Volume VIII

THE FOOLSCAP RESISTANCE ESCAPE

& BOOK & MEDIA STUDIES UNDERGRADUATE JOURNAL

TABLE OF CONTENTS

I. MASTHEAD

II. LETTER FROM THE EDITOR

III

.

PAPERS

How Dystopian Fiction Encourages Political Activism for Young Adult Readers by Lois Lee 1-6

Is Netflix Dangerous to the Environment? How Our Video Streaming Use Is Making the Internet Unsustainable by Sarah Williams 7-15

Genesis Targets Young Elites With New Brand Identity by Ivy Tianyu Zhang 16-19

Shifting Perspectives: From Victimry to Survivance in Indigenous Children's Literature by Maarya Zafar 20-25

Writing, Feeling and Healing in Stephen Chbosky's The Perks of Being a Wallflower by Sai Rathakrishna 26-31

IV. CREATIVE WORKS

Curtain Call by Oana Calin 32-33

How Sugar is Made by Oana Calin 34-35

Angel by the Wings, Devil by the Horns by Isabella Mckay 36-40

MASTHEAD

EDITORS

MEGAN BREARLEY

OANA CALIN

AMANDA CHEUNG

DRISHTI JALAN

LOIS LEE

TSITSI MACHERERA

MARGARET NG

Dear Readers

,

Wecreatedthisyear'sjournalunderstrangercircumstancesthanusual. However, despitepandemic-relatedchallenges, TheFoolscapteamremained fortunateenoughtoworkwithtalentedcontributors. Ibeginthisletterby thankingthemfortheirtimeandeffortsundertryingcircumstances. Iwould alsoliketothanktheeditorialteam, whosediligentanddedicatedworkmade thiseditionpossible.

Thethemeofthisyear'sjournalisescapeandresistance. Whendecidingona theme, wewantedtoemphasizethecomplexandoftenparadoxicalrole mediaoccupiesinourlives. Weusemediaasameansofunderstandingand participatingintheworld. Toasimilarextent, themessageswereceive throughourmediacansometimesundermineour'sandother'sexperiences andvisionsforthefuture. Thisyear'scontributorsexplorethistension.

Inadditiontopapers, thisyear'seditioncontainsabonussectiondedicatedto non-scholarlypieces. Wethankourcontributorsonceagainforofferingtheir creativeworktothejournal. Wehopeyouenjoyreading!

Kind Regards,

Tsitsi Macherera

Editor-in-Chief, The Foolscap (2020-2021)

HowDystopianFictionEncouragesPoliticalActivism forYoung AdultReaders

Lois Lee

Throughrecentstudiesoncivicresponsibilityamong teenagersandyoungadults,there hasbeenanoverwhelmingmisconceptionthatyounger generationsarepoliticallyapathetic (Ames4).Americanreportshaveshownthattheyoungest votersaretheleastlikelytoshowup tovotingboothsduringpresidentialelectionsandmanyhaveclaimedtheywouldevenselltheir righttovote(4).Additionally,therehasbeencriticism ofyoungpeople’scivicliteracy,as incompletesurveysandlow-testscoresimplythat thisgenerationlacksknowledgeandinterest inpoliticalaffairs(5).Despitewhatstatisticshaveshown,thereadingpreferencesofyoung adults,particularlydystopianfiction,couldbea contradictiontothesenumbers.

Dystopiannovelshavebecomeamassiveculturalphenomenon amongyoungadult audiences,especiallyinthefaceofcurrentpolitical events.Afterthe2016Americanfederal electionandtheinaugurationofPresidentDonald Trump,classicdystopiantextssuchasAldous Huxley’s Brave New World andRayBradbury’s Fahrenheit 451 rapidlyclimbedthebestseller lists(Neoman).Therecentpopularityspikeindystopian literaturesuggeststhatthegenre presentstopicsthatarerelevantandintriguingto today’syouth.Thefuturisticdepictionsinthese textstendtoaddressandmimicmanyoftheissues weseeintherealworld—fromrapid technologicaladvancestosocialinjustices.

Thisessayarguesthatdystopiannovelschallengethenotionthatyoungadultsare apatheticaboutpoliticalaffairsandcivicduties.Rather,adolescentsareconfidinginthe dystopiangenrebecauseitmirrorsandexplainsthe politicalclimatetheywitness..Thiswillbe investigatedthroughthescopeofrenownedbest-seller,SuzanneCollins’ The Hunger Games The Hunger Games depictsafuturisticNorthAmerica inwhichtwelveboysandtwelvegirlsare selectedfromapoolofnamestoparticipateina nationallytelevisedcompetitionthatforces themtofighteachothertothedeath.Thisessay willexplorehowdystopiannovelsguideyoung adultreadersthroughthefollowing:theportrayalofempoweringyoungcharactersthatreaders canempathizewithandrelateto,themesandstorylines thatdrawparallelstoreal-lifesituations, andanunderlyingmoralthatinspirestheyouthtobecomepoliticallyconscious.

Dystopianfictioninfluencesreaders’perceptionofpoliticaleventsandinstitutionsby puttingcharactersthatareliketheminage,life situationorsomeotherrelatablefactorinto dystopiansettings.Dystopiannovelspresenttheconceptofa similarity bias,whichistheidea thatsomeoneismorelikelytoempathizewithpeople whoaremorelikethemselves,ratherthan withpeoplewhoaredifferentfromthem(Mallan21-22).Thecharactersinyoungadult(YA) dystopianfictionalmostalwaysfallintothesame agegroupasthereaders,andthereforeare boundtoexperiencesimilarpersonalchallenges(22). Inthissense,theideaofthe bildungsroman—anarrativethattypicallyfollowsachild’sjourneyfromnaivetyto maturity—alsocomesintoplay(Wang84).Readingthesenovelscancompensateforan adolescent’snaivety,asreadersbegintointerprettextsbasedontheirownlevelofunderstanding andpersonalexperiences(83-84).Thiscanexemplify thepreliminarystagesoftransitioninginto adulthood,asreadersareexposedtoissuesthatthey willeventuallyencounterintheirdailylives andareabletodevelopamorerationalsenseofjudgement (85).Bywitnessingyoungcharacters livethroughcertainconflictsorencounterspecific kindsofpeople,readersbegintoidentify thesethingsoutsideoftheworldofthenovelanddeveloptheirownsolutionsandperspectives.

Forinstance,MallandescribesdystopianYAnovels as“talesofresilience”inwhich youngprotagonistscanempathizewithothers,buildwell-roundedrelationships,andstandtheir groundtoovercomepoliticaladversariesthatthey face(23).Inthecontextof The Hunger Games,theprotagonist,KatnissEverdeenrepresentsthiskindofresilience(22).Beforethe games,Katnisswasfromthepoorestdistrictinthe nationandwillinglybecamethebreadwinner forherfamilybyillegallyhuntinginthemeadows (22).Despiteherfinancialstrugglesandthe government’sneglect,Katnissadaptedtoasocietyinwhichsheismarginalized(22).Duringthe actualGames,Katnissrefusestobetieddownbythe government’smanipulativetacticsand exploitativepowerbyformingallianceswithother tributesandappealingtothenation-wide audienceoftheGamestoincreaseherchancesofsurvival (23).Katniss’empathytowardsher starvingfamilyandotherdesperatetributeshelps herdeveloptheintimaterelationshipsthathelp hersurvive.Shesetsanexampleforyoungadultstobewaryoftheinequalitiesthatgovernments helpcreate,butalsoreassuresthemthatthesestruggles canbeovercome.

Dystopiannovelsstrivetoexplicitlyhighlightpolitical realitiesthroughafictionallens byencouragingreaderstospeculatestoriesbeyondtheparametersofthetextandapplythemto theirownpoliticalenvironment.Inthepast,dystopian textshavepresentedstoriesinamore

speculativemannerbuthaverecentlystartedtomakedirectcommentariesonpoliticalandsocial matters(SeegerandDavison-Vecchione61).Risingconcernsoverauthoritarianismandmass surveillance(inlightoftechnologicaladvancements andthedominanceofdigitalplatforms) havebeen,andcontinuetobe,thefocusofmanypolitical debates(61).Theseconcernsare presentedthroughthemethodofextrapolativedystopia (55).Extrapolativedystopiaiswhena texttakesissuesthatarealreadyprevalentinsociety andshowcasesthemthroughimaginative aspectsofliteraturetocreateimagesofwhatreal, futureaffairscouldlooklike(55).

Manydystopianstateshavefigurativelyusedtheconcept ofthepanopticon(Atchinson andShames65).Theprincipleofthepanopticonis theuncertaintyofwhereandwhensomeone isbeingwatched,butthecertaintythatiftheyare caughtdisobeying,therewillbeconsequences (65).Thisisshowcasedthroughcorporalpunishment in The Hunger Games,whenKatniss witnessesagirlhidingandthenfleeingforherlife inthewoods,momentsbeforesheiscaught bythegovernmentandtakenawayinahovercraft(Collins 82).Katnisseventuallyencounters heragaintoseethatshehasbecomeanavox—someone whohashadtheirtonguecutoff becausetheyhavecommittedacrime(77).Although someofthescenariospresentedin dystopiantextsareexaggerated,exposuretothese extremesallowreaderstofindsimilaritiesand differencesbetweenthesocietyinthenovelandthe societythattheylivein(Mallan16).In particular,ifthereaderweretodrawoutdangeroussimilaritiesbetweenthetextandreallife, suchastheoppressivenatureofauthoritarianstates, theycanbegintoquestionhowthe outcomesinthetextcanreflecttheirownreality

Lastly,dystopiantextscarryanintendedmoralorpurposetoencourageyoungpeopleto becomemoreinvolvedwiththeworldoutsideoffiction. Themosteffectivewayofachieving thisisbyusingfictionalstoriestoshiftandshape adolescents’politicalattitudes(JonesandParis 969).Writerswillusethetacticofnarrativepersuasion, whichisawayofinfluencingattitudes throughemotionaldevelopmentandengagement(972). Narrativesaresaidtobeaneffective wayforpeopletorememberandunderstandinformation,becomepersuadedbysaidinformation, andbecomemoredriventoact(971).Thiskindof narrativemethodisimportantbecausemedia scholarshavearguedthatyoungreadersfeeldisconnectedfromconventionalsourcesof informationsuchasnewsbroadcasts(Ames5).Through variousmeansofresearchand interviews,itwasrevealedthatmanyyoungadults donotbelievethattheirgenerationhasa voiceinpolitics,andthereforeacceptthefactthat theygounheard(5).Butwiththerevivalof

dystopianfictionandintheageofdigitalmedia,therearenumerouswaysinwhichyouthcan takepartinpoliticalmatters.Dystopiannovelsboth mirrorandcriticizethesocietythatthe readerlivesin,forcingreaderstoconfronttheirrealityamidtheirattemptstoescapefromit(6). Readersconfrontthesocialandpoliticalissuesthat arepresentedinthebookstheyread,and theydosothroughonlinediscourse.Socialmediahasbecomeaplacewherealldemographics canposttheirowncommentariesoncurrentmatters, criticizetraditionalmediacoverage,and keepuptodatewithsocialmovementsandprotests (6).Despitebeingaplatformforallage groups,asyoungpeoplecontinuetooverpopulatethesesites,theinternetisboundtobeaplace wheretheycanbefullyheard.

Moreover,dystopianfictiontakesastepbeyondpolitical discussionsandcanbeusedin thecontextof“literature-inspiredactivism”(Hentges). TheAmericanFederationofLabourand CongressofIndustrialOrganizations(AFL-CIO)hastakeninspirationfromideasandsymbolsin The Hunger Games tocreatethe“WeAretheDistricts Campaign,”whichbringsawarenessto povertyandsocialinjustices(Hentges).Thedystopian serieshasalsoinspiredthe“GirlsonFire Leaders”campinKenya,whichisanon-profitorganizationthatprovidesvulnerablegirlswith opportunitiestohelptheircommunityandmotivate themtocreatechangeswithinthese communities(Hentges).Thisshowcaseshoweventhough dystopianliteraturetendstofocuson corruptionandoppression,itcanalsocommunicate empoweringmessages.Readerscanbe motivatedtolearnaboutwhatisbadinsociety,aswellastrytoturnitintosomethinggood.

DystopianYAnovelsarenotjustaformofentertainment foritsyoungeraudience.They canalsobeusedinaneducationalcontextthatallows readerstoseetheinjusticesand inequalitiesintheirlocalcommunities,andona morenationalorglobalscale.Readerscansee themselvesintheshoesofstrugglingcharactersand cansituatethemselvesintheambivalent conflictsoftheseotherworlds.Althoughthesetexts playonmanyofthisgeneration’sfearsand anxieties,thereisstillasenseofhopeandempowerment thatcanbederivedfromthesestories.

Unlikeothergenres,dystopiantextsoftendonothaveadefinitivesolutiontothestory andpresentsthefutureasblurryanduncertain(Mallan 17).Authorsofthesenovelswilltakethis approach“ashavingarespectforthecapacityof itsreadershiptojudgeforthemselvesthe potentialoutcome”(17).Inotherwords,althoughyoungadultsareoftenperceivedtobe apatheticaboutpoliticsandcivilengagement,their readerlyhabitssuggestdifferentlyasthey continuetoactivelyaddresstheissuespresented inthesenovels.Youngergenerationsarewhat

willimpactthefuture,andbycloselystudyingthesealternativesocieties,theyareabletoapply thesestoriestoareal-worldcontext.

Ames,Melissa.“Engaging‘Apolitical’Adolescents: AnalyzingthePopularityandEducationalPotential ofDystopianLiteraturePost-9/11.” The High School Journal,vol.97,no.1,TheUniversityof NorthCarolinaPress,2013,pp.3–20. Project MUSE,doi:10.1353/hsj.2013.0023.

Atchison,AmyL.,andShaunaLaniShames. Survive and Resist: the Definitive Guide to Dystopian Politics.ColumbiaUniversityPress,2019. Collins,Suzzane. The Hunger Games. ScholasticPress,2018. Hentges,Sarah.“GirlsonFire:PoliticalEmpowermentinYoungAdultDystopia.” The Conversation,20 Mar.2015

http://theconversation.com/girls-on-fire-political-empowerment-in-young-adult-dystopia-36695. Jones,CalvertW.,andCeliaParis.“It’stheEnd oftheWorldandTheyKnowIt:HowDystopianFiction ShapesPoliticalAttitudes.” Perspectives on Politics,vol.16,no.4,CambridgeUniversityPress, 2018,pp.969–89. Scholars Portal Journals,doi:10.1017/S1537592718002153.

Mallan,Kerry.“DystopianFictionforYoungPeople: InstructiveTalesofResilience.” Psychoanalytic Inquiry,vol.37,no.1,Routledge,Jan.2017,pp.16–24. Taylor and Francis+NEJM, doi:10.1080/07351690.2017.1250586.

Neoman,Elizabeth.“IntheEraofTrump,Dystopian LiteratureMakesaComeback.” The Weekender,7 Nov 2018,https://wwwdailycalorg/2018/03/18/dystopian-novels-today-1984-fahrenheit451/ Seeger,Sean,andDanielDavison-Vecchione “DystopianLiteratureandtheSociologicalImagination” Thesis Eleven,vol 155,no 1,SAGEPublicationsLtd,Dec 2019,pp 45–63 SAGE Journals, doi:101177/0725513619888664

Wang,Xiaolan “DystopianNightmareinContemporaryAdolescentFictionandItsEthicalValue” Forum for World Literature Studies,vol 8,no 1,WuhanGuoyangUnionCulture&Education Company,2016,pp 75-86 Gale In Context: Canada, linkgalecom/apps/doc/A453915595/CIC?u=utoronto main&sid=CIC&xid=c898154c

Our excessive streaming practices have environmental repercussions. It is time to acknowledge how our data consumption is contributing to climate change and take action as responsible web citizens.

Sarah Williams

CurrentPatternsofMediaConsumption

Therehasbeenamassiveculturalshiftinmediaconsumption. GenerationZand Millennialsarecreditedwithbringingaboutthedeath ofcabletelevisiondespiteconsuming enormousamountsofvideocontent(Desjardins).Today’s experiencesof‘television’are associatedwithimmediacy,streaming,andbinge-watching,where,onaweeklybasis,anaverage offivehoursofentertainmentareconsumedinasingle setting(Spangler).Weoftenchooseto finishtv-seriesonNetflixorHuluinonesitting,playvirtualrealitygamesregularly,leaveour camerasonforhours-longZoomclasses,anddownloadsmartphoneappswithoutbeingfully awareoftheimplications.However,itisvitalthatusersdevelopacomprehensiveunderstanding ofthetechnologiestheyinteractwithsothattheir actionsreflecttheirvalues.Forinstance,those whoconsidersustainabilityimportantshoulddevelop practicesthatenhanceglobalhealthand ecologicalbalance.Individualswhovalueresponsibility andcommunitycare-inthefaceof machinevalues,suchasurgencyandindividualism-shouldactinaccordancewiththeirbeliefs, insteadoffurtherembeddingthemselvesintechnologies thatfunctioninoppositiontothem.The directorofTheGreenWebFoundationdescribesthis unconsciouspracticeofunsustainability: “EverysingletimeIspeaktopeoplewhoworkintech, peopleseemtobeastonishedbythefact thatserversrunonelectricityandelectricitycomes oftenfromfossilfuels.”(Stone).

TheSignificanceofWebLiteracy

Themainissuebeingaddressedwhenlookingatthe carbonfootprintofvideostreaming iswebliteracy.Thatis,thedeeperunderstanding ofhowtheinternetenablesustobecome responsibleparticipantsofthedigitalworld.Not onlyshouldwemaintainacomprehensive understandingofthedigitalworldanditseffectsonsociety,butmoreimportantlyexerciseour responsibilitytodemandchangewhereitisnecessary (MozillaFoundation7-8).Becoming

informedabouttheenvironmentaldegradationcausedbythevastamountofdatathatstreaming requires,raisingawarenessoftheissue,andthentakingactiontoaddressitcultivatesdigital citizenship(“InternetHealth”).Ahealthyinternet isasustainableone.Cultivatingdigitalliteracy willpushuserstoreimaginehowweinteractwith andwithinthedigitalenvironmentintheface ofclimatechangeandtheinternet’svulnerability

Giventhattheaimofthispaperistoassessthe impactofvideostreaming,andour potentialrolesinperpetuatingandpreventingthe environmentaldegradationthatitbringsabout, itisapproachedfromamediaethicsperspectivewith specificemphasisonwebliteracyandits implicationsforsustainability.Whatmakesanaction ethical,inthispaper,canbeconsideredas thoseactionsthatallowustobuildahealthydigital selfandmediaecology.Takingactions accordingtoethicalconsiderationswarrantsamedia ecosystemthatputspeoplefirst-before capital-andhelpsusbetterunderstandhowemergingtechnologiesshapehowindividuals interactwithsocietyandtheirenvironment.

TheImpactofInternetUsageontheEnvironment

Itiseasyforonetothinkoftheinternetasatranscendental andintangiblenetwork.But collectively,theconsequenceofstreamingvideosishuge:nearly4%ofallcarbondioxide emissionscanbeattributedtoglobaldatatransfer andtheinfrastructureneededtofacilitateit, withtheactualuseofthatinfrastructure-ofwhich 60%isonlinevideo,includingfilmandserial typecontents,pornographiccontent,‘tubes,’(Efoui-Hess 8-10)andthosehostedbysocial networksconsuming10%pointsmoreelectricity(Welle).Theinternetisnotmerelylivingonthe screenofyourphoneorlaptop,itispoweredbyserverfarmsandcoolingequipmentthatrunall thetime,generatingaheftycarbonfootprint(Trueman).

Implication1:VideoStreamingServicesAreDesigned toEncourageExcessive Consumption

Onlinevideostreamingtechnologiesaredesignedto createengagementwithusersonan everydaybasis,thussaturatingtheday-to-dayinternet withdata.ArecentstudyonNetflixand binge-watchingpracticesshowshowthecompanyusesdata-intensivetechniquestomaximize thelengthoftimeauserspendsontheplatform.Netflixuses‘binge-watching’asitsmain marketingstrategy,creatingauserexperiencearoundrecommendation,attention,andattachment

(Pilipets1).Thesubscription-basedmodelofNetflixtellstheuserhowtheyaremeantto consumecontent.Whentheplatformreleasesshows inseasons,itallowsforthedevouringof massiveamountsofcontentinamatterofdays.For instance,10%ofviewerswatchedallfifteen episodesofthe2013seasonof Arrested Development withinadayuponitsrelease(Matrix119). Suchpracticesdemandahighamountofenergy.Furthermore,multipleaffordancesofthe platformensureuserattention.Thisincludesthe abilitytoskiptheintroductionofshows, auto-play,andusingalgorithmstomakeshowsuggestionsthatreflectyourviewingtasteand interests.Aswemoveinto2030,whichtheUnited Nationshasdesignatedtheglobaldeadline forclimateaction(Kearns)wemustaskourselves ifitistrulyokaythatfeaturesdesignedto drawusersin,inthisattentioneconomy,usesomuchglobalenergy.

Implication2:HeavyDataConsumptionCannotBeTruly Sustainable

Companiesareturningtorenewableenergysourcestolessentheirenvironmentalimpact. However,amoreefficientproductionofdatawillonlyincreasedemand,bringingustofacethe issueofsustainabilityonceagain(ibid).Thisdescribes thereboundeffect:

“Theincreasedefficiencywillresultinareductioninpriceoftheassociatedservice,and thereforeincreasedusebecauseitischeaper…This wouldmanifestasincreaseduseof YouTube,particularlyoverthemobilenetwork,because thereduceddatarequiredwouldmean thatthedatacosthasbeenreduced…The‘reductions’ wehavediscussedwouldsimplyresultin adecreaseintherateofgrowthofenergyuseandassociatedemissions,notanabsolute reduction.”(Preistetal.397).

ThisshowsthattheGreenhouseGasEmissionsreporting standardsoftechnology companiesneedtobealteredtoprovideaclearer understandingofthedeliveryanduseofdatain streamingtothepublic,andtoaccountforthisenergyuse.Movingforward,itwouldbehelpful ifcompaniespublishedsustainabilityreportsinstraightforward, user-friendlylanguageforthe publictomakedigitalliteracyalesscomplicated endeavor.

DifficultiesinConfrontingClimateChange

Climatechangeisasevereandfundamentallyethical challengethatforcesustoconfront toughquestionsasindividualmoralagentsandusersoftechnology Thedecisionsinvolvedare valuejudgmentsthatjuggleuncertaintiesandrisks (Gardiner“EthicsandGlobalClimate” 554-556).Withtherelationshipbetweenusersand theirdatausebeingcentraltothe environmentalimpactoftheinternet,wemustchoose betweenreevaluatingourrelationshipwith

dataconsumptionorcontinuingtoconsumedatainanunsustainablefashion.Ifwedonotmake suchchoicessoon,wefacethethreatoftyrannyofthecontemporary,whereinearliergenerations inflictcatastrophiccostsonfuturegenerationsin favorofenjoyingthe‘moderatebenefits’ofthe present(Gardiner“WhyClimateChange”) However,thereisnodenyingthatrapidchangein ouruseoftechnologywouldbedisruptivetotheday-to-dayroutinesofpeople,andpoliciesthat demandsuchdisruptionwouldbepotentiallyunjustandharmful.Asresponsibleusersof technology,wemustdecidethepointatwhichtheseverityoftherisksweareimposingtofuture generationsoutweighsbenefitsfromcurrenttechnology use.

PotentialFutureImpactsiftheIssueContinues

Ourinternetiscurrentlyunsustainable,andtherefore nothealthy.Examiningtheenergy consumptionofstreamingservicesoffersaperspectiveofthebiggerpicture:theinternetis inextricablylinkedtotheclimatecrisis.Itworks asaforceofenvironmentaldevastation,with theconstructionandoperationofdatacentersrequiring massiveamountsofenergy.Ifwe continueourtremendousconsumptionofonlinecontent,theinternetisexpectedtogenerate about20%oftheworld’scarbonemissionsby2030(Lozano).

Ourliveshavebeengraduallybuilt-andincreasingly revolve-arounddatastreams fromcenterswhichareregardedas“massiveenergyhogs”(Daigle).Thesecentershousestacks ofserversthatwarmduringheavyusageandmustthenbecooledtoavoidoverheating. The growingpublicinterestinefficientenergyuseandthecloud’senvironmentalimpacthas pressuredcompaniesintoactingmoresustainably Thereisnowagreateremphasisoncloud providerstoshowtheirefficiency.SinceGreenpeacestartedreportingin2010,morethan20of thelargestcompanieshaveestablishedpubliccommitments topowertheirdatacenterswith 100%renewableenergy(Saran).Additionally,while Netflixsawan84%jumpinitsenergy consumptionin2019(ithasdoubledto451,000megawatt-hours),thecompany’s2019 Environmental,SocialandGovernancereportdisclosed, “that100%ofitsestimateddirectand indirectnon-renewablepowerusewasmatchedwith renewableenergycertificatesandcarbon offsetsin2019”(Kearns).Whilerenewableenergy ismorehealthierthancoal,aplanetwith finiterawmaterialscannotsustainincreasesindata demands.Theconsumptionofcontentis alreadyincreasingatsuchanexponentialratethat theywilllikelyoutweighanygainsin efficiencyofenergyuse(Efoui-Hess).Thedata-center industryandourexcessivestreaming

habitsdemonstratethatouronlineactivitieshavemassiveenergyconsequencesthatposeethical questionsofactionandresponsibility.

PuttingEthicsintoActionwithSustainableDevelopment Goals

Asstreamingvideosonlineimpactclimatechangein afundamentalway,thecase requiresasolutionthatisanactualizationofethical principles.ThisiswheretheUnitedNations’ SustainableDevelopmentGoals “thecommitmentto ensuringaccesstoaffordable,reliable, sustainable,andmodernenergyforall,”(“Goal 7.:. Sustainable Development Knowledge Platform”)and“takingurgentactiontocombatclimatechange.”(“Goal 13.:. Sustainable Development Knowledge Platform”)allowustoputethicsintoaction.Ifusersareeducatedon thegrosslyunsustainableconsumptionofenergythatisrequiredforvideostreaming,theyare morelikelytotakeindividualactionandpressure technologicalcompaniesintobetterpractices andtransparency

Furthermore,individualawarenessoftheenvironmental repercussionsofexcessive streamingpracticesenablescollectiveaction.While theneedforsustainabledevelopmentposes complexchallengesduetotheinterconnectedeconomic, sociocultural,andenvironmental componentsofenergyandclimatechange,theyalsopresent“uniqueleadershipandresearch opportunitiesforhighereducation.”(Hartetal.1).Solutions-orientedsustainabilityinitiatives thatmobilizediverseresourcesandcross-sectorcollaborations strengthenthecapacityfor problem-solving.Evenonabroaderlevel,educational campaignsthattargetthoseespecially vulnerabletotheeffectsofclimatechange-whetherthatbestudentswhoareexpectingtolive anotherfifty-plusyears,thosewithocean-frontproperties, orvictimsofenvironmentalracismcanpromoteownershipoftheissueandencouragemobilization (McAdam203).Themore peoplecognizantoftheexistingsystemsofunsustainable productionandconsumptionpatternsespeciallytheenergydemandsofdatastorage,datastreaming,anddatamanagement-thelarger theirimpactwhenmobilizingasacollectivetodemand changestoFANGAM’s(Facebook, Apple,Netflix,Google,Amazon,andMicrosoft)means ofproduction.

Ashiftinbehavior,combinedwithmoreinnovative waystogenerateenergy,mayaid CanadainmeetingitsParisAgreementobligations (Zarnett).Theagreementitselfismentioned intheGoal13report,whereexpectationsofparties tomaintaintheircontributionstothe agreementaswellasreviseandcreatemoreambitious targetsishighlighted.Asbothindividuals

andtechnologicalinstitutionshavethecapacitytoactinwaysthatsupportthesegoals,itistheir ethicalimperativetodoso.

WhatCanWeDoMovingForward?

Usersneeddigitalliteracyskillstounderstandhow theironlineactionsaffecttheworld aroundthem.Wemustbefullyawareofhownewand existingtechnologiesimpactthe environment.Applyingavirtueethicsperspective tothiscaseunderscoresitsimportance: citizensmustlearnhowtobrowsetheinternet,and fostertheirawareness,abilities,andwisdom toensurehumanflourishing.Wecanfosterawareness byhavingwebsitesprovideuswithour energyconsumptioninformation.Wecanalsostopglorifying ‘binging’byreflectingonour actions.Usersshouldthinkmorecriticallyabout theirdataconsumptionandtrywherepossible toberesponsibledigitalcitizens.

Thisisnotmeanttoencourageuserstoboycottinternet servicesaltogether.Instead,we canmakesmallchangesthatcollectivelyhaveapositive impact.AstudydonebyHarvardLaw School’senergymanagershowsthatturningdownthescreenbrightnessfrom100%to70%on devicesusedforstreamingcanreducetotalenergyconsumptionby20%(Kearns).Anotherstudy showedthatstreamingNetflixonmediumqualityinstead ofhighdefinitioncouldsaveover75% ofcarbonandwaterusedbydataprocessingcenters(Elegant).

Iammindfulthatthisapproachmayemphasizethe roleandresponsibilitiesofeveryday consumersmorethaninstitutions.However,theobjectiveofthisanalysishasbeentohighlight theagencyofeverydayactors.Thesolutionstothe problemsthatcontributetoclimatechange shouldnotbetackledexclusivelybycompaniesand agentsthatbenefitfromourexcessive streaminganddataconsumptionhabits.Toeffectively addressclimatecrises,collectiveactionby everydaypeopleisnecessary.

Therearemanyworkingpartsintheinternetofthings: individualinternetusers, platformsthatarevideostreamingbased,datacenters, andeconomicinstitutionsanchoredby moneymadefromcapturingourattention.Amoreradical -anddesirable-solutionwouldbeto decentralizetheinternet.Decentralizationisone ofthefocusesofMozilla’sInternetHealth report,whichshowshowintertwinedissuesoftheinternetcanbe.Adecentralisedinternetwould looklike:collaborativeownership,peer-to-peerdatasharing,communicationbetweenusers withoutmediatedconnection,andcontentthatlives inmultipleplaces.Itwouldbehealthierfor

theenvironment,andmoresustainableeconomicallyandsocially.Slowingthestreamingspeed ofvideosandbreakingdownlargeandpower-hungrydatacentersintosmallerandmore localizedpartsuseslessenergy.Doingsoalsobreaksuptheconsolidationofpowerfrom companiesthathaveoutsizedcontrolovertheinternet, bringinginbetterdatasecurity,privacy, faircompetition,andequalopportunitiesforgrowthamongusers.Aheterogeneousinternet placesamoreequalresponsibilityonallactorsinvolved.

ConclusionandResearchQuestions

Tochangethewaydataisconsumed,wemusteducate usersontheenvironmentaleffects ofvideostreamingtechnologies.Itistheethical imperativeofbothindividualsandlarger institutionstochangeourapproachtostreamingservices infaceoftherapidriseofdata consumption.Anadditionalapproachtothisissue callsforthedecentralizationoftheinternet.I believethatwhileradical,thisisthebestsolution, assuchamassivecollectiveactionissue requiresallactorstorecognizetheirdutytofuture generations.However,astheinternethas steadilytransformedintoan“ecosystemoflarge,corporate-controlledmega-platformswhich intermediatespeechonline,”(Barabasetal.1)it couldbelucrativetoconsidercreating pre-conditions,orsmaller-scalesteps,toworktowardsbeforehand.Asuccessfuland smooth-runningdecentralizedwebmaysimplystart withashiftinhowwethinkaboutthe internet.Insteadofviewingtheinternetasaninfinite andabstractresource,weshouldchange ourframing,andconsideritfinite.Asthegrowing awarenessofclimatechange-anditstangible effectsontheEarth-hasledcompaniestobecome increasinglycarefulintheiruseoffinite resources,includingtheinternetinthiscategory hasthepotentialtomakepeoplethinktwice abouttheecologicalfootprintoftheweb.

Themovementtomaketheinternetmoreenvironmentally friendlyservestomakeitless toxic,wasteful,andtherefore,healthier.Somefurtherquestionstoconsiderare:(I)Shouldwe treattechgiantssuchasGoogleandAmazonthesame ascompanieswithsmallerdata infrastructureswhencreatingpolicythataimsto reducethecarbonfootprintcausedbybeing online?(II)Howmayclimatechangemakeinternet accessevenmoreunequal?(III)Whattype ofprocesscanweimplementthatensuresusersare awareofthephysicaleffectoftheironline actions?

WorksCited

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Marr,Bernard.“DataIstheNewOil:HowShellHasBecomeaData-DrivenandAI-EnabledBusiness.” Forbes, https://wwwforbescom/sites/bernardmarr/2020/04/24/data-is-the-new-oil-how-shell-has-become -a-data-driven-and-ai-enabled-business/.Accessed 6June2021.

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GenesisTargetsYoungElitesWithNewBrandIdentity

Ivy Tianyu Zhang

TheGenesiscommercialatthe2020SuperBowlfeatures celebritysupercoupleChrissy TeigenandJohnLegendthrowingagoing-awayparty.Thepartyisnotforafriendorfamily memberwhoisfleeingtoanewcityormovingtothe suburbs.Instead,itistosaygoodbyeto “oldluxury”.Thefirsthalfoftheadvertisement featuresTeigenmakingatoastandjokingly insultingseveralill-fatedvictimsfortheirpeculiar actionsandpersonas.Teigenconcludesher spielwithafinaltoast,“Tooldluxury:Youhad agoodrunbutnowit’stimetozhuzhyouupa littlebit…Igiveyouyoungluxury”(“Going”).Soonafter,theadvertisementpresentsthe GenesisGV80modelandthecoupleappearstoberiding intheSUV.The2020SuperBowl Genesiscommercialdeploysluxuriouselements,left-leaning values,andtheconceptof obsolescencetoappealtoprogressive,young,upper-middle-classandupper-classadults.

Uponinitialviewing,thetoastgivenbyTeigenseems irrelevanttothemessageofthe advertisement.However,thepartysettingsandthecharactersbeingcalledoutbyTeigenembeds anideaofopulencefortheviewerbeforerevealing thatthegoing-awaypartyisfor“oldluxury.” Theopeningsceneoftheadvertisementflauntsalavish mansionwithanenormousgiraffestatue inthedooryard.In“ConspicuousConsumption”,GaynorBagnallexplainshowupper-class individualsspendheftyamountsonexclusiveand“highly visiblecommodities”thatarenot necessarilypragmatictodifferentiatethemselvesfromothersocialclasses(232).The ostentatiouspartysettingandgiraffestatuearehighlyvisiblecommoditiesthatGenesisisusing toassociatethemselveswithaffluentaudiences.Undoubtedly,thepartyguestsarealldeckedout inswankyoutfits.Twooftheill-fatedvictimsof Teigen’stoastemphasizethemessageof conspicuousconsumption;oneforcreatinghispersonabaseduponhisdramaticsuitandthe otherforheroverdoneplasticsurgery.Bothofthesecharactersareparticipantsofthe “extravagantconsumptionofresources'',oneforwearingconspicuousgalaattireandtheother forundergoingcountlesscostlyplasticsurgeries(Bagnall232).

Althoughthecommercial’sclassrepresentationonlyincludesupper-classindividuals,the commercialsuccessfullydepictsaraciallydiverse castandappealstoleft-leaningaudiences. Manysupposedlyraciallyinclusiveadvertisements practicetokenismbycastingonetoken personofcolourwhileplacingwhitecharactersin theforeground(FrithandMueller110-111).

ThisGenesiscommercialiswellexecutedintermsofracebyrecruitingmulti-racialprotagonists andadiversecastofpartyattendees.Circlingback toTeigen’stoast,thethirdill-fatedvictimis a whitewomandressedinIndiantraditionalclothing andiscriticizedforthinkingsheisspiritual afterherone-timevisittoAsia.Theadvertisement addressestheissueofculturalappropriation insteadofleveragingsuchculturalsignifiersthat areextremelyidentifiableandroutinely exploitedasotherness.Othernessisamarketingstrategy deployedtocaptivatewhiteaudiences byprovidingafantasyofinteractingwithdehumanized andmarginalizedculturesasmembersof thedominantculture(hooks26).Inadditiontotherecruitmentofadiversecast,thesupercouple TeigenandLegendhavebeenknownaspoliticalactivists whoarevocalaboutdefundingthe policeandcriticaltowardsDonaldTrump(Brown). Newbrandimagesaregeneratedwhen companiescastpublicfigureswithrecognizablepersonas andnotableactions.Byhiring left-leaningactivistssuchasTeigenandLegend, Genesisattemptstoappealtoindividualswith liberalideologies.

Theadvertisementportraystheconceptofobsolescence whentheideaofoldluxuryis applauded,followedbyanimmediateurgetoupgradetoyoungluxury.Morespecifically, technologicalobsolescenceisaneffectivetoolforautomobilecompaniestomarketnewer models(Strasser385).Thismarketingstrategyis popularamongstadvertisersandadvertising agenciestostimulateconsumerstopurchasethelatest, trendiest,andmostcutting-edgeproducts byprovidingthemwithmoreoptions(Strasser386).BybrandingtheGV80modelastheyoung luxury,Genesisadvocatesconsumerswithhighpurchasingpowertocallitquitswiththe outdatedoldluxury WhenTeigenintroducesyoung luxuryinherfinaltoast,thesceneswitches toanolderwomanbecomingvisiblyupset,whichisironicbecausetheYoutubedescription statesthat“Afterall,youngisn’tanage,it’samindset”.Althoughtheyattempttodenyit, Genesisaimstoappealtoyoungerandearlymiddle ageconsumersasopposedtoelders.This sceneisintendedtosellthenewnessandage-related exclusivitythatcomeswiththeGV80 model.Withthiscar,trustfundbeneficiariesand youngerhigh-incomemillennialscan differentiatethemselvesfromtheirparentsandhigher-ups.

ThepurposeofcastingTeigenandLegendistocombine theideasofluxuryandfun whiledebunkingthemonotonousimageofupper-classindividualspaintedbyexistingluxury advertisements.Teigen’scomedictoastandthereference toLegend’stitle“SexistManAlive” successfullyportraysyouthfulandwhimsicalbrandimageswhilecontinuingtoembracethe

exhibitionofhighersocialstatus.Thisconventionallyattractivebutnotprovocativecouple,one ofthembeinga Sports Illustrated model,makesthemtheidealfacesofadvertisinginthe21st Century(Arend62).Theyarethatexceptionallygood-looking yetperfectlymatched“ItCouple” audiencesaspirestobe.Inthe2020GenesisSuperBowlcommercial,accompaniedwithhumour andobsolescence,thedesirabilityofthisparticular coupleresonateswithyoungeliteswho regardthemselvesaspolishedbutunconceited,privileged butprogressive,sexybutrefined,and eagertodistinguishthemselvesfromold-fashioned eliteswhohavealwaysbeenthetarget audienceforconventionalluxurycarcommercials.

WorksCited

Arend,Patricia “GenderandAdvertising” Gender & Pop Culture,SensePublishers,2014,pp 33-79 Springer Link,doi-orgmyaccesslibraryutorontoca/101007/978-94-6209-575-5

Bagnall,Gaynor “ConspicuousConsumption” Encyclopedia of Consumer Culture,vol 1,2011,pp 232-233 Sage Reference,doi:104135/9781412994248n90

Brown,August “JohnLegendondefundingthepolice, beingMr ChrissyTeigenandwhy‘hopeisa strategy’” Los Angeles Times, https://wwwlatimescom/entertainment-arts/music/story/2020-06-22/john-legend-chrissy-teigen-b igger-love

Frith,KatherineT.andBarbaraMueller.“Advertising andRace.” Advertising and Societies: Global Issues,PeterLangPublishingInc.,2010,pp.109-120.

“GoingAwayPartyfeat.JohnLegendandChrissyTeigen |2020SuperBowlCommercial|Genesis.” YouTube,uploadedbyGenesisUSA,29January2020, https://www.youtube.com/watch?time continue=60&v=WTcXkxbukuk&feature=emb log.

Hooks,Bell.“EatingtheOther:DesireandResistance.” Black Looks: Race and Representation,South EndPress,1992,pp.21-39. Taylor & Francis, https://www-taylorfrancis-com.myaccess.library.utoronto.ca/books/9781315743226/chapters/10.4 324%2F9781315743226-8.

Strasser,Susan.“TheAlienPast:ConsumerCulture inHistoricalPerspective.” Journal of Consumer Policy,vol.26,2003,pp.375-393. Springer Link, doi-org.myaccess.library.utoronto.ca/10.1023/A:1026331225908.

ShiftingPerspectives:FromVictimrytoSurvivancein IndigenousChildren'sLiterature

Maarya Zafar

Notice: This article makes reference to residential schools, child abuse and suicide

The concept of “survivance” in Indigenous literature is paramount to one’s understanding of Indigenous history and culture. A combination of survival and resistance, "survivance is an active sense of presence, the continuance of native stories, not a mere reaction, or a survivable name. Native survivance stories are renunciations of dominance, tragedy and victimry” (Vizenor vii). While victimry draws attention to Indigenous narratives by using sympathy, survivance fundamentally challenges this perspective by highlighting themes of strength instead (LaPensée 43). This perspective is not only restricted to complex scholarly texts, but is also a literary tool frequently employed in all genres, including children’s literature. Two children’s books, My Name is Seepeetza by Shirley Sterling and When We Were Alone by David Robertson, explore the detrimental effects of the residential schooling system through the lens of survivance. Stirling’s work features a series of diary entries from the perspective of Seepeetza (also known as Martha), an indigenous youth who recounts her harrowing academic experience. Alternatively, Robertson’s picture book weaves illustration, colour and creative expression to inform the audienceaboutthenarrator’sKókom (grandmother),andhowherdailypracticesarerootedinresilienceandpower Intendedto“kill the Indian in the child,”, residential schools in North America began as day schools that eventually transformed into legally mandatedboardinginstitutions,whereIndigenouschildren were faced with abuse, dangerous living conditions, and the repeated degradation of their Indigenous heritage. In My Name is Seepeetza and When We Were Alone, the oppression and trauma resulting from this academic incarceration is likenedtoasenseofgeneralunhappiness and underlying unease, rather than a direct exclamation of despair. By minimizing the time spent on hardship, the authors are able to move the stories towards themes of noncompliance and positivity during times of hardship. In both books, emphasis is placed on instances of survivance,whichareemployedthroughtheritualisticenactmentofcultureduringimaginative play. These powerful moments of resilience punctuate the darkness of oppression through expressive language, sensorial descriptions and engaging visuals, ultimately aiding in the

de-victimizationoftheIndigenouschildinchildren’sliterature.

Before exploring this transition into survivance, it is imperative to understand the historic victimization of native cultures within classic children’s novels. For instance, J.M. Barrie’s Peter Pan employs imperialist language to construct a highly stereotypical representation of Indigenous peoples Published in 1911, the work uses terms like “redskin” and alludes to the notion that Peter is the “great white father” (Barrie). Indoingso,thenovel operates under the white savior complex; a perspective which suggests that“Westernershave the unique power to uplift, edify and strengthen [others]” (Straubhaar 384). During one of Peter’s many adventures, the Indigenous character Tiger Lily and her tribe are presented as defenceless individuals in need of saving. It is ultimately this belittling, weak and inaccurate portrayal of Indigenous groups that contemporary survivance stories aim to escape from throughareimaginingofliteraryelements.

The physical and psychological hardships induced by residential schooling have been explored in depth within a wide range of Indigenous literature. Comparatively, Sterling and Robertson digress from this tradition by using trauma as a vehicle to approach survivance. Implicit allusions are frequently represented through suggestive language and dark imagery. The former literary tool is utilized fullyin My Name is Seepeetza whentheprotagonistMartha is forced to remove her clothes in front ofoneoftheSistersinordertobathe.Afterrepeatedly refusingtoremovethem,Marthamakesadirectand highlychargedgesture:

IlookedattheDANGERsignupwheretheelectricity switchesare.Shesawittoo.Iwas thinkingifshemademedoitIwouldwaittillshe left,climbuponthepipe,touchtheswitch andgetelectrocuted.Westaredateachother.Then sheopenedthedoorandwentout.Itook mybloomersoffandclimbedinthetub.Myhandswereshakingforalongtime.We’renot supposedtolookattheSisterslikethat.(Sterling 83)

This passage provides a brief lookintoMartha’spsychologicalstatewithoutprovidingdetailed descriptions of her thought process throughout the interaction. Her non-verbal act of defiance does not directly suggest her contemplation ofsuicide.Instead,readersareonlyabletoassume just how deeply the implications of being forced into a stateofcompletevulnerabilityaffected her emotional wellbeing. The usage of subtle yetsuggestivelanguageisalsoreflectedin When We Were Alone each time the narrator’s grandmother makes reference to her experience in a residentialschool.Whenaskedwhyshekeepsherhairsolong,Kókomstates“…attheschoolI

went to,farawayfromhome,theycutoffallourhair.Ourstrandsofhairmixedtogetheronthe ground like blades of dead grass” (Robertson 14). Within this statement, Robertson indirectly equates the loss of hair with the loss of cultural identity and ultimately with the killing of Indigenous heritage.Kókomthengoesontoexplainthatherhairwascutbecause“theywanted us to be like everyone else” (Robertson 15). Through direct and pithy language, Robertson introduces young readers to theconceptandeffectsofassimilationwithoutdirectlyreferencing it. Moreover, the two children’s books subliminally referencetraumaandpainbyevokingdark visual imagery. In My Name is Seepeetza, Martha discusses thedaythechildrenreceiveddolls atschool:

I buried the doll today. Somebody from town gave the school some old dolls, and Sister gave one to me. It had a hard face and messy brown hair Its eyes could open and close. It had eyelashes…The wind was blowing and I was so cold my hands felt numb. I went ontheother side of the teeter-totters where there is soft sand, and I dug a hole and put the doll in it and covereditupsoitwouldbesafefromthecold.”(Sterling37)

This passage is inserted between two other unrelated diary entries. By offering no further context, Sterling assertstheentry’sprimaryfunctionasanisolatedthematicallusionto distress and suffering. The haunting description provides readers with the ability to clearly visualize the doll and its burial. Ominous passages like this occur throughoutthestory,eerily tainting the novel with an overall sense of unease and discomfort. While My Name is Seepeetza uses language to evoke an unsettling tone, When We Were Alone primarilyrelieson illustrated images and formal aesthetic choices to achieve the same. When referring to instances of oppression in Kókom’spast,thecolourpalettechangesdramatically.Thesepages allude to the grim reality of the schooling system by utilizing adarksepiacolourschemeand primarily bare pages. Illustrations, like that of the child having her hair trimmed, also contribute to the general dark tone. With her head tilted and shoulders slumped, it is implied that she hasbeenforcedintosubmission(Robertson15).Neitherstorydwellsontheeffectsof oppression caused by residential schools, but instead uses brief and implicit references to traumaasawaytofullyexaminehowtheprotagonist survivedinspiteofit.

Subsequently, these methods of survivance in the face of hardship are exemplified through the playful mimicry of cultural practices and tradition within Sterling’s My Name is Seepeetza and Roberston’s When We Were Alone. After Martha buries her doll in My Name is Seepeetza, she engages in a game of make believe with an older student: “…Maryann

surprised me by talking Indian. We’re not supposed to. She ordered me to eat all my fishjust like she was arealgrandmother.Welaughed.‘Iwishitwasreallyfish,’shesaid.‘AndIwishI was at home with mygrandmother.Myparentsaredead'’”(Sterling39).Bywhisperingwords in their native tongue and assuming the roles of grandmother and child, the girls strengthen their ancestral heritage and re-establish the legitimacy of their language despite the school’s attempts to diminish it. Similarly, in Roberston’s When We Were Alone Kókom explains how she and her classmates expressed their own forms of resistance. In reference toherhairbeing trimmed she states: “But sometimes in the spring, when we were alone, and the grass had grown so long and thick in the field, we would pick the blades from the ground. We would braid them into the short hair they had given us, and we would have long hair again” (Robertson 16). This statement clearly indicates that acts of survivance can be achieved even through the most basic forms of play By finding any means to give themselves long hairand grooming one another, the children foster close relationshipsandbegintorecognizehairasan important cultural symbol. Additionally, by referencing concepts such as rebirth and life through the usage of terms like growth and spring, Robertson directly subverts the image of losthairasdeadgrasspresentedonthepreviouspage(Robertson17).

Furthermore, instances of survivance in both books are explored more extensivelythan oppressive behaviour as their language extends beyond visual descriptionsintofullysensorial passages. During harvest seasonin My Name is Seepeetza,thegirlsfindpleasurewhilesorting and shucking corn: “Today we shucked corn after school…we had to pull off the outer skins and corn silk. That’s what shucking is, peeling corn… When Sister wasn’t looking oneofthe girls tookabitefromtherawcorn.Thenshepassedthecorndownthelinesoweallgotabite. It tasted sweet and juicy” (Sterling 14). Unlike previous entries which document trauma and primarily evoke a visual response,thispassageappealstodifferentsenses.Thenotionoftaste, and the sweetness of the juicy corn elevates the passage and makes it come alive with excitement and energy By avoiding the Sister’s attention, the girls in the passage are able to incorporate visceral, real-world acts of resistance into their daily lives. While My Name is Seepeetza relies heavily on the concept of food and taste to enhance sections on survivance, When We Were Alone implements physical touch. This can be exemplified when Kókom mentionssneakingouttomeetherbrother:“Butsometimesinthewinter,whenwewerealone, and we were sure that nobody could see us, we would find each other. Wewouldtakeoffour

mitts, and in the crisp, cold air we would hold hands so we could be with each other” (Robertson 28). This beautiful exclamation at the power of physical touch makes their act of resistance incredibly vivid and real. References to survivance through play in Roberston’s picture book are also equally sensorial. When Kókom explains how she used to replicate the colours of her clothes from home, she exclaims: “But sometimes in the fall, when we were alone, and the leaves had turned to their warm autumn hueswewouldrollaroundtheground. We wouldpiletheleavesovertheclothestheyhadgivenus,andwewouldbecolourfulagain” (Robertson 10). Thephysicalityofrollingonthegroundandfeelingtheleavesontheirclothes infuses the passage with texture and liveliness. The sectionalsohighlightsthefactthatactsof survivance can extend beyond internalized strength, and can be expressed through an individual’s interaction with others and the external environment. By appealing to multiple senses, it can be understood that resisting oppression isaroundedexperiencethatengagesthe mind, body and soul. Sterling and Robertson highlight the importance of survivance by establishing these acts as fully immersive sensorial experiences rather than simple visual descriptions.

Ultimately, Shirley Stirling’s My Name is Seepeetza and Robert Davidson’s When We Were Alone employ the lens of survivance to explore the topic of the residential schooling system in similar ways. By approaching oppression and traumatic experiences from an implicit perspective through the use of evocative language, haunting imagery, andsensorially infused cultural references, both books are able to shift the thematic focus from pitifully shrouding the protagonist in sympathy to saluting the protagonist’s ability to overcome maltreatment. Through highly captivating descriptions of survivance in the form of play and friendship, readers begin to engage withthenarrativeinaconstructivewayasthechildrenare now symbols of justice and strength that stand against institutionalized marginalization and ignominy. These children’sbooksandtheirdeparturefromtraditionalnativestereotypesassert their significance as invaluable educational tools for the future generations ofIndigneousand non-Indigenous individuals alike. Through their emphasis on survivance and the ability to overcome, Sterling and Robertson successfully escape the singular narrative of victimry and enter the rapidly growing body of Indigenous narratives that value strength, pride and resilience.

WorksCited

Barrie,J.M. Peter Pan.Penguin,2004.

Hanson,Eric,etal “TheResidentialSchoolSystem” Indigenous Foundations FirstNationsand IndigenousStudiesUBC,2020.

http://indigenousfoundations.arts.ubc.ca/the residential school system/.[22April2021]. LaPensée,ElizabethAileen. Survivance: An Indigenous Social Impact Game.2014.SimonFraser University,PhDdissertation

Robertson,David When We Were Alone Portage&MainPress,2017 Sterling,Shirley. My Name Is Seepeetza.GroundwoodBooks,1992. Straubhaar,Rolf.“Thestarkrealityofthe‘WhiteSaviour’complexandtheneedforcritical consciousness:adocumentanalysisoftheearlyjournalsofaFreirdaneducator” Compare: A Journal of Comparative and International Education, vol 45,no 3,2015,pp 381-400 Vizenor,Gerald. Manifest Manners: Narratives on Postindian Survivance.UofNebraskaPress, 1999.

Writing,FeelingandHealinginStephenChbosky’s The Perks of Being a Wallflower

Sai Rathakrishna

Notice: This article makes reference to suicide and sexual abuse

Traumaisacomplexhumanexperience,onethatcannot bereducedtoanysingle definitionduetotheindividualwaysinwhichit distortstheboundariesbetweenmindandbody, memoryandforgetting,andspeechandsilence.StephenChboskyexplorestraumainhisnovel The Perks of Being a Wallflower,depictinghowtraumainfluencesaboy’sunderstandingofhis self-worthinrelationtohissocialcontext.The narrativeisfocalizedthroughtheprotagonist, Charlie,whonavigateshisfirstyearofhighschoolwhilecarryingrepressedmemoriesof repeatedsexualabusebyhisaunt,Helen,duringhischildhood.Charliewritesaseriesofletters addressedtosomeonewithwhomheisnotacquainted, butheneverthelessreferstoasa “friend.”Intheseletters,hedocumentsthedreams, anxieties,andhopesthatheotherwiserefuses tosharewiththepeopleinhislife.Confiningthe expressionofhisfeelingstohisone-way correspondenceenablesCharlietoescapehisfeelings astheysituatehiminhisembodied relationships.AninternalizednotionsupportsCharlie’s conscioussuppressionofhisfeelings:the ideathathisfriendsandfamilyarefacedwithworse problemsthanhis.However,theregular exerciseofwritinglettersfacilitatesagradual shiftinCharlie’sworldviewfromconstantly ‘puttingthingsintoperspective’tovaluinghisfeelings. Recordingandprocessinghisfeelingson paperprovidesCharliewithanoutletfordeveloping theconfidencethatheneedstoovertly expresstheminhissocialinteractions.Writingto his“friend”leadshimtoacceptthathisloved onesvalueandrespecthisfeelings,helpinghimto embracetheirinherentvalueaswell. LearningtoprioritizehisfeelingsallowsCharlie tobegintheimportantprocessofintegration,of constructingasenseofselfthatisnecessaryto healfromhistrauma.

Writinglettersis“anactofself-reflectionand anactofself-creation,theformationofan identitythatthecorrespondentpresentstotherecipient oftheletter”(Berman409).While composingletters,Charlieengagesinacandidassessment ofhisfeelings,ironicallyrevealing theirrepeatedsuppressioninhisreallifeinteractions. Charlie’stendencytorejecthisown feelingsisdiscernibleinhisdescriptionofamomentsharedwithhisfriendPatrick:“Wedidn’t doanythingotherthankiss[…]Then,hestartedcrying. Then,hestartedtalkingaboutBrad.

AndIjustlethim.Becausethat’swhatfriendsarefor”(Chbosky172).ReflectingonPatrick’s consolation,Charliejustifiestheirintimatemoment asanexpectationthatentailsbeingafriend. However,hisconfessionthathe‘let’Patrickkiss himimpliesareluctantsubmissiontoPatrick’s impulsivedisplayofaffection.Charlie’sretellingofthiseventcontradictshisinterpretationofit asherevealshisprioritizationofPatrick’sheartbreakoverhisowndiscomfort.Hispassivityis explicitlyrecognizedwhenPatrickendearinglyrefers tohimasa‘wallflower,’explaining, ''‘You seethings.You’requietaboutthem.Andyouunderstand’''(Chbosky41).Charlieispraisedfor hissensitivitytoothers’feelingsandhiswillingness toallowpeopletoexpressthemwithout restraint.Fromthispointonward,Charlieintegrates hisnew‘wallfloweridentity’intohis self-reflectionandhisself-creation.Thisexternally imposedidentitysettleshiminto complacency,reifyinghisassumptionthatotherpeople,likePatrick,arefacedwithworse situationsthanhimself,andthereforehisfeelings arecomparativelyinsignificant.

Charlie’stendencytovalueotherpeople’sfeelingsabovehisownismotivatedbythe repressedmemoriesofhistraumaticexperience.The traumascholarCathyCaruthoutlinesthe effectoftraumaonasurvivor’sworldview:“Thespecificityoftraumaresides[…]inthefact thatitisnotassimilatedbyconsciousness,notfully experiencedasitoccurs,whichiswhyit returnstohauntthesurvivorlateron,possessingtheminsteadofbeingpossessedbythemasan ‘ordinary’memory”(Bond&Craps57).Inlinewith Caruth’stheoryoftrauma,Charlie’sgrief overthetragicdemiseofhisauntHelenissustained bytheunassimilatedmemoriesofhissexual abuse.Beforehisrepressedmemoriessurface,Charlie remembershisauntasawomanwho lovedhimandoftengavehimspecialattention.Although thecircumstancesofhisaunt’sdeathin avehiclecollisionwerebeyondhiscontrol,Charlie construestheeventasaconsequenceofhis failure:shediedbecauseshewantedtopurchasean additionalpresentforCharlieonhis birthday,becausehewasbornduringamonthwhensnowcreatesunsafedrivingconditions (Chbosky98).Hisguiltiscompoundedbyhisawarenessthathisauntwasavictimofsexual abuse,leadinghimtorealize,“Somepeoplereally dohaveitworsethanIdo”(Chbosky6).

Charlie’smemoryofHelen’sdeathandhisassociatedfeelingofremorseunderpinhisneedtoput thingsintoperspective.Knowledgeofhisaunt’ssufferingsuggeststohimthathisgriefand self-ascribedblameareunworthyofopen,verbaldiscussion. Althoughthememoryofhissexual abusefromAuntHelenislatentatthispointinthe novel,Charlie’sself-reflectionand self-creationarepossessedbytheresultingtrauma. Charlie’straumareinforceshiswallflower

tendencytodevaluehisfeelingsand,consequently,torecedeintothebackgroundofhissocial environment.

Charliebecomescomfortablewithworkingthroughhis feelingsinhislettersbecausethis mediumofcommunicationpresentshimwiththefreedomtoengageinauthentic,unrestrained expressionwithoutpotentiallydisrespectingthefeelings ofhisfriendsandfamily.Inhisfirst letter,Charlieinformshis“friend,”“Iamwritingtoyoubecauseshesaidyoulistenand understandanddidn’ttrytosleepwiththatpersonatthatpartyeventhoughyoucouldhave” (Chbosky3).Charlie’sbeliefinhisintendedreader’ssympatheticcapacityinspireshimtobegin writingdownandmakingsenseofhisfeelings.However,asheconveystohis“friend”certain truthsthatheacknowledgesasdisturbing,heisinclined towithholdhisidentityinhisletters (Dücker166).AfteravisittoAuntHelen’sgrave, Charliereflects,“Idon’tknowifyou’veever feltlikethat.Thatyouwantedtosleepforathousand years.Orjustnotexist[…]Ithinkwanting thatisverymorbid,butIwantitwhenIgetlikethis”(Chbosky99-100).Charlieisawarethat hisinterestinwithdrawingfromtheworldmaybeinterpretedas“morbid”;regardless,he divulgesitsdetails.Charliewriteswithoutrestriction tohisself-reflectionandself-creation becauseofhisunderstandingthatletterwritingaffordshimanonymitywhileenablinghimto confideinsomeone.The“friend”towhomhewrites letters,then,ishispersonalwallflower.The letters,likewallflowers,absorbthefeelingsthat Charliedoesnotsharewithothersduetohis dismissalofthemasinappropriateandunjustifiable.

Ashedevelopsrelationshipswithhisreal-lifefriends PatrickandSam,Charlielearnsthat peopleinhislifeareacceptingofhisfeelings. Thisrealizationwouldnotbepossiblewithouthis trustthatpeoplelikehisaddressee,whomhebelieves isapproachableandwillingtolisten,truly exist(Dücker167).SamdirectlychallengesCharlie’srigidviewthatbeingsupportiveofother peoplenecessarilyinvolvesdisregardingone’sownfeelings.Shetellshim:''‘It’sgreatthatyou canlistenandbeashouldertosomeone,butwhataboutwhensomeonedoesn’tneedashoulder […]Youcan’tjustsitthereandputeverybody’slives aheadofyoursandthinkthatcountsas love.Youjustcan’t.Youhavetodothings’''(Chbosky 214).Sam’sstatementforcesCharlieto becomeawareofhisexternal,socialpresenceand assureshimthatthispresenceisvalued despitehislackofparticipationinhissocialenvironment. Thepracticeofwritingletterstohis “friend”reconcileshispassivepresenceinthecompany ofpeoplewiththeemotional,articulate selfthathedepictsinhiswritings.Ithelpshim gainthecouragetodependonhislovedonesjust

asSamencourageshimtodoso.Sam’sadvicepreparesCharlieforwhenhisrepressedmemories surface,herwordsremindinghimtovaluehisfeelings justasotherpeoplevaluethem.

MarionBaraitser’sbookaboutthehealingpowerofreadingandexpressivewritingoffers ausefulframeworkforunderstandingCharlie’spathtohealingandself-integration:“We constructourselvesfromthenarrativesofothersinoursocietyandfromthechangingstorieswe tellourselves.Traumadisruptsthesenarratives, leavingthe‘self’frozen,thememorydominated byimagesofthetrauma.Whenlanguagereturns,so thatmemoriesareverbalisedor‘re-told’ina positiveway,arestorationofthepersonabegins”(58).The“self”thatCharlieconstructsinhis writingalsoprivilegesthe“wallflower”worldview thatarisesfromhisrepressedtraumatic memories.However,afterherecallshisrepeatedabuseduringchildhood,heuseshiswritingto reimaginehistraumatorestorehistrueself.Charlie describestohis“friend”hisconfrontation withthetraumaticmemoriesthatguidedhispassive interactionwiththeworldthusfar:“It’slike ifIblamedmyauntHelen,Iwouldhavetoblameher dadforhittingherandthefriendofthe familythatfooledaroundwithherwhenshewaslittle […]AndIdiddothatforawhile,butI justcouldn’tanymore.Becauseitwasn’tgoinganywhere.Becauseitwasn’tthepoint”(Chbosky 223).Charlieadmitsthathisangertowardtheperpetrators ofhistraumatemporarilytookholdof him,simultaneouslyindicatingthatheprioritized hisemotions.Charlie’sexperiencewithtrauma modelsBaraitser’sconceptualizationofhealing:hisunderlyingtraumalimitshimtothe ‘wallflower’wayofthinkinguntilhelearnstoreorganize hisvaluesthroughcomposingletters. Continuingtoblametheperpetratorswouldnotbeconducivetorewritinghisnarrative; nonetheless,Charlie’sinitialangerwhenheremembershisabuseisnecessarytointegratehis traumaticmemoriesintohisself-reflectionandself-creation, tohelphimworktoward constructinganarrativeoftheselfthatisunique andauthentictohim.

Chbosky’snovelpresentstraumaasanunderlyinginfluenceonCharlie’sapproachto interaction.TraumaalsoinformsCharlie’sself-reflection andself-creationthroughletterwriting formostofthenovel,influencinghimtoescapehisfeelingsinfavourofconcerninghimselfwith thefeelingsofothers.However,allowinghisfeelingstoemergetotheforefrontenablesCharlie toadoptanoptimisticoutlookonhissituation.Inhisfinalletter,hewrites,“evenifwedon’t havethepowertochoosewherewecomefrom,wecanstillchoosewherewegofromthere” (Chbosky224).Charlieunderstandsthathecannotcontrolthegenerationalperpetuationof traumathathasalreadybeeninflictedinhisfamily; however,hecanhealfromit.Hehasalready

discoveredthatwritinglettersisthemostcomfortableandeffectivewayforhimtolayoutand processhisfeelings.Writingabouthisfeelingsis integraltoCharlie’shealingbecauseit positionshimtopossessthememoriesofhistrauma insteadofsubmittinghimselftothem entirely

Bytheendofthenovel,Charliealsodecidestoavoid dismissinghisfeelingswhen consideringthoseofotherpeople:“Maybeit’sgoodtoputthingsinperspective,butsometimesI thinkthattheonlyperspectiveistoreallybethere […]Becauseit’sokaytofeelthings.Andbe whoyouareaboutthem”(Chbosky225).Charlieisabletounderstandandretellhisexperiences inapositivewaybecause,whilereflectinguponhis aunt’sexperienceswithtrauma,heembraces theweightofhisemotionsandrecognizestheirutility inperceivingtheworldbeforehim.He acceptsthatalthoughsomeoneelsemaybefacinggreater challengesinlife,hisfeelingsabout hiscircumstancesdonothavetobediminishedin lightofthispossibility.Ultimately,The Perks of Being a Wallflower depictsoneofinfinitewaysinwhichtraumaandhealingcantakeplace. ThestoryofCharlieisareminderthat,regardless ofitsform,traumaisatestimonytosurvival, toexperienceandtohumanity.

WorksCited

Baraitser,Marion Unpack My Heart with Words: Reading and Expressive Writing with Traumatised Children, Young Refugees and Asylum Seekers JessicaKingsleyPublishers,2014 Berman,Jeffrey “LettersfromtheDead:TheHealing PowerofWritinginAnnaSeghers’s“Posttothe PromisedLand”” American Imago,vol 74no 3,2017,p 405–422 Project MUSE, doi:101353/aim20170026 Bond,Lucy,andStefCraps Trauma Routledge,anImprintoftheTaylor&FrancisGroup,2020 Chbosky,Stephen The Perks of Being a Wallflower GalleryBooks,1999 Dücker,Marie “FormandEmotioninStephenChbosky’sThePerksofBeingaWallflower” Writing Emotions: Theoretical Concepts and Selected Case Studies in Literature,editedbyIngeborg Jandletal.,TranscriptVerlag,Bielefeld,2017, pp.159–174. JSTOR, www.jstor.org/stable/j.ctv1wxt3t.11.Accessed16Dec. 2020.

CurtainCall

Oana Calin

Mr.Nelsonhadhardlyseentheflashofheadlightsasheshuffledintotheintersectionof BrookviewDriveandCovingtonRoad.Hewasreturningfromthemarket,abagoftomatoes shakinginhisfrailhand–Mrs.Nelsonwasathome,workingonherfamouslasagnaandinsisted onmakingherpastasaucefromscratch.

Hewatchedhisshadow,glidingslowlyacrosstheconcrete.Hehadahabitofdoingthis. Ashadowwasamuchmoreforgivingversionofoneself. Itmaintainedanauraofanonymity,not allowingonetoseethescarswithwhichpassingyears markedthehumanbody–likedogs, pissingonbrightredfirehydrants.Henoticedthewaythehunchedfigureontheconcretebegan stretching,shiveringagainstabackdropoflights.Itremindedhimofhisdaysinthetheatre,back whenhehadmetBetty Whowouldhaveknownthatthe prettybrunettesmokingcigarettesin thedressingroombetweensceneswouldnowspendhereveningsbakingcopiousamountsof lasagnainapinkapronprintedwiththewords“World’sBestGrandma”.Shehadneverenjoyed thespotlight.Butanangelicvoicepairedwithoverbearing parentsprayingeverynightthatJudy Garlandhad–withthewillofGod–reincarnatedintotheirdaughter,shewassenttothelocal theatreeachweektohonehertalents.Mr.Nelson,ontheotherhand,lovedthewarmthwith whichthespotlightsfilledhim.Somuchsothathe couldfeelthemnow,spreadingacrosshis armandblindinghislefteye.Hecouldalmostfeel histap-dancingheelsonthesolesofhisfeet, thetipsofhisfingersitchingtosnaptothetuneof Guys and Dolls’ “I’veNeverBeeninLove Before”.

Heimaginedtheloudvroomoftheorchestraasitseamlesslyaccompaniedthebooming baritoneofhisvoice.Forasecond,hewishedBettycouldleaveherpinkapronbehindandjoin himinthestreet,hersoftvoiceintertwiningwith hisown.Theywouldstandhandinhandasthe roarofapplausepoundedintheirearsandthespotlightsfadedtoblack,cuingthecurtainsto grindshutandhidingtheloversfromview.Atthis moment,ithadoccurredtoMr.Nelsonthat thespotlightsofhisimaginarystagehadonlygrownbrighter.PerhapsLarryhadforgottenhis cuetopullthecurtainshutagain.Hewasprobablyoffsweet-talkingtheunderstudies,attempting toimpressthembydescribingthegrandeurofhisropepulling.SometimesMr.Nelsonwished Larrywouldactuallypulltheropesinsteadofyapping aboutit.Asheturnedtogivetheyoung

boyapieceofhismind,agustofairhithisfragilelimbs.Hestumbledback,launchinghis grocerybagintheair.Twobrakelights,asredas Mrs.Nelson’stomatosauce,whizzedpasthim anddisappearedontoBrookviewDrive.Plump,roundfruitlinedtheroadinvariousstatesof distress.Theseed-filledmembranehadevenmanaged tostainMr.Nelson’scorduroypants. Perhapshisperformancewasworsethanhethought.

HowSugarisMade

Oana Calin

Thisflimsyplasticbag, wefilledwith store-boughtconfectionaries: orange, purple, and blue.

Granuleaftergranule,sugar oozedthroughourveinsgivingusa headrush,making ourtonguesstickywithlust.

Thisflimsyplasticbag, wefilledwith secrets: yellow, red, and green. Wediscardedthem likeemptywrappers andsavoredtheircontents, lettingthemdripfromthecornersofourmouths ontoourchins.

Thisflimsyplasticbag, fedus untilourthroatswerebrimming withbittersweet cocoapowder, shootingintheairlikecannonsatthecommand ofourlaughter.Itputustosleep withpromisesofboiling kissesand dreamsdrippinginsyrup aftermakinglove.

Lastnight,Iuncovered ourplasticbag–fuzzy withgathereddustlike Maynardspeaches, andbroughtitbacktolife:

white, black, and brown.

Iateuntilmycheeks turnedorangeandmyfingernails tastedsour, cornsyrupcloggingmytearducts andbubblingunderpressure. Iateuntil myarteriesshivered, pumpingviscousbloodtomytastebuds hoping, begging, thatIcouldtastethesugaroncemore.

Thisflimsyplasticbag, Ifilledwith illusions, grey Theydumpeddustintomymouth bythetruck-loadand rottedmytic-tacteeth andjellygums untilIcouldscarcely pronounceyourname. Theysetmedrowninginthe blacktreacleofyoureyes, mybreathsfizzingoutlike pop-rocks.

Ourflimsyplasticbag, nowlies futile and bitter.

Itwasyouwhofilleditwithsugar, afterall.

AngelbytheWings,DevilbytheHorns

Isabella Mckay

Inoneofthemillionsofpits,firesilluminated Angelus,wholedtheDevilstoslaughter innocentchildren.Behindapillar,DiabolusjumpedtograbthehandsofAngelus.Diabolus attemptedtousethecrownofthornstobindhishandsandstopthekillings,buttheDevils attackedandchainedherhands.

Devilsheldtheirknivesuptostaboneoftheirown,butAngelusroared,“Stop!Itwould besuchaspoiltokillsuchaprettyso-calledDevil. Iwillpunishthisso-calledDevil.Alone.”

AstheDevilsescapedintocaves,AngeluseyedDiabolus, “Ifyoucouldseeinlightlike theydoupthere,you’dseethatIpointedtochildrenstandingbesidefirepitsthatDevilswould fallintoiftheywenttooclose.”

Hewavedhishandsoverhishornstorevealhishaloandwings,“Youriskedyourlifeby savingthosechildren.”

Hereyeswidened.ShelongedtopasstheGoldenGatesandAngeluscouldleadherto theopportunity.Shepleaded,“TakemetotheHeavens.YousawwhatIdid.Iwilldomoreup there.”

“Ialwaysseewhatyoudo,”Angeluswhisperedand thensaid,“Angelscan’tknowabout mymissionorthey’llneverletmereturntothis dangerous,coldplace.Youcouldalsonever revealyourself,becauseAngels,notaspureasI, wouldneveracceptaDevil.”

“Iwon’ttellanyoneaboutanyofthosethings!I’llsavemorelivesthanIdohere.”

Angeluschuckled,“InevertrustaDevil,butyourheartjustneedstomatchyourface.”

Angelusbroughtoutabottlefromhispocketandslammed itontothegroundinfrontof Diabolus.Herscorchedskintransformedintowhiteglitter.Herhornsbecameahalo.Hertail disappearedintoair.Herdirtyandholedshirtschangedintostainlessclothes.

Angelusfrowned,“Likeareplica.It’sgoingtobefuntowatchtheAngels,especiallymy parents,befooled.Geton.”

Thecornersofherlipsstretchedintohercheeks.Diabolusclimbedontohisbackand heldontohisshoulders.Hiswingsflappedandflewthemoutofdarknessandabovetheclouds. Hereyesadjustedtothelight,white,andgoldintheGates,kingdoms,Angels,andfood.

Diabolusmarvelledathowwellshewouldfitinthisworld.Shedidn’trealizethat Angeluslandedinfrontofthedoorsofthegrandestcastle.

“We’reatmycastle.ThecastleoftheQueen,King andPrince.That’sme.Butthiswill bemycastleinafewyears,”Angelusmumbledthe lasttwowords,“Orweeks.”

Shegasped,“Allofthisisamazing!Thankyou.I can’trepayyou.Thisis—”

Hecutheroff,“Yes.Amazing.Nowcomewithme. YoumustmeetmyparentsandI’ll showyouyourroom.”

“Iwilllivehere?”

“It’sevenmorefuntotricktheKingandQueenwhothinkthatthey’veaccepteda long-timefriendofthePrinceintotheirhome,”Angelus guidedherintothecastle,whereshe gaspedattheluxuriousdoveengravingsthroughoutthecastle.

Inthethroneroom,theKingandQueendancedasaservantplayedtheharp.

Angelussmiledandbowed,“MydearKingandQueen,Iseeyourafternoonissplendid. Ifyouhaveafewsparemoments,Iwouldliketointroduceyoutomydearfriend,Diabolus,at theabroadacademy.”

“OursonbecomesmorelikeatruePrinceeveryday,”theQueengushed.

TheKingnodded,“Itisapleasuretomeetafriend ofmysons.I’msurethatyour mannersareasimpeccableashis.”

Diabolusbowed,“ItisanhonourtomeettheKingandQueen.Imustsaythatyoursonis moreangelicthanyoubothhavedescribed.Icannotmeethisstandard.”

“Itisadifficultstandardtomeet.Oursonisthenation’streasure”theQueensmiled.

“Thankyou,myKingandQueen.Yougivemetoomuch praise.IfonlyDevilscould understandourgraciousandholyways,”Angelussighed.

TheKingspat,“Devilsaresoulless.Iwouldn’twasteyourtimeonthem,son.IfIseeany ofthoseDevilsusingthecloudstairstoclimbtheir wayuptotheHeavens,I’llsendthemback down.Thatwill,ofcourse,beyourjobinacouple ofyears.”

DiabolusreddenedlikeaDevil.

“Ifitwerenotinmynaturetocareforallliving things,Iwouldharmthemtosaveothers. MyKingandQueen,thankyouforyourtime.Ihopethatmydearfriendcanstayinoneofour chambers,”

“Ofcourse,son.Youdonotevenneedtoask,”theQueensmiled,“Pleaseenjoyyour timehere,Diabolus.”

“I-Iwill.Thankyou,”shenearlysprintedoutof theroom.

AngelusintroducedDiabolustoroyalfamiliesand friends,whohuggedandinvited Diabolustotheircharityeventsandsocialgatherings. Withinamonth,Diabolusbecameknown astheAngelwhogiftedthemosthealthandwealth tohumansandwhoguardedthemost humansfromdiseasesanddangers.Sheworegoldensilkgownsandatethefresh,organicfood asshefearlesslyexploredthekingdomwithherfriends, knowingthatnoonewouldinsult,grab, orhither.

AngelsoftenscoldedDevilsandpraisedAngelusin theirdiscussions.Theyrepeated,“If itwerenotforourbenevolentnatures,Iwouldsurelyhavethemalleliminatedifonlytobring purityandgoodfortunetothisworldandhumans.I’msurethattheangelicPrinceagrees.”

Hercheeksreddenedeverytime.Ifshehadanangelic heart,butadevilishappearanceby birth,shewasanAngelwhoworemorewhitemakeup andmoredecorativeclothing.Therefore, sheshouldnotfeellikeanimposter.

Meanwhile,Angelusdevisedaplan.Hedidn’twant towaityearstobecomethecrowned King.Hewantedthetitleandpowernow.

Whenthesunrose,hewenttothekitchen.Theservants lefttheroomtowaketheKing andQueen.Hedroppedthecolorlesspoisontonic,whichhe’dconjuredinHell,ontotheAngel foodcakefortheKing.

Atbreakfast,hewatchedastheKingdrankhisservedcake.TheKingclutchedhisthroat andvomited,thengaspedforbreathandsurvivedthepoison.

“Howisthispossible?”theKingchoked,“HowcanaDevilbeamongus?Satanhas playedoneofhistricks.Callthearmy.Searcheveryone.”

“MyKing,theDevilislikelyfarfromthekingdombynow.Wouldourresourcesbe enoughtofindtheDevil?”Angelusgentlyasked.

TheKingroared,“WeareAngels!ByGod’spower, wewillneverbedefeatedbysuch satanicnightmares!FindtheDevil!”

AstheArmycontinuedtosearchfortheimposter, Angelusgrewmoreanxiousthatthe aggressivesearchwouldleadtoDiabolus,whowouldrevealhertrueidentityandrecallhow AngeluswenttoHelltobringherhere.

HethumbedtheemptiedpoisonbottleandheadedtothechambersofDiabolus,who spokeaboutsavinghumansattheAltarintheChapel.

StormingthroughtheChapel,King,Queen,Prince,andArmyfoundDiabolus.Her musclesfrozeandherjawhung.Soldiersseizedherarms.

Shewrestledhershocktospeak,“W-whatareyoudoing?!W-what’swrong?Ihaven’t doneanything.”

“Youliar,”Angelusspat,“Satanhassentyou.”

Theaudiencegasped.Herfriendsprotested,“MyPrince, Diabolushassavedcountless livesandhelpedhumanssomuchduringthesetwomonths.MorethananyotherAngel.”

“Youforget,myfellowAngels,thattheDevilisa masterofmanipulationanddeception. Fooledmeintobelievingthatshewasmyoldfriend. Theydokindthings,buttheywillkill,” AngelushidhissmirkwhenDiabolusblushed.

“T-t-that’snottrue.It’snottrue!I’mAngelDiabolus!” shepleaded.

“TheDevillies,again.ItisnotinmyAngelnature totellalie,butIthoughtthatIsaw youwakeupearlyinthemorningofmygraciousKing’spoisoning.Itisneverinmynatureto tellalie,butIfeltapurehorrorwhenIsawtheKinggaspingforhisbreaththatIwouldnever wantmyKingorGodforbid,myQueen,oranyonetosufferthroughitonceortwice.”

“Therefore,IactedwiththebestintentionsasI believedthatnoonewouldbehurtifthe soldierscheckedherchambersearlier.Luckily,whatwefoundwas—”

“Youpoisonedme!”theKingshouted,“AfterItookyouintomyownkingdomandgave youabeautifulchamber Youpoisonedme!”

Theaudiencegasped,roared,andretreatedfromthe stage.Everyoneheldtheirstomach orthepewsasiftheywouldvomitordieinthepresence ofaDevil.

“Ifmyheroicsonhadn’tseenyouandhadn’taskedthesoldierstocheckyourchambers tofindthetonicbottle,theDevilwouldstillbe inthecastle,inthekingdom!Ohmyson,youare deservingofanythrone,”theKingcried.

“MyKing,”hiseyeswelledwithtears,“ToseeyouandtheQueenaliveandhealthy,and thekingdomsafe,isenough.”

“Itwasn’tme!Idon’tevenlookliketheDevil!”Diabolusscreamed,butherfaçade instantlydissipatedtorevealherscorchedface, pointedhorns,triangulartailpoint,andtorn clothes.

TheaudienceranfromtheChapel.TheArmyhandcuffedDiabolus.Angelusshookhis headandwhispered,“DealswithSatanareneverfree.”

ShescreamedthatshewouldneverhurttheKing.Shearguedthatsavedmorehumans thananyAngel.SherevealedthatAngelusledDevils tokillchildrenandthathebroughther here.Buteveryonebelievedthatshewasaliar

AngelusbecameaperfectKingtohissecondkingdom. ButAngelussecretlyescapedto Hell,wherehecommittedadultery,killedanyhumaninsight,andtorturedDiabolus.Becauseof thewingsonhisback,AngeluswaspraisedinHeaven.

DiabolusenduredtheinsultsandattacksofDevils injail.Butshecontinuedtostop disasterandbringpeacetohumans.Becauseofthe hornsonherhead,Diaboluswasbanishedto Hell.