Sixth Installment of Z.I. Mahmud’s thesis on David Copperfield

Discussion of the success behind the authenticity of the novel

“Perseverance for knowledge and passion for dreams” engender the issues explored in David Copperfield to be interweaved in Great Expectations. Fact and fancy, reality and imagination or private and public encapsulating life sketches of memoirs: memorial, monument or testimony chronicles a spiritual autobiography. The world of the biographer’s existence has been socially, morally and imaginatively much more complex, compromising and more essentially ambiguous than one David inhabits as interpreted in the parenthetical thesis of Anna Foley foreshadowed within bibliography.        

 Enslavement by a heartless society, destructions of war, mass genocide and totalitarianism engrosses modern critics such as Chesterton’s shrewd criticism apprising and appreciating Dickensian character Tobb as the vitality of real humanity or humility, those who have nothing but life. Furthermore, George Orwell, the satirist of political and moral allegorical fable quintessentially denotes in his essay on Dickens always, “respond emotionally to the idea of human brotherhood.” 

Differentiating Advantages and Disadvantages of Reading The Autobiographical Narrative Fiction Great Expectations

Psychoanalysis Freudian theories and gender studies by modern critics today, question the integrity of memorable characters, boisterous humours, intrigued plot twists, precipitous cliffhangers or suspenseful ending and universal themes. Bread and butter (graveyard scene) were connoting alleged erection employed by Pip to hide and cover adolescence. Victorian ideals abhorred and despised the tendency of incestuous relationships, masturbation, lascivious or carnal desires, adultery and so on. Magwitch and Herbert’s guidance or guardianship excessive handling of Pip is a striking matter of moral degradation in modern criticism by shrewdest psychoanalysts or gender studies theorists.      

 Mr. Pumblechook appearance of that of a Sheriff and the reticent patronage of Compeyson disdains readers or critics detesting demonic characteristics in Mr. Pumblechook’s personae. Another striking fact in debate is the emotional setting of prison infirmary. Incidentally, Pip reconciles in salvaged spirit to acquire redemption for the penitent sins encountered after demonizing feelings about Magwitch. Withdrawal of snobbery from the redemptive minds of Estella and Pip ending doesn’t disseminate justification in absurd ending despite smugness shattered by the discovery of great expectations. 

Further drawbacks of the novel discusses the issues of being the idealized gentleman in the ironical witty commentaries of Dickens to satirize being gentleman to table manners, style of dressing, body language, speech, wealthy fortunes and so forth. Interestingly, the irony here talks of Victorian tradition of mass graveyard shameful, embarrassing, defame or guilty conscience because bereavement of working class or middle class bourgeois should be preserved in sepulchers and epitaphic tombstones inscripted. Farm labourers, coal miners or domestic servants weren’t exempted from the case study. Socio economically youngsters were passionate about being marines or veterans and clergymen whilst the legacy was endowed to the elders. Daughters inherit dowries or petty estate unless the male relations remain obscure. Dickens employed the character of Drummle from Somerset as neither aristocrat nor Shropshire gentry which provokes the issue of class distinction and classification of a gentleman. Romantic delusions implored Pip to board the accommodation Boars Hotel with the illusion that Miss Havisham [fairy godmother]’s Estella, the ward would be his fiancée.              

 “Poisonous” and “pernicious”, “infamous” and “shameful” the novelist epitaphic phrases paraphrase poor living conditions in prison. “From head to foot there was convict in the very grain of the man” demarcate English, French or Convicts curtailed from European civilization  “a savage air that no dress could tame.”  In reality Dickens shrewd criticism allegorizes the Victorian prison reformation. Gospel of improvement or progress brightening or heightening metropolis with passing of traits in the transformed sub urban hypnotizes colonial enterprise. Dickens forgets to narrate the vanishing or exclusion of Abel Magwitch symbolizing injustice. These extremism of characters resonate unrealism oscillating in the novel. In the novel, Estella, the heroine marries the doctor from Shropshire after Drummle’s death. Pip understands that she has developed maturity through suffering –irony of resolutions. Superficiality of the gentleman sways away as soon as the hero, Pip’s inferences and conscience awaken. What really matters in life is being honest, true, loyal and kind. Great Expectations is nothing but a work of genius by modern critics. It is also very widely read by ordinary people except those who dislike fiction. Dickensian vocabulary, complex and lengthy sentences and verbal irony are obstacles in interpreting modern Dickens.       

When snarling, Orlick, the tangible flesh and blood presence denounces Pip as “young wolf” and remonstrates Mrs. Joes, “You’re a foul shrew, Mother Gargery”. Dickens contrasted this to the boarding school educated counterfeit money con artist bcause he could copy handwritings that appeared behind the scenes- elusive and shadowy. Compeyson blights the lives of Miss Havisham, her ambiguous half weak brother and of Magwitch on the one hand. And on the other, the deal of treachery trial’s betrayal stimulated white terror vengeance of the open book of crime and punishment-the symbolic of ripest exploitation. Magwitch “marries” Molly “over the broomstick” unlike his counterparts Orlick and Compeyson [Compeyson breaks Miss Havisham’s heart]. Why brevity and humour? The barbarity of the justice system sentences mass and Dickens mocks the judge’s verdict in ordering a special censure for Magwitch. [“My Lord I have received my sentence of death from the Almighty, but I bow to yours”]

Orlick’s indulgence of vengeance after being dismissed from the forge and Miss Havisham’s caretaking, tempted him as Compeyson’s dupe luring Pip into lime-kiln [*lime kiln- kiln or furnace of reducing limestone shells to lime through burning or incineration]. Orlick was sentenced to imprisonment in the final part of the novel through a commit of blundered heist: the robbery of Mr. Pumblechook-the ostentatious caricature. Dickens’ laughter and humour reflection in Pip’s  appraisal that the villainy of Orlick showed atonement is subtly the question of moral integrity. [Pip acknowledged Orlicks’ temperate behavior of stuffing the nose of Mr. Pumblechook with flower annals]. However, critics like Andrew Moore, disparaged shrewd glimpses of analogous to a loose ending of the plot.

Poetry from Mahbub

Mahbub

  
 The Orange-bellied Himalayan Squirrel
  
 How charming - it makes the world spell-bound
 O Himalayan Squirrel, Red-bellied Squirrel
 How you do all the things charming 
 How you do all the things shining to the eyes
 How you do all the things, sitting on the branches of the silk cotton tree
 How you bring out the cotton from the cotton fruit 
 How you gather all in a certain place
 How your brain acts on how to beautify the other side
 I know you don't, all meanings of the cause, but you do
 How your brain is fixed on how to make the nest warm
 How all together the cotton matches the long line catkins of the land
 How it shines with its red belly in the morning sun
 On the branches the sunny morning opens the door
 The heart that never felt such a wonder
 The love and beauty, no greed for power and pelf
 A resort to live forever
 What the eyes experience here, will ever come to an end?
 O sacred Orange- bellied Squirrel 
 I see you and the heart always dances
 The heart throbs for the new passion something for love and sex
 We need the figure of the belly as red as the sign 'Love'.
   
 Chapainawabganj, Bangladesh
 05/12//2020
  
 The Pheasant-tailed Jacana
  
 The doves, the kingfishers and so many colorful birds 
 Flying and calling over head in the silent resilient place
 Charms the hilly atmosphere around the lake
 Smile over the breeze, wiggling the lotus petals and leafs
 As though I am going to rise from a deep deadly sleep 
 Drinking the water of Lethe in Hades  
 How the world of love made by the two  
 The male and the female pheasant jacana
 How they live on in this watery leaves
 How they come close to each other 
 How the female lays the eggs and fly to the other  
 Leaving her mate behind she must have her desire fulfilled  
 Infatuated by again builds her love palace with
 Lays her eggs as before in every case 
 How the male hatches the eggs and breeds the chicks!
 Of hatching and fostering the chicks 
 What a wonder a sense of love and faith to each other!
 And responsibly set from above!
 To every each other - father, mother, sister, brother, lover and beloved
 From one corner of the world to the other we always wander for something new
 A doorway to the novelty of thought and light 
 O breeding male pheasant Jacana, 
 What you leave behind for us?  
 I think and observe the responsibility for the new generation.
  
 Chapainawabganj, Bangladesh
 06/12//2020
  
 Sculpture Fight
  
 Now the whole world is threatened in fear of corona
 A rush of flame burnt all over
 What's going on outside?
 Indulging on or falsifying the commons 
 The party against the government 
 An excitement among the audience in Jalsa (Gathering at night for Islamic speech before the audience)) 
 Not that people like to hear but nothing to do without listening 
 As they are sitting before the speaker  
 The argument against establishing the sculptor the speaker breaks the silence of the night
 Shouts as loud as he can for not to establish any more in the country
 The great man for whom our heads bow down in respect and honor
 That person people recognize him as 'The father of Nation'
 He is our great leader Bangabandhu Shiekh Mujibur Rahman    
 Violating the rules of maintaining the social distance
 A group of people come out with a procession 
 Without knowing what the sculptor meant for
 A seduction for holding the country instable
 Some miscreants broke one of the Bangabandhu's sculptors in Kusthia 
 While people are dying and being affected daily
 In every second corona swings around
 Can't shake our hands; kiss on face, advance for lips into lips 
 Love flows on heart to heart only spiritually
 Doctors and nurses have no time for rest
 Day and night on duty for cares and treatment
 Creates a remorseful condition of earth
 Some are counting their profit
 Some are repenting on loss 
 O heart, O diversified heart here you cry and cry
 There you rejoice on falsifying or forging fortification  
 Dying in one side line after line
 The fight we see head to head, hand to hand on the other. 
  
 Chapainawabganj, Bangladesh
 07/12//2020
  
  
 Playing Hide and Seek
  
 You play hide and seek
 In the world -Love and Trick
 I know the intrigue, a wonderful battle field
 My journey over the mountains and hills
 Through the oceans and the trees
 You play hide and seek
 I know but dive so deep
 No cause why you play this game
 No claim why I die and feel sick
 I know I love to die
 A touch of pain and joy
 I like to rest on it, my sweet retention
 O my sweet dear, my loving sky
 On the ground in the starry lit I lie down
 You cuddle and fondle on
 I feel like maddened in excitement
 Feel fresh as morning light 
 You play this hide and seek 
 Overflowing joy the whole night - kissing and missing in plight. 
  
 Chapainawabganj, Bangladesh
 08/12//2020
  
  
 In the Abyss of Forgetfulness
  
 Light turns into darkness
 Darkness is now more lovable than anything else
 Light appears to be dark cloud
 We fall into this play of light and dark
 Nothing comes out of this ghostly dangerous but heavenly saint
 O lament, hidden in the light
 Charming in darkness
 Love regenerates in the abyss of forgetfulness
 People humble and fumble
 O danger lies in the bushes, the poisonous snakes.
  
 Chapainawabganj, Bangladesh
 08/12//2020 

Screenplay from Chimezie Ihekuna

Title: Significance of Life
Adapted from a book by Chimezie Ihekuna (Mr. Ben)
Screenwriter: Robert Sacchi

Chimezie Ihekuna (Mr. Ben) Young Black man in a collared shirt and jeans resting his head on his hand. He's standing outside a building under an overhang.
Chimezie Ihekuna

Genre: Drama/Family

For reviews, production consideration and other publicity, please contact us through the email addresses below:

mrbenisreal@gmail.com

rsacchi@rsacchi.20m.com

Synopsis/Details: 

It looks at the various happenings in the world as mirrored in
politics, relationship and family. As Muriel Rukeyser said: “Our
universe is made up of stories, not atoms”, The World We Live In tells the experiences of people and how their stories explore
politics, family, friendship, and love.

This five-chapter short story collection contains the following
stories “Daniela Has Changed!” “Dad Loves Me”, “The Order of the Day” and “See Life In Your Own Way.” Chapter One explains how Daniela was on her way to being a troubled teenage girl, but a heart-to-heart talk with her parents made her turn over a new leaf for the better. They used their stories to change her completely.

Chapter Two tells the story of six-year-old Jack, whose father, Mr.
Phelps, divorced his mom, Jane, on grounds of infidelity. Because of
not being able to see his mom, Jack poured out his displeasure by beating and bullying his classmates. Mr. Phelps made a sensitive
subtle decision based on the reports of Jack’s behavior from the
proprietress, Miss Dean, to make Jack a good boy. He succeeded by
doing the unusual…

Chapter Three narrates the plight of Carlos Alberto at the University
of Nassau in the Bahamas. Popularly called ‘The Conspiracy Theorist’, his ideologies caused a lot of attention but the school authorities took a drastic measure to halt the activities of his group. Carlos was arrested and after a while, he was released on grounds of good behavior but only to discover that he was rehabilitated. He returned to his native Bolivia to go through a life-changing situation…

Chapter Four recounts the story of a young man, Micah, whose
frustration got the better of him. But with ‘stern’ encouragement Floyd, his friend, he wrote an award-wining rap song, ‘See Life
In Your Own Way’ for rapper P.R.O who went on to win The African Lyricist of the Year award.

Chapter Five unveils the literary experiences of a young Australian,
Martins. Through determination, persistence and his belief in his own success, despite countless manuscript rejections and discouragement from his friend, Charles, he went on to become the
first literary ambassador to the rest of the world. Martins’ undying
quest to become a successful literary icon was motivated by the
success of a certain author he read about on the internet…

Poetry from Abigail George

Ayanda Billie, nihilistic bees and the albatross keeper

 You’re fog. You’re a psychoanalyst. You’re a cell,
 a wilderness that knows to formulate the razor sharp
 reckoning of night feeding, swimming in the abyss of
 the lake with your tongue of grief and I look to your
 future and the steps you have taken with tokenism, with
 certainty. I find this stressful. I have taken to write
 in detail about the snakes that meditate in the sun. Let
 us wait, demonstrate a force for good. The day must
 need repair. You navigate the game world. I consult the
 gravitas of the day, the utility of humans, the function
 of wildflowers. What do you know of the arithmetic? Of Jung
 and the leaves of rubbish stumbling before you? Can
 you fix that muck? Poet, I want to make the world better,
 set you a task, reconfigure the aims of the world in
 front of me. The phoenix burns us. I don’t want to think
 of mindless conjecturing. All I see are problems worthy of
 investigation. I want choice. Poet, what is pain, the subject
 matter found in the atlas and the voiceless rabbit, the
 rusty nail at the bottom of a bucket, the concept of suffering
 branching out in seismic overdraft. The light has gone cold, chased
 out. Random driftwood is found at the end of the sea.
 I am waiting for the monster to eat me in the darkness.
 The birds shriek in the backyard in need of the moonlight
 that tours around the world. The shroud is inspired
 where it meets the horizon. The sun bends in its despair
 and I put it back together. Its strange continuity. Its
 neurology is not working right. We must kill it. The rough
 spark. Do you know what the appropriate response is?
 To meet the braver hypothetical. Look at the miserable
 sharks. See how they ably count sheep in this hard life.
 I admire the albatross keeper. I take the windswept eagle
 sham, my common humanity, Adler’s school of thought,
 the potential for power, the positioning of the elk’s turning
 point, the function of nihilism lecturing to the milk-fed
 vision of the universe within me. Tell the truth in your ignorance,
 the poet tells me from his university extracting laws, order
 from energetic chaos. I am religious. I obtain functionality from
 nature’s plant sap, unfurling the tragedy from the finite road
 that knows its determining limits. I don’t know if you
 have nerves, the capacity for bliss or joy, the character
 that makes up the abstract me is something that is undefined.
 To care for egoic self. Achebe, Soyinka are champions.
 We push ourselves out against the world informed by the
 unknown code in genes. I search for footprints in the river.


 Mzi Mahola, spiritual warriors and poetic choice

 I am alone. I stand alone. I achieved it. I am excellent.
 But poets, what do you believe in? There are days when
 I am not myself. When I speak terrible Czech. Mouthing,
 ‘I need you’. The trajectory shifts. I find arrows in
 my right hand. My sister is not here. I testify my heart out
 but nothing clicks. I adjust the turning point of my behaviour
 accordingly. The day is bitter. I wish to gather branch
 to me, to find ample loyalty in Christian fellowship and
 do you still have faith, poet? You see teeth, I am not
 young anymore. People have left me. I am undone. Radical
 achievement is a mountain, but I am standing in the
 strategy of the valley not caring about my pain. Milan
 Kundera is bemused; I am the outsider frightened of
 my future. I need help. Feel around. Find the words.
 but the poets here are social animals. Spiritual warriors
 with a key in their left hand that will unlock creativity.
 The party has left. I am a dying poet, but you are alive.
 You are the exit out of this planet. I have been betrayed
 by non-meaning. The goal tangles. Look for the specific
 yonder. Life is an imperfect funk sprawled across the
 landscape of wilful ingenuity calculating potential. Thrive!
 But only if you dare to find the truth. Cowardly deceit is
 staring at me, communicating its progress but the apt
 rubbish, its captain, the morality of the community’s aims,
 responsible sharks in a flock of suits can be found there.
 There is a coral bead in my mouth, grief in my head, tragic
 basics that keep me up at night, but I keep walking
 ahead of time, mall rats, crowds of people carrying birds.
 You are not me. I don’t write as you do. I am critic.
 You are wise. I am undergraduate and apprentice. You are
 masterful. I am green shoot, Canadian prairie, rural and
 jungle, Alberta, the mighty river fixed up with stars. My light
 is growing dim and I no longer have the capacity to speak
 happy. I want nothing to do with gravity. I can’t get a
 firm grip of it. Into the river. Into the narrative glut. I am
 fish. You are genius. Nihilism corrupts me. I know of
 malevolence, brutal natures, and the clouds are ignorant
 of bliss. Look at where I am standing solitude. I am a
 school of bright volunteers making headway. I know what
 torments female poets. We want meaning, calling. Poet you
 feel the joy, you pursue deeds, tidings manifest beneath
 your pen while I cut away sustenance with unformed
 loneliness. It doesn’t matter what I believe, there’s choice.
 I am severely depressed, in pain but understand the aim
 of life, making stupid plans, implementing fixed success.
 There’s a poetic choice in ceremonial life, in modal suffering.

Christopher Bernard’s Ghost Trolley chapters

The Ghost Trolley: A Tale for Children and Their Adults

By Christopher Bernard

Chapters 14 and 15

Chapter 14. Conflagration

         The fire had spread like an angry flood while they were trapped in the shed. It was now a tempest of flames, the sky above it darkening into a forest-green twilight. The guards had escaped. A gale of scorching wind tore through the camp, picking the children up and pushing them over the ground as though they were no more than rag dolls. Flames shot above them high as church spires. The fire was like a living thing grabbing, devouring, crushing as it marched through the camp, stepping from tent to shack to barrack. This part of the camp was like a city under siege. The smoke billowed into a towering black cloud that turned half the sky into night.

         They stopped and stared at the fire in awe. The intensity of the heat was turning their faces red. Then, seeing a break between two arms of the fire, they made a dash for it, Sharlotta grabbing Beely and little Johja by the hand.

         Little Johja stumbled and fell and Sharlotta and the others had to stop.

         “Where Mummy?” shouted little Johja.. “I want Mummy!”

         “Crying stop!” Sharlotta shouted back.

         But it wasn’t little Johja who was crying. It was Sharlotta, the tears falling uncontrollably down her face. Her sister had only said what she, too, was bursting with inside. And the enormity of the fire made the unthinkable possible.

         What if their parents were already dead?

         But she mustn’t break down now. Now she had to hold on to herself, not let herself go to the emotions going on in full tantrum inside her, or they might never get out of here. She felt as though she were being wrenched in two; she was leaving her childhood behind, it was disappearing down the wells of her little sister’s eyes. “Mommy we find! Promise I! Promise I! But we no can stay here. To where Mommy is, we must go . . .”

         Little Johja stopped wailing and stared up at her sister with a look that said it wanted to believe her but wasn’t sure it could. Petey and Beely stood waiting. The younger boy looked like he was waiting to see if Sharlotta had stopped her tears before starting a crying jag of his own. At least that was Petey’s thought.

         “We’ll be burned to a crisp if we don’t get going!” he said, truly enough.

         Then Sharlotta heard in the distance behind them a small voice crying out.

         “Wait! . . . Wait! . . .”

         They turned and peered through the smoke blowing in waves between them and the distant shed.

         The owner of the voice appeared as abruptly as an apparition out of the smoke.

         It was Blue Moon, bruised from her struggle with One Eye and limping on one leg.

         “Are you all right?” she demanded, in her froggy voice.

         They nodded bedraggledly.

         “Whatever happened to . . .?” Petey asked.

         Blue Moon shook her head impatiently.

         Sharlotta, feeling grateful but confused, wanted to ask the Korgan girl why she had rescued them, but there was no time.

         “I know a way out of here,” said Blue Moon. “But you have to follow me. We have to move fast. The fire’s burning the whole camp.”

         And she dashed off, limping, without waiting for their response.

         The four glanced at one another, but there seemed to be no alternative. Blue Moon was unaware of the need to find and rescue the children’s parents.

         “What are you waiting for!” Blue Moon cried out, looking back at them, then hurrying on.

         “But we have to . . . !” Sharlotta was beginning to call out to Blue Moon when there was a hollow whoomp! The four looked behind them to see the shed collapse in a fiery ball.
         They instinctively dashed after the Korgan girl as she ran down a row of burning tents toward an iron tower they could make out in the distance.

            Korgans roamed about, dazed and frightened; too absorbed in fighting an arm of the fire thrusting deep into the camp and destroying a home tent or some part of the Korgan military machine, or just trying to escape, to even notice the fleeing children.

         The children passed the charred remains of tents and shacks, overturned carts and trucks, even something that looked like a tank, gutted from the fire and with its gun askew, looking surprised.

         Lying abandoned along the roads were dead draft animals – an armadillo-like creature the size of an SUV (Petey thought), and the flattened hippopotamus-like creature with the howitzer on its back, which they had seen before, and a magnificent-looking beast, a sort of camelion, part camel, part lion, probably used for display by generals and kings in parades.

         There were swarms of rat-like creatures with two heads, dashing in mobs from commissaries and food depots where they had lived in relative safety, and the children stopped briefly, clinging to each other (except for Blue Moon, who stayed ahead and watched them with impatience) to let them pass, the rats squealing frantically. Every so often, in the distance there was the sound of a massive explosion as another ammunition or fuel dump blew up.

          Petey was a little frightened by what his little match had made happen. Though it was helping them escape a fate worse than burning, he promised himself he would never, ever, play with matches, not ever again, no sir, no ma’am, if he ever got out this alive, that is. Not ever! Cross his heart and hope to die if he ever says a lie! Well, ever says a lie again.

         Blue Moon pointed toward the iron tower, which they could see through breaks in the blowing smoke.

         “I know a way out near there!” she shouted.

         “But without our parents we not leave!” Sharlotta finally got out. She had been waiting to say this until she was sure they had an escape route.

         “Your parents?” Blue Moon asked in astonishment. “But where are they?”

         “They be behind a wall in the trash dump,” Sharlotta’s voice seemed to dip, remorsefully. “Where the fire start.” Then she continued, more assertively, “You remember! With your brother you be there, shouting at me two hours ago! We might be then again captured! Did you see what they do to me father?!”

         “He’s not my brother!” Blue Moon said, petulantly. Her tone was immediately apologetic. “I’m sorry we nearly got you captured, that was before I knew it was Orgun Ramora who was after you.” She paused, her eyes veiled with anger. “I would do anything anything to stop him.”

         “But we must save me parents,” Sharlotta insisted.

         Blue Moon considered for a moment.

         “All right, there’s no time to argue,” she said. “I take the others to the tower, and we can all meet there. You have to be careful, because it’s at the edge of the military parade ground, and there are likely to still be lots of soldiers around there. The trash dump is over there.” She gestured toward the east, where a dauntingly high wall of flames loomed, belching smoke across the afternoon sun. “They may not even be alive.”

         “Not say that!” Sharlotta shouted.

         “I’ll go with you,” Petey said suddenly.

         The two girls looked at him, as though only now realizing he was standing there, right next to them.

         “Okay,” Sharlotta said.

         She gave Blue Moon a doubtful look before kneeling down to Beely and little Johja, who, their faces smeared with a paste of mud and ashes, stared gravely at her.

         “I go to get Mummy and Deddy and bring them back here, so you must to go with . . .” She looked up at the girl. “I not know your name. I think of you,” she said, ingenuously, “as Blue Moon.”

         Blue Moon looked at Sharlotta a little shyly, she thought.

         “My name is Miua. But you can call me Blue Moon if you want.”

         “All right.” And Sharlotta turned back to her brother and sister. “Follow Miua . . . Blue Moon . . . to that tower,” pointing toward it, “and to meet you there I bring Mummy and Deddy.”

         “Promise you?” demanded Beely, looking at Blue Moon with a deep frown and a suspicious stare.

         “Promise I,” Sharlotta said solemnly, crossing her heart in the supreme gesture of honor, more powerful in the nation of childhood than a hand on a Bible in adulthood’s court.

         Little Johja put her fingers into her mouth dubiously, but seemed to know there wasn’t much she could do: she had tried bawling once, but it had had no appreciable effect. So maybe silent compliance would make Mummy reappear.

         Sharlotta hugged each of them. She might not find their parents, they might be dead, she might not see her siblings again. Fire, she knew, was soulless as the wind, ruthless as a cornered animal, unforgiving as an offended god. She forced her mind to focus on finding her parents and bringing them to the tower and escaping with them all from the camp: nothing else mattered, nothing else existed. Anything after that was a blank.

         “Good be. What Auntie Blue Moon say, do.”

         “She not my auntie!” protested Beely.

         “Argue not! Now go.”

         Blue Moon awkwardly took the little ones by the hand (something she had never done before; her hands were more used to being used as fists) and, when the result was not an instant explosion or a lighting bolt from the sky, the three gave each other abashed looks.

         “We be going,” said Sharlotta.

         “Good luck,” said Blue Moon, in her froggiest voice.

         And Sharlotta and Petey started running toward the east; the girl looked back only once, to see Blue Moon, with her little limp, carefully leading Beely and little Johja, who was looking back resignedly at her older sister, toward the skeletal silhouette of the tower.

       Chapter 15. The Spell

         The two ran straight ahead, then around what looked to Petey like a collapsed clam bar surrounded by shattered oyster shells, then zig-zagged through a series of little baby fires, then all the way around a great burning army barracks, all the time slipping like a thread through the last fearful remnants of Korgans still in that part of the encampment, many wandering aimlessly as if in shock: a young Korgan woman stumbled by, crying out the names of her lost children; an old Korgan man with a mustache hobbled on a cane across their path, trying to decide what direction was safe, tears of bewilderment streaming down his face; a young soldier stalked past in an awkward marching step, clutching his weapon as though it would have any effect against an enemy as ruthless, cunning and pitiless as fire.

         Sharlotta felt twinges of pity for the Korgans as she and Petey ran past them. Yes, they had long been her enemies, and had done her people much harm, and they would kill her if they knew who she was, but, after all, they were subject, just as she was, to suffering and joy; they were vulnerable, living creatures – vulnerable (she suddenly realized) because they lived.

         But she had no time to consider this just now, so she tucked the thought away in the back of her mind, to brood over once she and her family were safe.

         At one point she and Petey met a fork between two lanes; the one on the right narrow and twisting, the one on the left straight and broad. A public clock stood above the fork, still functioning amidst the mayhem. Petey looked up at the clock (he had always been fascinated by clocks of all kinds): its curious face had four hands and was divided into 22 units, rather than the 12 he was used to. Petey peered wonderingly at it, and finally figured out what time it was: 15:73. Which was certainly an odd time for a clock to read.

         “Come!” Sharlotta said impatiently. “We no can wait here!”

         “But which way should we go?” asked Petey, gaping indecisively between the two paths.

         Sharlotta stared at the paths for a moment, then up at the clock, then, despairingly, made a decision and led the way left.

         But after a hundred feet of smooth broad lane, it suddenly turned into a warren of dead-ends they were lost in for long minutes before they finally clambered out at the edge of the trash dump. It was barely recognizable, most of it burnt out, charred black and still smoking.

         A heavy silence lay across it like a sleeping animal.

         Twenty feet away from them, they saw the collapsed wall where they had left Sharlotta’s parents.

         The children stopped.

         Petey was the first to move. He crept up to the wall and slowly peered around it. He glanced back at Sharlotta with a frightened look in his eyes.

         “No!” Sharlotta cried out, running up.

         There, huddled up at the base of the wall were two bodies, miraculously untouched by the flames. Sharlotta’s mother lay on top of her father, as though sheltering him from the smoke and fire.

         “No!” Sharlotta cried again, kneeling by them, then throwing herself over them. She buried her face in her mother’s shoulder. “She still warm!” She felt for her mother’s pulse, then the pulse of her father, whose eyes were still open, staring up toward the green sky. “They still alive ago few minutes. They just died! They just died!” the young girl yelled hysterically.

         “If only we had taken the other path, we might have gotten here before  . . . !”

         She let out a wail of despair.

         Suddenly she stopped. Petey stood near her, staring at her in a kind of reverence at the intensity of her grief. He felt helpless, wanting to help and not knowing how.

         She looked up at him. The girl’s tear-stained face held a question in it. And in the question was a hope.

         “You see time on the clock?” she asked, in a trembling voice.

         “Yes,” said Petey. “It said 15:73.”

         “And you see seconds?”

         “No.”

         “You can guess?” Her face was pleading.

         “Um – how about 15:73 – um – 28?”

         “You think you guess how far from here the clock is exactly? I mean, exactly?”

         “No,” said Petey, “not exactly.”

         “You might guess?” she asked, even more desperately.

         Petey was at a loss, then said the first thing that came to mind.

         “A hundred sixty-seven feet and three-and-a-half inches!”

         “What are ‘feet’ and ‘inches’?” Sharlotta asked.

         Petey gaped at her. How was he going to explain that?

         “Never mind!” she said, muttering to herself afterward, “Maybe it work.” She turned back to Petey. “And direction exact?”

         Exact this, exact that! Is the girl crazy? Petey thought, irrelevantly. Well, all girls are crazy.

         He looked behind him with a shrug, in the direction they had come from, and saw the iron tower in the distance. It was as good a guess as any.

         “There!” he said, pointing.

         “And what you thinking at that moment exact?”

         “I was thinking,” Petey said, bewilderedly, “what a strange time the clock read . . .”

         “Okay,” said Sharlotta. There was a tone, half of hope, half of despair, in her voice. “Now, that thought think right now.”

         She grabbed Petey by the hand, closed her eyes, seemed to think hard, then muttered a long string of words under her breath, opened her eyes again, pointed toward the tower, and shouted, “Shantih otherwise there!”

         And a moment later, Sharlotta and Petey were back at the fork between the two lanes, and the clock face above them read 15:73, and the second hand was just passing 28.

         “How did you do that?” cried Petey.

         “No time! Quick!” And Sharlotta dashed off into the twisting paths to the right, with Petey right behind her.

         The paths immediately turned into a labyrinth, and Sharlotta was for a moment certain this had been a mistake, when without warning the maze opened out into a small, shadowy space, and Sharlotta, to her amazement, saw she was standing behind the far end of the collapsed wall: her parents lay, not a dozen feet away from her, in a faint on the ground.

         The children ran up to them, Sharlotta grappling her mother and pulling her off her father, and her father started to cough uncontrollably. Sharlotta violently shook her mother, whose head wobbled groggily.

         “Mummy!” Sharlotta shouted. “Mummy!”

         Her mother moaned, her eyes flickering open. “Sharlotta?”

         “You suffocating each other! Just in time we get here. You . . . die! You die!” Sharlotta began crying hysterically.

         “Sharlotta, sweetheart. I here, not dead, I . . . be fine . . .”

         But all Sharlotta could say was “You die, you die!” as she wept in her mother’s arms. Her mother embraced her, kissing her on the head.

          “But where be your father?” her mother asked.

         The father had stopped coughing and pulled himself up against the wall.

         “All right I be, love,” he said. “Sharlotta, darling, you all right be?”

         But Sharlotta could not stop crying.

         Crying (Petey suddenly realized) with joy.

Performance Art from Mark Blickley

Mark Blickley grew up within walking distance of the Bronx Zoo. He is a proud member of the Dramatists Guild and PEN American Center and recipient of a MacArthur Foundation Scholarship Award for Drama. His latest book is the text-based art collaboration with fine arts photographer Amy Bassin, Dream Streams.

Robert Funaro is a New York-based actor best known for his work as a regular in The Sopranos where he created the role of Eugene Pontecorvo. Recent credits include The Irishman directed by Martin Scorsese and a recurring role as Lt. Bricker on the hit Showtime series Ray Donovan.  Film credits include American Gangster directed by Ridley Scott and Not Fade Away directed by David Chase

 Joe John Battista has been involved in over 100 plays and musicals as an actor, musician, songwriter, and director. As a professional photographer, he covered the United States Wheel Chair Team at the Special Olympics in Korea. For six years he was Artistic Director at New York City’s 13th Street Repertory Theater. Since the recent closing of that historic theater, Joe has assumed leadership of the 13th Street Repertory Company.

Poetry from Charlie Robert

 
  
 THE BOMBING OF THE BERLIN ZOO
 A SUITE IN EIGHT PARTS
  
 PRELUDE
 1948
  
 Lion tails cartwheel through the smoke.
 Landing softly on the Screaming Platz.
 Zebras.
 Black White.
 Red.
 The earth vomits its crust and 
 Yes.
 There are secrets to be kept so open wide.
 Such Beauty.
 Eyes clouded glass like watered milk.
 When it was over the sky wiped its chin.
  
 Everyone Loves The Zoo
 A Poem by Mila Roth
 Survivor and Witness of
 The Bombing of the Berlin Zoo
  
  
  
 BERLIN ZOOLOGISCHER GARTEN
 November 22, 1943
  
 Father Ernst Mueller
 Mitte Borough, Berlin
 Sunday Morning
 The 22nd
 **********
 See them kneeling.
 Kneeling before The Altar.
 Kneeling like those they have shot.
 They take their Christ on crackers.
 Their Wehrmacht lips opening as one and
 I can see Hell in their mouths.
 Bless you my Child.
 I say.
  
 Let us Prey.
  
 Joram Fuhrmann
 A Jewish Boy of Nine
 The Tiergarten
 Sunday Afternoon
 ***************
  
 Halten.
 Don’t move.
 They will not see you.
 You will not see them.
 Slapping and screaming.
 Lightning and Skulls.
 Mama.
 Papa.
 We will love you forever the Zoo Joram the Zoo.
 Run run soil your pants.
 The sky is full of veins.
 Rank with animal fear.
 Joram falls to his knees and cries.
 Cries for the life he knew.
 God delivered the Torah.
 And went back to a world of sleep.
  
  
  
 Mila Roth and Anna Berg
 Animal Attendants
 Berlin Zoologischer Garten
 Sunday Afternoon
 ***************
  
 Hunger.
 The Great Beast.
 Meat.
 Only squirrels.
 Mila: “Adept with the stone we have killed them all!”
 Anna: “No. They have gone to the East. They will return when it is over.”
  
  
  
  
  
  
  
  
  
 Cameroon
 Male Black Leopard
 Cage 159
 Berlin Zoologischer Garten
 Sunday Afternoon
 ***************
  
 The concrete is cold.
 Unyielding.
 Gone the touch of earth.
 Propelling him across the Savanna.
 He had killed at will.
 Carcasses.
 Mapping his journey of pain.
 Thirty steps to the left.
 I am Iron.
 Thirty steps to the right.
 I am Death.
 I will break free.
 I will kill everything in my path.
  
  
  
  
 Father Ernst Mueller
 The Blessing of the Animals
 Sunday Evening
 *************
  
 All the pets have been eaten.
 Fat Goering.
 Full of Spaniel.
 Only the Zoo makes sense.
 Holy Water for Hippos.
 Wafers for Wolves.
 Praise God from Whom all Blessings Flow.
 A Droning of Bees.
 High in the Sky.
 Praise Him all Creatures Here Below.
 Flesh.
 Grays and Reds.
 Claws.
 Hooves and Heads.
  
  
  
 Joram Fuhrmann
 Sunday Evening
 *************
  
 Shock.
 Screaming Metal.
 Earth Rock Iron Wood.
 Joram.
 You have blood in your ears.
 Your legs.
 Bone and gristle.
 Something is wrong.
 Deep in the chest.
 Close your sweet eyes.
 It’s just a brief rest.
 I shall go to the East and will return.
 When it is over.
  
  
  
  
 Mila Roth and Anna Berg
 Sunday Evening
 *************
  
 Shock.
 Screaming metal.
 A troop of monkeys fall shredded.
 The bombs no interest in Who.
 Anna staggers to the nearest cage.
 Flames.
 Coils of smoke.
 Feeling her way she opens the gate.
 And now it’s Too Late.
 Now it’s Too Late.
 Cameroon.
 Leaping to freedom.
 Pausing to rip out her throat.
  
 Such Beauty.
 Eyes.
 Clouded glass.
 Like watered milk.
  
  
  
  
 The Living and the Dead
 ********************
  
 Shock.
 Screaming metal.
 The earth buckles.
 Vomiting her crust white hot.
 A cage blows open sucking Mila inside.
 A pair of dead Zebras.
 Breaking her fall.
 Black White.
 Red.
  
  
 The ground is littered with animal dead.
 Mila.
 Peering through the bars.
 One of the bodies is moving.
 She sees the Collar white as his face and she cries.
 Pray for us Father.
 Now and at the Hour of our Death.
 The Priest lifts his head.
 His eyes are huge and see nothing.
  
  
 The Jackals are first.
 Blue meat in their jaws.
 Mila.
 Hearing the tearing of flesh.
 Knowing it’s part of the deal.
 The Priest at the end of the meal.
  
 Everyone loves the Zoo.
 That will never change.