Why my family is important Essay Example for Free

Why my family is important Essay Together with family, household is considered one of the basic groups of social aggregation. Information on household numbers and composition aids in identifying groups within the population such as Indigenous households or the number of people living alone. For the Commonwealth-State Housing Agreement (CSHA) data collections, the number of tenancy agreements is a practical proxy for calculating the number of households receiving housing assistance. The persons in the group may pool their incomes and have a common budget to a greater or lesser extent: they may be related or unrelated persons, or a combination of both. Only usual residents of the household are included as members of the household. Visitors to a household are, by definition, excluded from the household. Blood is always thicker than water. I learnt that phrase when I was much younger, but I never appreciated it until now. My brother was the only one who stood by me when I was being bullied in school at one time. He saw me cornered by a boy whom he knew to be a school bully and he did not wait a second more before stepping in to prevent me from being beaten by that boy. Once I quarrelled with my best friend, who was popular and everyone else was against me for quarrelling with him. My parents consoled me and encouraged me to be happier. They gave me the sound advice of believing in myself. I cannot thank them enough for the support that they have given me so far. My parents are also responsible for my love of learning in life. They make me feel intelligent and well-loved. I know that I am someone important to them. My family will always be there for me while friends are transient. After so many experiences with friends, I realise that I can always choose my friends. It also takes a long time to find a sincere and true friend. With family, it is different because my family cares for me no matter what happens. My brother and I may have our differences but we always manage to make matters work somehow.

Sikh struggles in India and U.S. Essay -- Culture Cultural Papers

Sikh struggles in India and U.S. John from the Sikh religion kills Peter, a government official. David, another government official, kills Paul for being a Sikh. John is convicted but David is not. What about when an Indian comes to the U.S.? Indians have changed their cultural traditions so that their family can be accepted and their kids are not made fun of for being "different." These fictional names and situation has occurred to the Sikh religion. It has gone through political issues in India and cultural problems in the U.S. Sikhism, a religion that originated in India, and especially in the state of Punjab which currently is 60% Sikhs and 36% Hindus. Two centuries have past and Sikhism has become the third major religion of India according to Edward A. Gargan in "Though Sikh Rebellion Is Quelled, India's Punjab State Still Seethes" (A8). According to Sikh Missionary Center in Sikh Religion, Guru Nanak founded the Sikh religion, which consists of ten Gurus (1469-1708). The last one proclaimed the Guru Granth Sahib is the Holy Scripture. The Sikh Missionary Center also describes the characteristics of this religion as the rebirth to a less important position is a punishment, to live is a blessing and salvation is achieved by meditating on Nam" (5). Guru Nanak or Baba Nanak can be considered the Jesus of the Sikh religion. According to Donald Lopez S. Jr. in Religious of India in Practice, Nanak was born in Punjab in 1469 and died in 1538 or 1539 (449). He was raised Hindu in a Muslim area of India and believed in a religion from within, not like Hindus and Muslim that believe in liberation: renouncing external features of the religion (Lopez 449). One tale about Nanak involves a time when he encountered some peopl... ... Edward A. "Though Sikh Rebellion Is Quelled, India’s Punjab State Still Seethes." New York Times 26 Oct. 1993: A1, A8. Goodstein, Laurie. "At camps, young U.S. Sikhs cling to heritage." New York Times 18 Jul. 1998: A1, A7. Juergensmeyer, Mark and Barrier. G. Sikh Studies. Berkeley: Graduate Theological Union, 1979. Lopez, Donald S. Jr.. Religions of India in Practice. Princeton: Princeton UP, 1995. Mansukhani, Late S. Gobind Singh. "Introduction to Sikhism." New Delhi: Hemkunt, 1977. Online. (12 Mar. 2000). <http://photon.bu.edu/~rajwi/sikhism/mansukh7.html#q125>. Perez-Pena, Richard. "Sink Temple Helps To Bind A Community In Mourning." New York Times 27 Nov. 1994: 53. Sikh Missionary Center. Sikh Religion. Arbor: Braum-Brumfield, 1990. Singh, Teja. Sikhism Its Ideals and Institutions. Bomby Calcutta Madias New Delhi :Orient Longmans, 1951.

Classical Sculpture of the Greeks: a Journal Review.

Article Review; â€Å"What is ‘Classical' Sculpture† by Walter R. Agard Jakob Mattern HUM 2220, prof. Warner Ph. D. Th, 6:00pm-8:45pm Word Count: 1102 The word ‘classic'; used to describe styles of music, painting, sculpture, architecture, and even manufactured consumer goods. If ever there was a period in art or manufacturing that stands out with even balance, subtle dignity, and general excellence, it will most likely be described as classical, which after all, is no easy feat, considering that anything to bear the â€Å"classical† name is decidedly, in some way or another, â€Å"The best of the best. According to Walter R. Agard however, the word has lost some of it's gusto. He states that it is so overused that it no longer describes whether or not something is in-fact excellent, but rather, if a piece fits into a time frame and location that suggests that it most likely is. Just as all cars produced between 1900 and 1972 in America are not necessarily classics, not every piece of art created in the broad history of Greeks should be considered a true classic.Rather, Agard places forth his guidelines and examples of what should classify ancient Greek art, sculpture in particular, as the best of it's time. The details of Agard's argument rest upon the structured guidelines he lays out in the beginning of his article; that to be classical, a Greek sculpture must have: The initial concept of a healthy human form. The synthesis of naturalism and clearly defined, relatively simple design. The amplification of essential planes.Refinement of detail. He also suggests that classical style sculpture took prominence between the years 500 BCE and 420 BCE, thus dismissing some of the earlier geometric style sculpture, as well as the later more expressionistic and complicated Hellenistic sculpture. He states that while some later sculptures may be more magnificent to behold, they are not embodying that which makes something a classic, and that t hey are not fulfilling the nature of the aterials or the monumental purpose of sculpture. Marble is not a soft substance, and thus, the shapes created out of it's dense composure must follow suit, according to Agard. While the presence of fine details are very necessary, he states that the overall action of the piece must be graceful, direct, noble, and strong; the sculpture must follow the ancient Greek adage, â€Å"Know thy self† to be a classic, it must appear just as powerful and eternal as the marble itself.This quality is found in the many sculptures that he analyzes in his article; the weight bearing Hermes, the tower-like Apollo, and the tensioned Heracles all display a living strength that compliment the nature of the marble. Agard also places a great deal of importance on the healthy human form, and the presence of subtle naturalism expressed through fine details. In every piece defined classic by Agard, we find a being that, while possessing a basic and strong geom etric base, is also defined by many smaller details that synthesize simple design with an idealistic human form.The curls in Hermes' beard and hair, the subtle veins and ligaments of the Charioteer's hands and feet, the calm and confident gaze of Apollo, and the bulging muscular details found on the statues of the bow wielding Heracles and the lightning lobbing Zeus all add a life-like element to the otherwise cold geometric shapes, and help to portray each character as a healthy and idealistic human being in both mind and body.For his closing statement, Agard mentions an encounter he once had with a tourist who was frustrated with how â€Å"sure of themselves† the classic Greek statues seem to be. He then refutes that they have the right to do so, simply because of the rich value and dignity confined in their strong and noble bodies, and that it was this spirit that make these statues honest and true classics of the ancient world. As a whole, I do agree with Agard in his vie wpoints and conclusions of what a true classic should consist of.Referring once more to automobiles, it is my view that for a car to be classic it must combine simple design with beautiful details while still fulfilling the function for which it was designed with full effect. With respect to Agard's definitions, the formula of classic sculpture should not be far from such ideals. I thought that Agard's affinity towards the nobility and strength of the designs was well founded, because although a statue is undoubtedly a work of art, it is also a permanent public speaker of a city's people.These strong and idealistic statues may very well have served as an ego-booster for the ancient Greeks; their solid forms and endless wisdom meant to personify the people dwelling in the polis itself. If anything however, it was this ego that catapulted these ancient people to such great heights in terms of sophistication and achievement, so while some later sculptures may have captured more emotion or better expressed the human condition, it was the dignified, strong, and direct sculptures from 500-420 BCE that best embodied the golden age of Greece.There were a few points with which I disagree however. The selection of the Statue of Hermes, firstly. Although it is a good combination of geometric driven balance and fine detail, I felt that over all it was simply not naturalistic enough to be considered a perfect synthesis of the human form and simple design. It is an impressive statue none-the-less, but it seemed a bit rudimentary compared with the other examples, a bit too two dimensional.Another idea with which I don't completely agree is the classification of two dimensional friezes with linear backdrops as the only true classical form of the frieze. Once again, It seemed to me that a frieze with a more shallow appearance did not coincide with some of the other mentioned sculptures bursting with depth and life. While the drapery of the frieze depicting Heracles and Athena was beyond impressive, the naturalism of the characters themselves did not seem to reach the same heights as some of the other pieces.In any matter however, I believe that Agard compiled an excellent definition of what a classic statue should be defined as, what it should personify, and what it's function should be, compared with the common ideal that nearly every statue from ancient Greece should be considered classical. His analysis of each sculpture was extremely thorough, and as a whole, his article gave some insight into what exactly these ancient artisans may have been thinking of when they shaped these masterpieces. Bibliography Agard, Walter R. â€Å"What Is â€Å"Classical† Sculpture? † The Classic Journal, Vol. 49, No. 8 (May, 1954): pp. 341-349. Print.

Was Nok Culture Sub-Saharan Africas earliest civilization

Nok Culture spanned the end of the Neolithic (Stone Age) and start of the Iron Age in sub-Saharan Africa, and may be the oldest organized society in sub-Saharan Africa; current research suggests it predated the founding of Rome by some 500 years. Nok was a complex society with permanent settlements and centers for farming and manufacturing, but we are still left guessing who the Nok were, how their culture developed, or what happened to it. The Discovery of Nok Culture In 1943, clay shards and a terracotta head were discovered during tin mining operations on the southern and western slopes of the Jos Plateau in Nigeria. The pieces were taken to archaeologist Bernard Fagg, who immediately suspected their importance.  He began collecting pieces and excavating, and when he dated the pieces using new techniques, discovered what colonial ideologies said wasnt possible: an ancient West African society dating back to at least 500 B.C.E. Fagg named this culture Nok, the name of the village near to which the first discovery was made. Fagg continued his studies, and subsequent research at two important sites, Taruga and Samun  Dukiya, provided more accurate information on Nok culture. More of Noks terracotta sculptures, domestic pottery, stone axes and other tools, and iron implements were discovered, but due to the colonial dismissal of ancient African societies, and, later, the problems facing the newly independent Nigeria, the region remained understudied. Looting carried out on behalf of Western collectors, compounded the difficulties entailed in learning about Nok culture. A Complex Society It was not until the 21st century that sustained, systematic research was carried out on Nok culture, and the results have been stunning.  The most recent finds, dated by thermo-luminescence testing and radio-carbon dating, indicate that Nok culture lasted from around 1200 B.C.E. to 400 C.E., yet we still do not know how it arose or what happened to it. The sheer volume, as well as artistic and technical skills seen in the terracotta sculptures, suggests that Nok culture was a complex society. This is further supported by the existence of iron working (a demanding skill carried out by experts whose other needs like food and clothing must be met by others), and archaeological digs have shown that the Nok had sedentary farming. Some experts have argued that the uniformity of the terracotta - which suggests a single source of the clay - is evidence of a centralized state, but it could also be evidence of a complex guild structure. Guilds imply a hierarchical society, but not necessarily an organized state. An Iron Age Without Copper By about 4-500 BCE, the Nok were also smelting iron and making iron tools.  Archaeologists disagree whether this was an independent development (methods of smelting may have derived from the use of kilns for firing terracotta) or whether the skill was brought south across the Sahara. The mixture of stone and iron tools found at some sites supports the theory that West African societies skipped the copper age. In parts of Europe, the Copper Age lasted for nearly a millennia, but in West Africa, societies seem to have transitioned from the Neolithic stone age straight into the Iron Age, possibly led by the Nok. The terracottas of Nok culture demonstrate the complexity of life and society in West Africa in ancient times, but what happened next? It is suggested that the Nok eventually evolved into the later Yoruba kingdom of Ife. The brass and terracotta sculptures of the Ife and Benin cultures show significant similarities with those found at Nok, but what happened artistically in the 700 years between the end of Nok and the rise of Ife is still a mystery. Revised by Angela Thompsell

Should You Use an Immigration Consultant

Immigration consultants provide immigration assistance. This can include services such as assistance with filing applications and petition, helping to gather required documentation or translation. An Immigration Consultant Is Not the Same as an Immigration Attorney There is no certification process in the United States to become an immigration consultant, which means there is no standard that U.S. consultants must adhere to. Immigration consultants may have little experience with the immigration system or be experts. They may have a high degree of education (which may or may not include some legal training) or very little education. However, an immigration consultant is not the same as an immigration attorney or accredited representative. The big difference between immigration consultants and immigration attorneys/accredited representatives is that consultants are not allowed to give legal assistance. For example, they may not tell you how you should answer immigration interview questions or what application or petition to apply for. They also cannot represent you in immigration court. Notarios Notarios in the U.S. falsely claim the qualifications to provide legal immigration assistance. Notario is the Spanish-language term for a notary in Latin America. Notary publics in the United States do not have the same legal qualifications as notarios in Latin America. Some states have established laws prohibiting notaries from advertising as a notario publico. Many states have laws regulating immigration consultants and all states prohibit immigration consultants or notarios from providing legal advice or legal representation. The American Bar Association provides a list of relevant laws by state. USCIS provides an overview of the services an immigration consultant, notary public or notario may or may not provide. What an Immigration Consultant CANNOT Do represent you before USCIS (only immigration attorneys and accredited representatives may represent you)give you legal advice on what immigration benefit you may apply forgive you advice on what to say in an immigration interviewclaim to be qualified in legal matters or in immigration and naturalization procedurecharge considerable fees - consultants may only charge nominal (inexpensive) fees as regulated by state law What an Immigration Consultant CAN Do help you by filling in the blanks on pre-printed USCIS forms with information that you providetranslate documents The Big Question So should you use an immigration consultant? The first question you should ask yourself is, do you really need one? If you need help filling in the forms or need a translation, then you should consider a consultant. If youre not sure if youre eligible for a particular visa (for example, perhaps you have a previous denial or criminal history that may affect your case) or need any other legal advice, an immigration consultant will not be able to help you. You will need the assistance of a qualified immigration attorney or accredited representative. While there have been many cases of immigration consultants providing services they are not qualified to offer, there are also many legitimate immigration consultants who provide valuable services; you just need to be a savvy consumer when shopping for an immigration consultant. Here are some things to remember from USCIS: If it sounds too good to be true or if someone claims to have a special relationship with USCIS, steer clear. No one can guarantee results or faster processing.Ask about qualifications. If they claim to be qualified to provide legal assistance, ask to see copies of their BIA accreditation letter or bar certificate.Get a written contract in English and if applicable, in your own language as well.Avoid paying cash and get a receipt.Never sign a blank form or application. Make sure you understand what you are signing. Defrauded? If you want to file a complaint against a notario or immigration consultant, the American Immigration Lawyers Association provides a state-by-state guide on how and where to file complaints.

Emily Dickinsons My Life Had Stood a Loaded Gun Essay

The primary literary strategy in Emily Dickinson’s â€Å"My Life Had Stood – a Loaded Gun†, is a metaphor of a gun and its master which is used to represent a wife and her husband. This metaphor is used to illustrate an unbalanced relationship where the wife is objectified and lacks agency. The wife reduced to an object which is at the disposal of her hunter/master/husband. The gun narrates the poem and it takes pleasure in expressing its power to kill. The poem presents the challenge of identifying who the speaker is and who the gun metaphorically represents (Forman). To help solve this riddle, Angela Estes asks, â€Å"For whom in the nineteenth century would pleasure and power be problematic should they be expressed?†. A female speaker is the†¦show more content†¦The poem describes the hunter/husband and gun/wife lives together as they roam the woods and hunt doe. The gun/wife propels her husband to loftier heights with her power (Palmerino). In contrast to her life prior life in the corners where she sat unnoticed, when the gun/wife now speaks â€Å"The Mountains straight reply -†. In other words, when the gun is fired there is a echo. Now she can be heard and her power can be felt. She has an effect on her surroundings. This can allude to how as a married women, the wife now has a higher social status and is more likely to be taken seriously and listened to. In the fifth section, the gun comes to the peak of her power and sounds like she has autonomous agency, or as Vendler describes it, the gun takes a â€Å"grammatically independent action† (319). The speaker says that â€Å"I lay a Yellow Eye† as if she is doing something on her own. However, guns cannot kill people; they cannot pull their own trigger. In this gun/master metaphor, the wife/gun is an object entirely reliant on other people to give direction and purpose in her existence. Therefore, the action is only seemingly independent and is perhaps a sign a wishful thinking on the gun/wifes part to not view herself as dependent. When the wife/gun does seem to realize how dependent she is, she becomes almost frantic. She says the hunter/husband must live long than her because â€Å"I have the power to kill, / WithoutShow MoreRelatedEmotion in Emily Dickinsons â€Å"My Life had stood – a Loaded Gun†1109 Words   |  5 P agesThis poem was written by American poet, Emily Dickinson, who was born in the 1800. This was the period where art was based on emotion; the â€Å"Romantic Period†. She was also born in the Victorian Era, where women had to be shackled to their pedestals and most had to be married by age eighteen. They were not allowed to vote, or earn money. This information should help the reader better understand the poem. When writing the poem â€Å"My Life had stood—a Loaded Gun† Dickinson thought of what format to useRead More`` It Was Not Death, For I Stood Up, By Emily Dickinson1728 Words   |  7 Pagesa specific focus on Emily Dickinson’s link of mental illness to reclusiveness within her works titled â€Å"It was not Death, for I stood up,† â€Å"After great pain, a Formal feeling comes,† â€Å"I dwell in Possibility,† â€Å"My Life had stood—a Loaded Gun,† and â€Å"Tell all the Truth but tell it slant†.† Emily Dickinson is one of the most influential female poets of the 19th century. Born in Amherst, Massachusetts in 1830, Dickinson began her life as a normal child. Growing up, Dickinson had more opportunities thanRead MoreMy Life Had Stood a Loaded Gun by Emily Dickinson Essay804 Words   |  4 PagesMy Life Had Stood a Loaded Gun by Emily Dickinson Today, few would deny that Emily Dickinson is an important figure in American literature. The numerous ways to interpret her poetry draws more and more readers into her publications. Its as if everyone could interpret Dickinsons poems into his or her personal life; seeing the poems the way they want to see it. This is the effect flexible poems have on people. In Dickinsons My Life Had Stood#8212;A Loaded Gun, I interpreted theRead MoreEmily Dickinsons Capitalization and Punctuation1251 Words   |  6 PagesThe poetry of Emily Dickinson is one of the most recognizable of the 19th century. Dickinson’s poetry stands out because of its unconventional use of capitalization and punctuation. Her poems contain capitalized words which are not normally capitalized. Her poems are noted for the frequent use of the dash. Literary scholars have attempted to interpret Dickinson’s unconventional capitalization and punctuation. Some believe that it was merely part of Dickinson’s penmanship (Weisbuch 73). They thereforeRead MoreFight For Agency By Emily Dickinson985 Words   |  4 PagesFight for Agency Emily Dickinson’s poems predominantly portray the confinements placed on married women and illustrate the doubts that come along their role as a â€Å"wife†. In many of her poems, the speakers present a strong opinion about the lack of independence and autonomy women receive when they get married. Given the fact that Dickinson was born in the 1830’s, women in that era were consecutively facing massive oppression and were treated lesser than men. Consequentially, the societal norms greatlyRead MoreFemale Oppression By Emily Dickinson And Charlotte Perkins Gilman1729 Words   |  7 Pagesof male oppression. Especially towards the end of the 19th century, before the first wave of feminism, women were faced with an unshakeable social prison. Husband, home and children were the only life they knew, many encouraged not to work. That being said, many female writers at the time, including Emily Dickinson and Charlotte Perkins Gilman, were determined to examine the mind behind the American woman, through the lens of mental illness and personal experience. This essay will compare the workRead MoreBibliography Relation to Analysis of Emily Dickinson ´s Writings2048 Words   |  8 Pages Anderson, Paul W. The Metaphysical Mirth of Emily Dickinson. Georgia Review 20.1 Spring 1966): 72-83. Rpt. in Nineteenth-Century Literature Criticism. Ed. Jessica Bomarito and Russel Whitaker. Vol. 171. Detroit: Gale, 2006. Literature Resource Center. Web. 14 Feb. 2014. Anderson accomplishes the discernment of Dickinson’s poems and their allusions to many classic myths. He denotes the figurative language that Dickinson utilizes in her poetry to relate to her themes. With these key elements inRead MoreEssay on A poem and a loaded gun1111 Words   |  5 Pages A Poem and a Loaded Gun The post civil war era was wrought with sexism and backwards thinking. Emily Dickinson was born in 1830, wrote 1800 poems in her lifetime. She has become known for unfolding the social boundaries surrounding women in this time period. Most of her life was shrouded in seclusion and mystery. In the realm of poetry, authors are creative with their usage of literary techniques in order to illustrate their point of view to the reader. Emily Dickinson is especially known for herRead More The Life Of Emily Dickinson Essay799 Words   |  4 Pages The Life of Emily Dickinson nbsp;nbsp;nbsp;nbsp;nbsp;Although she lived a seemingly secluded life, Emily Dickinsons many encounters with death influenced many of her poems and letters. Perhaps one of the most ground breaking and inventive poets in American history, Dickinson has become as well known for her bizarre and eccentric life as for her incredible poems and letters. Numbering over 1,700, her poems highlight the many moments in a 19th century New Englander womans life, includingRead MoreAnalysis Of Emily Dickinson s Poem My Life Had Stood- A Loaded Gun 993 Words   |  4 PagesEmily Dickinson is a very famous and accomplished poet with over 1700 published poems. Several of her poems are similar in theme, and also similar in bringing out human emotions that we humans usually try to avoid. The common theme in most of Dickinson s poems is the wonders of nature, and the identity of self, as well as death and life. The five poems with the common theme of death are: â€Å"My Life had Stood- A Loaded Gun†, â€Å"I Heard A Fly Buzz- When I Died†, â€Å"Behind Me Dips- Eternity†, â€Å"Because I

A Brothers Love free essay sample

When you compare Louis Erdrichs story The Red Convertible and James Baldwins story Sonnys Blues, they seem like completely different stories. The Red Convertible is about two brothers, Lyman and Henry, who grow up on a Native American reservation in North Dakota. The two brothers share a strong bond that is personified through their love for a certain red car that they share. They go through an amazing Journey and discover a lot about each other. On the other hand, Sonnys Blues is also about two brothers, however their Journey goes a completely different oute than Lyman and Henrys. In Sonnys Blues, the narrator and his little brother, Sonny, start out as distant and forgotten family members. Through Sonnys love for music, and his older brothers gradual acceptance, the two grow a stronger bond than ever before. Although the two are indeed about different topics, there are some parallels to recognize as well. The Red Convertible and Sonnys Blues are alike for many reasons, but the most prominent similarity is the theme of brotherhood. For instance, in Sonnys Blues, the dynamic between the two brothers changes from eing completely distant to finally understanding each other, despite their differences. The growth of a relationship is an important factor in true brotherhood. An example of the two brothers taking a step in the right direction is when they meet after Sonny is let out of prison. It has been a while since they have spoken last, and the older brother narrates, miet, when he smiled, when we shook hands, the baby brother Id never known looked out from the depths of his private life, like an animal waiting to be coaxed into the light. (Baldwin, 312) The other brother is realizing that e has never really known his baby brother because his true self was always buried beneath the mask of his drug addiction. We can see here that the other brother is seeing that Sonny is trying to let himself into the light, or trying to finally get himself to a better place in life. The turning point in the story where Sonnys love for music gets truly understood by his brother, is at the end of the story when he is playing his gig. The older brother states, For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it always must be heard. There isnt any other tale to tell, its the only light weve got in all this darkness. (Baldwin, 324) This statement by Sonnys older brother shows that he has finally opened up his heart to accept that his little brother is getting better and expressing himself through music. Like in Sonnys Blues, Henry and Lyman go through a similar Journey in The Red Convertible, where they discover their own Journey through brotherhood. Unlike Sonnys progression of his relationship with his brother, Henry and Lymans relationship starts out ver y strong but dies out in the end. Although the two stories have different outcomes, the core theme of brotherhood is the same. In The Red Convertible, Henry and Lyman are best friends, and spend every moment hanging out with each other. They are inseparable, until Henrys decision to Join the army for three years tears them apart. When Henry returns, Lyman is concerned as he remembers the times wed sat still for the whole afternoon, Henry always had a Joke, then, too, and now you couldnt get him to laugh (Erdrich, 74). Lyman is realizing that his brother nas changed and is disassociated wit n his tormer selt. Lyman is pain stricken because the strength of their brotherhood was slipping through his fingers. Overall, both stories express the motivation and strength that a brotherhood can give. Despite their similarities in overall theme, the two stories are different regarding the symbols that connect the brothers. In Sonnys Blues, the factor that allowed Sonny and his brother to break the barrier between them was his music. Living in Harlem, there isnt many ways to express yourself or let yourself be heard, so music was an escape. Through Sonnys infatuation with music, his brother was able o see beyond his drug addiction and begin to start the re-birth of their relationship. At the end of the story, Sonnys brother was watching him play, But Just before they started playing again, Sonny sipped from it and looked toward me, and nodded (Baldwin, 326). At this point, it is as if Sonnys brother accepted him through the music and finally feels that connection that only brothers can share. Music is a central symbol in Sonnys Blues and creates a stepping stone for the two brothers relationship to grow. On the other hand, we have The Red Convertible, which has a uch different object that directs the story. In The Red Convertible, Henry and Lymans relationship is driven by their love for their red car they had bought together. The red flashy car resembles the boys resilient and carefree view on life, and the strength of the bond they shared in the beginning of the story. However, after Henry returns from Vietnam, he is a changed man and according to Lyman, The change was no good. (Erdrich, 72) Lyman hopes that the car might bring the old Henry back somehow (Erdrich, 75), but is let down when Henry shows no interest in he car. Ironically, Henry ends up destroying the car which, symbolically, destroys the relationship between the two brothers as well. Like the music in Sonnys Blues, the red car in The Red Convertible was a symbol for the change in the brothers relationship. The relationship between two brothers can be transitive, whether it starts distant and grow close like in Sonnys Blues, or the other way around as we saw in The Red Convertible. While each story may have different symbols and storylines, we still see the theme of both the true nature of brotherhood.