A Silent Song And Other Stories Summary Notes Pdf Free Download

unrelenting bleakness, he has an iota of hope. He dreams of a future bright life beyond the pangsof darkness, and this gives him optimism and he sings his own happy song, silently to himself,secretly.

Pain (pg. 17) Resigned (pg. 17) Hard street life (pg. 18) Unfulfilled dreams (pg. 18) Loneliness in the streets (pg. 19) Judgmental Christians (pg. 19) Hope and the silent song (pg. 20) Freedom at last (pg. 20)

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In his world of eternal darkness, Mbane clings on to his belief and dream of future life. He hopesfor a bigger, meaningful, glorious feeling beyond his sightlessness. He sings a secret silent songthat fills him with expectation and desire. He wishes for his journeys end so that his soul couldexperience this wonderful destination. Mbane's soul is imprisoned in his sweaty, unwashed bodyand he wishes that it was free. That is a welcome reprieve from his suffering and damnation.

The collection has a total of 14 stories, each addressing a range of thematic concerns, from colonialism, post-colonialism, beliefs, domestic struggles, urban poverty, and the impact of poor human relations, among many other contemporary themes.

Other stories like The sins of the fathers, The truly married woman, Talking money, Ghosts, God sees the truth but wait, The neighborhood watch, December Boyi, and Cheque mete explicitly examine issues like identity crisis, vengeance, racism, parental resentment, love and friendship, negative ethnic tensions, death, cohabiting vs. marriage, hypocrisy, obsession with money, war, destruction of property, superstition, drugs, imprisonment, faith and devotion, inequality and class difference, hope, civilization, betrayal, bribery, and loyalty, among other contemporary issues.

Looking down, he saw a small church whose bells were ringing out the carol, Silent Night. As the final note died away, it was replaced by one lone voice singing inside the church. It was shortly joined by a second voice that embraced the first in perfect harmony, and then another and another until a choir of voices rose through the night. Enchanted by the magic of what he was hearing, the Angel found himself listening until the song was finished. As he resumed his flight through the night, he was delighted to hear these sounds everywhere, from the largest cities to the smallest villages. He heard melodies from massive orchestras and in the voices of single soldiers alone at their posts. And any place where he heard these songs, he found hope in the hearts of men. Grasping a song out of the air, he held it in his hand (angels are able to do this) and thought that maybe, these songs could be the one thing that best represented Christmas. They seemed to give voice to man's greatest joys as well as hope to those deepest in despair.

A song, as distinct from the bodies it takes over, is unfixed in time and place. A song narrates a past experience. While it is being sung it fills the present. Stories do the same. But songs have another dimension, which is uniquely theirs. A song fills the present, while it hopes to reach a listening ear in some future somewhere. It leans forward, farther and farther. Without the persistence of this hope, songs would not exist. Songs lean forward.

The essence of songs is neither vocal nor cerebral but organic. We follow songs in order to be enclosed. We find ourselves inside a message. And this is why what songs offer is different from what is offered by any other message or form of exchange. The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.

The words of songs are different from the words that make prose. In prose, words are independent agents; in songs, they are first and foremost the intimate sounds of their mother tongue. They signify what they signify, and at the same time they address or flow toward all the words that exist in that language.

Cesria vora died a few years ago. It was not until she was in her forties that she became a world star. She sang black West African Portuguese songs in a language and with an accent that were incomprehensible to most people who were not from Cape Verde. She was intransigent, obstinate. The pitch of her voice was that of a teenager trying her luck in a bar for sailors before going home to look after her sick mother.

A Silent Song and other Stories is a unique collection of short stories from various societies across the world. They have been carefully selected to represent various generations of writers from diverse backgrounds.

the section about the monsters (excluding pyramid head) being feminine is interesting, and i never realized it before, but those monsters are also in other silent hill games and i dont think they really apply to the storyline in the way suggested, but it a good theory. the nurses were in silent hill 1 and 3 as well, and the mannequin parts monster (i call them leg-monsters) were also in silent hill 3, and i think also silent hill 1 but im not sure. as for the armless high-pitched monster, im not quite sure if it was in other silent hill games, i cant quite remember seeing it too often

Fianlly with the endings he can leave with Laura as she is real, he can kill himself as I feel the events are actually happening (or he is imagining the monsters) but he is alive during the game. And he can leave with maria but she is just his imaganation, when she coughs at the end this signifes that she is also ill meaning that she will die/james will kill here and have to relive it other again. It is another form of punishement and could result in him going round in circles constantly returning to silent hill.

Another cited influence[12] for this piece came from the field of the visual arts. Cage's friend and sometimes colleague Robert Rauschenberg had produced, in 1951, a series of white paintings, seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'."[16] In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes "To Whom It May Concern: The white paintings came first; my silent piece came later."[17]

With the song over, the angel continued his search, the skies now snowing as he flies over the world ("First Snow"). Flying over the Ural Mountains, he notices a small village, where he takes upon the disguise of a human to approach the people ("The Silent Nutcracker"). The angel asks a village peasant what Russian hearts desire for Christmas, with the peasant simply answering "peace on earth" ("A Mad Russian's Christmas"). The angel returns to flight, thinking about the birth of Christ, and its impact upon Christmas Day ("The Prince of Peace"). The angel then flies over Bosnia during the siege of Sarajevo, witnessing mass destruction and violent warfare below. Confused as to why individuals would kill each other, the angel flies close to a recent battlefield, where a single cello player stood alone playing a forgotten Christmas song. While departing, the angel realized that as long as there was music, there would always be hope ("Christmas Eve/Sarajevo 12/24").

One of the children, Margot, stands apart from the others. Margot is frail and pale, and she never participates in games with the other children. When the class sings songs, she barely moves her lips unless the songs are about the sun. What most sets Margot apart from the group is that she can remember the sun while the others cannot. Margot is nine years old, just like the rest of her classmates. But unlike Margot, her classmates have lived their whole lives on Venus; none of them can remember what the sun looks like or how it feels. They were all too young the last time the sun made an appearance.

An excellent example of balance comes from Kendrick Lamar's To Pimp a Butterfly. Over the course of TPAB, Kendrick reads out, at the end of certain songs, increasing amounts of a 24-line poem. Track 3 reveals only the first line. Track 5 increases the total to six lines. Track 7 adds two more. The surprise is that the poem (which you don't hear in-full until the final track) is a summary of To Pimp A Butterfly's narrative. So at the end of Track 5, the chunk of poem finishes with "Found myself screaming in a hotel room." The very next song ("u") just so happens to have Kendrick screaming in a hotel room.

The track begins with Tyler very much in puppet-mode, willing to do anything. But in the middle of his offerings, the song pivots. We saw a similar pivot happen on that second verse from "A Boy Is A Gun." Tyler and the guy fight, make up, then the girl's presence causes another fracture. All in seven lines. There was also the bridge where Tyler romantically portrays the guy as a gun, then realizes, "Wait...you could be dangerous." 2351a5e196