he or she committed. They shall forever be commemorated in infamy as the person who struck fear into the Greater London area. Who, however, is the man behind these bold and daring attacks? The world may never know fully. Hence, it stands: Jack the Ripper: the man, the monster, the mystery.

To try to count the number of suspects for the true identity of Jack the Ripper would be like trying to count the stars or the grains of sand on beaches. There is a nearly infinite number of people ranging in social status from pauper to prince. Perhaps the most famous royal suspect is Prince Albert Victor Christian Edward or Prince “Eddy” to his friends. At least three major theories pin him as the real Ripper. Recently, his mental stability, personality, and manor of death have come into question. Others believe that it could be someone in either the medical or butchery guild. Dr. Thomas Neill Cream of Scotland is perhaps one of the more famous suspects – if not the most – of the medical society. He escaped murder charges twice, once in Canada for a botched abortion, and again in Chicago for the same. Finally, on November 15, 1892, he was hanged for the murder of Matilda Clover. His last words were said to be, “I am Jack…” just before his last breath left his body. It is odd that he is rumored to say this. Although he was in America at the time of his hanging and would-be murder convictions, he was a student at the Royal College of Physicians and Surgeons at Edinburgh, England, and this time spent as a student coincides with the Ripper killings. Was it really Prince Eddy? Or was it a simple medical student? There is really no way to know for sure. There are over four hundred recorded suspects of who the Ripper is really, ranging from the plausible to the outrageous. Of course Jill the Ripper (Mrs. Mary Pearcey) can not be ignored. Pearcey was said to be a midwife or abortionist. Theories state that it would not be uncommon or suspicious to see a woman walk the streets after dark in torn, bloody clothing. Perhaps this is how the Ripper was able to get away virtually unnoticed.

Could the suspect have been a prostitute? Could it have been a police officer? Is that why the investigation was handled so lightly at times? It is sadly not known. It is known, however, that the Ripper had at least a minuscule amount of anatomical knowledge and could have possessed tools that are only ordinary found in a typical medical bag of the time. This is where the theory that a doctor was to blame came into focus. What brought butchers to light was the dubbing of the Ripper not only as Jack the Ripper, but also as the Butcher of Whitechaple. A social outrage ensued, and all butchers were suspected of the grisly murders. Jewish people, even, were suspects at a point in time. This is thanks to the famous message scrawled on a wall near the Eddowes’ murder sight. The following is an excerpt taken from the notebook of D.C. Halse, a detective who worked the case: “The Juwes are not the men That Will be Blamed for nothing.” The message points to no person in particular, just the group. This brought the Jewish people living in the Whitechaple area into a bad light. This can be taken one of two ways: one, the Jewish people are totally innocent of all of the murders and have nothing at all to do with them; or two, the Jewish people committed the murders. Because of the ability to take it several ways, many of them were also suspects. Prince Eddy had social status. He was like a common day Hollywood celebrity. Nearly everything he did was in the public eye. Of course theories about this man would come to focus, because he was already held in public view.

Before any more wild theories ran ramped through the minds of the curious, perhaps the victims themselves should be examined. The Ripper went after prostitutes. This is a well known fact. There are rumored to be at least eighteen women that met their fates at the hand of the Ripper. Five of these are generally accepted to be the only real victims who were felled by the hand of the Ripper. The names of the unlucky unfortunates are as follows in the order their bodies were found and presumably the times of their deaths: Mary Ann “Polly” Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Kelly. As each body was found, the gruesomeness of the crime increased. At first it was gradual, but as the body count increased, so did the gull and the boldness of the Ripper. Perhaps he or she thought that they would never get caught. Perhaps the Ripper thought that no one would care that these women were killed because they were prostitutes. Regrettably, the reason why he went after these women is not known. There are several theories about why he chose these women. Again, these range from the plausible to the totally outlandish. Some say that he was a man of the Cloth and did not agree with prostitution. Others claim that each of these five women was at one point in time carrying the child of Prince Eddy, and he had to do something to get rid of the misbegotten, mongrel heir. If this is the case, did Prince Eddy kill them himself, or did he hire someone to do it for him? Stills others say that if a woman was to blame for these notorious murders, it is because she was eliminating competition for clients. A sub-theory of this is that the female Ripper was unhappy with the prostitutes because her husband was out every night, spending all of their hard earned money washing down booze and chasing women. It is said that finally she became tired of his actions and, instead of lashing out at him, dressed as one of the women she so hated and killed them off one by one until there would be none left. This theory states that the murders stopped because her husband quit seeing the prostitutes because she either divorced him, killed him (or he died in some way, shape, or form), or he saw that his wife was at home and realized that that is where he should be. Still others say that is was a team effort of two brothers who “protected” the prostitutes from harm. In reality, they did more harm then good. They were, however, cleared of charges and were only suspects for a brief while. 

These theories can stretch for miles. These are only wild guesses. Some of them are by the families who want some peace for their loved ones. Others are from people who are just trying to explain the actions of one crazed individual. Many of these theories only raise more questions that can not be answered by anyone save the Ripper himself. Each time the stories of the murders are retold, more details pop up, making it harder to discern fact from fiction.

At the time, these were the most brutal murders ever seen. These women were dissected. Parts of their bodies were removed. Three of the five of them had their intestines slung over their right shoulder. It goes without saying that the Ripper was a very sick individual. As aforementioned, his brutality increased with each body found. These women, after the first body was found, would be on high alert. One of their own was killed. Still, though, they had to make their living to survive, and worked for their meager wages. They would not easily trust their clients. How did the Ripper get his victims? Did he seduce them? Did he drug them? Did he take them over by brute force? Like his identity and reasons for the killings, it is not known how he overtook his victims. Likewise, dispute arises when the question comes to play whether he was right or left handed. All five victims had their throats slashed. Some say that it all depends on where the Ripper stood. The slashes all ran from left to right, deeper at the left, more shallow to the right. This can show perhaps that the knife (or instrument used) was taken from the neck at it approached the right side of the body. This can support that he is right handed, and attacked from behind. To be left handed, he must have had to attack from the front to make this theory true. If the Ripper attacked from the front, it shows that he is a confident man and has no fear of his victim. If he attacked from behind, it shows that he was a more careful man. Either way, both would surprise the victim. Autopsy reports state the true macabre facts of the murders.

His first victim, Mary Ann “Polly” Nichols, had, on the left side of the neck just below the jaw, a four inch incision. The incision was roughly about four inches in length. There were also several incisions on her abdomen. The neck wound was caused by a knife cutting down the right side. The reports state that it “might have been done by a life handed person.” and that “all injuries were caused by the same instrument.” This is by far the least gruesome of his murders. They only increase in viciousness as they proceed.

His second victim, Annie Chapman, is quoted as having her body terribly mutilated. The stiffness in her limbs, rigor mortis, was not marked at the time, but was commencing. Her neck was sliced by a very shape knife with a thin, narrow blade between six to eight inches in length, maybe longer. The possibility that these injuries were dealt by a bayonet is cast out, stating that it is not the case. The report says that the “instrument is as a medical man used for post-mortem purposes.” and “ordinary surgical cases might not contain such {an} instrument.” It also rules out people who work with leather, stating that “leather trade knives would not be long enough.” The report states clearly that there is anatomical knowledge, and it is possessed by the perpetrator of the murder. There was also a kerchief tied around the throat of the body. The police officer who found Chapman states that it appeared to be tied of after the throat was slashed. In her post mortem examination, the stiffness was now clearly evident, especially on the left side and in the fingers that were partly closed. The autopsy reports are also quoted as saying that “the throat was cut with the skin, indicating that the slash went form the left side of the neck.” Aside from the fatal slash that ended her life, Chapman also had two very distinct cuts on the left side of her spine that were parallel with each other and separated by only half an inch. There were, of course, other mutilations to the body, but the cause of death, as aforementioned, was attributed to be the loss of blood via the neck wound.

Further mutilations continue. Chapman’s chest cavity was exposed and the intestines were placed over her shoulder. All womanly areas (meaning uterus, vaginal canal, and breasts) were removed. There was a theory that she was gagged; facial signs supported asphyxiation. The reports also state, again, that the neck wound ran from the left to the right.

But would she have lived much longer anyway? Upon further examination, the doctor performing the autopsy states that Chapman had “advanced diseases in the lungs and brain membranes.” The technician states just after that that he attributed none of this in causing her death immediately. Could the Ripper have known that she was diseased? Could he have known that Chapman did not have much longer to live?
Elizabeth Stride has the honor of being his third victim. This case was handled by Dr. George Baxter Phillips. He also handled the Chapman and Kelly autopsies. Stride’s left arm was out with a packet of cachous in the hand. (Cachous are candies that are flavored like different species of flowers like the rose, lavender, and violet.) Her body (meaning what was left of her abdomen), face, and legs were warm, but her hands were cold. Stride, like Chapman, had a kerchief tied around her neck; this one was silk. Her throat was slashed with a cut of about one and one half inches in diameter under her right arm. Rigor mortis was marked at approximately 3:00 p.m. on a Monday by Dr. Blackwell at St. George’s Mortuary. During this examination, both shoulders and frontal chest was marked as having a bluish discoloration of the skin. Upon further examination of the slash to the neck, it was marked at six inches long and two and one half inches wide in a straight line below the jaw that became deeper. It was marked as a “clear cut incision.” The vessels on the right side of the neck were virtually uninjured. Hemorrhaging and ultimately death was caused due to the severance of the left carotid artery. Teethe were missing in the lower left jaw. The autopsy reports do not, however, say whether or not they were missing due to being knocked out or falling out. It is presumed that, because of her lifestyle and poverty, they had fallen out due to rot. At the time of the examination, decomposition had already started on the skin.

Catherine Eddowes is said to be the fourth victim of the Ripper. Her abdomen was exposed and the throat, like the other three before her, had been cut across. Her intestines were taken out and placed over her right shoulder. A section of nearly two feet was cut apart from the rest and placed between her body and left arm. This was done by design, proving that the scene was staged. Her body was still warm. Rigor mortis had not yet taken place. The coroner ruled her death to be within half an hour of when her body was found.

Eddowes’ post mortem examination took place at 2:30 on a Sunday afternoon. By that time, Rigor mortis had set in though the body was not quite cold. Also noted was a green discoloration of the abdomen, and, after the washing of her left hand, there was a bruise found that was nearly the size of a sixpence. It was recent. Could this mean that the Ripper and lured Eddowes with the proposition of making money and then killed her before she was able to perform her service? It is what evidence supports.

Catherine had her face pretty well mutilated. Her neck had several arties severed, and her jugular vein was slit open nearly an inch and one half; it was not divided. The reports state that “all injuries were preformed by a sharp instrument like a knife, and pointed.” Also that “the cause of death was hemorrhage from the left common carotid artery.” The death was ruled to be immediate, and it was deduced that the mutilations were preformed after death.

Eddowes’ left kidney was missing; her right was pale and bloodless. Soon after the discovery of her body, a letter arrived. The following is transcribed from the actual letter:
“From hell. Mr Lusk, Sor I send you half the Kidne I took from one woman and prasarved it for you tother piece I fried and ate it was very nise. I may send you the bloody knif that took it out if only you wate a whil longer. Signed Catch me when you can Mishter Lusk.”

The coroner then goes on to say that “someone who knew the position of the kidney must have done it.” and that he “believes the perpetrator of the act must have had considerable knowledge of the position of the organs in the abdominal cavity and the way of removing them. It required a great deal of medical knowledge.” This supports the suspicion that the Ripper may have been a doctor of some kind.

Mary “Jane” Kelly was the only victim that was found indoors. She was his fifth. Her body was found lying naked in the middle of her bed. The entire surface of her abdomen and thighs were removed, and her abdominal cavity had been emptied of its contents. Her breasts were cut off; one of them was placed under her pillow along with her uterus and kidney. The other breast was between her legs along with her intestines and spleen. The flaps of skin that was taken from the abdomen and the thighs was found on the bedside table. Her face was hacked beyond recognition. Her neck was severed all the way down to the bone. Her bed clothes were soaked with blood; a pool of it lay covering the floor in about a two foot square. There were wounds found on her hands. Could they have been defensive wounds? Could Kelly have been trying to defend herself? If so, had she angered the Ripper by it, thus making this the most violent attack by far? There was noted to be unnecessary injury caused, such as a part of her lung being broken away.

One thing remains a constant theme: all five had their necks severed, and all five had died due to this wound. The autopsy report says only that the injury was inflicted while Kelly was lying at the right side of the bed. It does not, however, say whether or not the other less life-threatening injuries were made prior to or after this wound was inflicted. Did the Ripper torture Kelly?

Jack the Ripper has successfully succeeded in achieving the one thing which few are able to obtain. People have immortalized him. He went from being a fiend to an immortal god of Hollywood. He has been the subject of countless movies and books. The most recent and perhaps one of the more actuate of these is From Hell, starring Johnny Depp as Detective Fred Abberline and Heather Graham as the unfortunate Mary Kelly. This movie portrays all five of the aforementioned victims in a fairly accurate light, uses the theory that a doctor was the Ripper, and also touched base on several of the other theories. By far, this is one of the best fictional portrayals of Jack the Ripper.

This post mortem fame that the Ripper achieved leads many to wonder if he knew that his crimes would keep him alive as long as they did. The Ripper is a field day for those in the profiling guild. One can spend hours and near days on end trying to figure out what ran through the mind of this demented man, even after a hundred years of death.

So who was the man behind the monster? Who hid behind the mask of darkness? Who drove fear into the hearts of one of the greatest nations? No one may ever know. Perhaps that is what lends itself to further the fear and mystique of the whole affair. Jack the Ripper was by far a genius. He was never caught. He was also by far one of the most brutal and gruesome killers ever. His brutality was perhaps one of the contributing factors that lead to his immortality. There are over 400 people who have been suspected to be the true Ripper, both male and female; they range from pauper to prince. There are only five victims that are said to be the only real victims of the Ripper, though there are rumored to be at least 18, maybe more. His crimes began as the usual clean murder, but then progressed into brutal, stomach churning, grotesque pictures that haunt the mind and sour the appetite. For over a month he terrorized the area of Whitechaple, England. Hence then it stands: Jack the Ripper: the man, the monster, the mystery.

The Cherry Blossom Ballad

Cherry Blossom Ballad

Winter wind blows cold
In a heart of barren stone
Cherry blossoms blow

Teardrops fall like rain
I burn within this water
As life slips away

Darkness falls like night
Across cold, red-rimmed eyes
The wind blows away

Liquid fire drips
Like water off my body
To sweet nothingness

Soft grass beneath me
Forming an eternal bed
For my soul to sleep

Wind caresses me
To lull me into slumber
Nevermore to wake

This mountain I walk
To reach the summit point high
Heaven in your eyes

The Haiku for a Dream

Haiku for a Dream

Soft winds blow water
Serenity sings softly
The wind is calming.

Rain falls quietly
The wind sings a lullaby
To lull me to sleep.

Lightning flicks brightly
The roar of distant thunder
Wakes me from slumber.

The rising sun comes
And night slinks away to hide
My dream is no more.

The Haiku Macabre

Darkness closes in
The kiss of light is no more
Numbness takes over.
Forever alone
Locked in the bowels of blackness
Winds howl above me.
Rain pats my body
But I feel nothing at all
The Earth is my home.
The winter snow falls
Like frozen tears of angels
Drowns me in my grave.
Love is alive now
Burning in my beatless heart
Tears ghost down my face.

The Midnight Blues

Midnight Blues

Whispers haunt the mind
Broken words lie in the heart
As blossoms fall down

Water falls like rain
Down palled cheeks filled with same
Sighs like restless wind

Gems fall from the eyes
Like diamonds in the sunlight
Sparkling sadness

Listen mournfully
To the songs of tortured hearts
Weeping in the wind.