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by Lily It is a truth universally acknowledged that literature has the power to sway opinions and impact lives. Whether someone reads one book a year or 100 books a year, it is more likely that a book has changed his or her perspective on the world at some point in time. Recently, in American politics, mainly within school districts and libraries, books have become a particular point of contention; book bans are occurring with increasing frequency. Book bans are a dangerous form of censorship because they limit access to ideas, stifling critical thinking and personal growth in young adults. When books are banned, especially those addressing complex or controversial topics, it deprives individuals of the opportunity to develop empathy, understand history, and form their own opinions, narrowing their perspectives and perpetuating ignorance. Over time, book bans undermine intellectual freedom, hinder progress, and weaken the foundation of democracy. Politically fueled restrictions on literature have existed for centuries; Jane Austen and Pride and Prejudice , a popular book and author these days, weren't always so well received. Throughout literary history, female authors might not have been entirely excluded, but they were often quickly dismissed. In the 1800s, American women had a strong position in the literary market; despite this it was not until recently that their work was acknowledged by scholars (Gillespie). In Austen’s case, her works were viewed as radical feminist writings until the early 1900s. During Austen’s time, female authors were often censored and poorly paid. Because women were confined to the domestic sphere, many of their writings portrayed stereotypical female themes and roles, and they often had to take on pen names to circumvent this censorship (Peterson). Despite this, these authors, like Austen, Wollstonecraft, Shelley, and the Brontë sisters, would cement themselves in the literary canon and pave the way for not only women in literature but also the science fiction and gothic genres. In modern times, literary censorship in the United States exists mainly in the form of book bans. In schools and libraries across the country, religious leaders, and parents alike have challenged and censored certain themes and books. These books typically include LGBTQ+ characters, themes of racism or oppression, and other “political” messages. One of these books, All Boys Aren't Blue, by George M. Johnson, was challenged in the state of Iowa for what Iowa Senate President Jake Chapman described as a “sinister agenda to normalize sexually deviant behavior, including pedophilia” (Coleman). This book, which was written as a supportive handbook for LGBT/trans youth in Iowa, is now illegal in classrooms and school libraries across the state. Another example of a commonly banned book is The Hunger Games  by Suzanne Collins. This book series contains heavy themes of political dissent, geopolitics, society, and gender. By presenting these things through a complex dystopian story, these books also give young adults a platform to question these themes (Kirby), maybe even before realizing how much they apply to their own lives and the real world. In The Hunger Games,  Katniss (the main character) isn't restricted by her gender and often actively resists our world’s gender roles; she is her family’s sole provider and takes on this role again within the arena as she provides for Peeta (the other main character). Beyond feminism, The Hunger Games is also extremely critical of the government and mass media, often in situations that clearly parallel the actions of our own government in the United States. Attempts to ban this book series show a clear attempt to prevent children from questioning the government. This is especially clear if you see the ways Americans have become desensitized to United States-funded violence in the Middle East and the way this parallels Capitol views of District cruelty in The Hunger Games (Rosenberg).   In a society that has benefitted so much from the profits of mass media and over-dramatized news sources, it is unsurprising that many would attempt to censor dissenters, even if those dissenters are young adult dystopian novels. These bans might seem like they have been contained on a relatively small scale in rural areas. However, they can have a butterfly effect that stretches all the way to politics on a national and international scale. And, even on a smaller scale, can have a profound impact on people’s lives, especially the lives of young people easily susceptible to hateful rhetoric. When the American Library Association conducted a three-month study on book bans across the United States, there were 155 unique censorship incidents found. In those three months there were more censorship attempts reported than in the entire year of 2020 (Rehn). Recently many of these book bans seem to target similar things: LGBTQ+ themes, and “critical race theory.”. Coupled with increased pushback against Trans and LGBT+ protection laws and violence against Americans of color, this points to a troubling shift in “American values.”. In Iowa, these once “isolated” book bans have now moved towards legislation that outright bans teaching about homophobia, systematic racism, and transphobia (Coleman). This points towards book bans as a clear first step towards widespread censorship. These steps towards censorship and hatred become even clearer when links between book bans and bans on gender-neutral bathrooms, gender-affirming care, and trans women in women's sports appear at a state level (Coleman). Media censorship is an obvious characteristic of any authoritarian regime, so dangerous because it not only makes it difficult to access certain information but also creates a culture where citizens do not find it necessary to ask for this information in the first place, which could lead to  the government’s complete control over a whole population's understanding of the world.  As we move through the next couple of years, it is likely we will see more and more cases of book bans in school districts around the United States. These are one of the earliest and most dangerous forms of censorship; what might seem like a few too many book bans can and will lead to widespread ignorance and hatred. To protect our children and their futures, we must all take a stand against censorship in any form. Simply attending school and library board meetings can be one of the most effective ways to prevent book bans in your area.  Works Cited Chen, Yuyu, and David Y. Yang. “The Impact of Media Censorship: 1984 or Brave New World?”  The American Economic Review, vol. 109, no. 6, 2019, pp. 2294–332. JSTOR, https://www.jstor.org/stable/26737888 . Accessed 8 Nov. 2024.. Clausen, Christopher. "Jane Austen Changes Her Mind." The American Scholar , vol. 68,  no. 2, spring 1999, p. 89. Gale OneFile: High School Edition , link.gale.com/apps/doc/A54756994/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=f02536a3 . Accessed 7 Nov. 2024. Coleman, James Joshua, and Petra Lange. "A Two-Year Timeline to Anti-LGBTQ+ Book Bans in America's Heartland: This article provides strategies for English teachers to resist book-banning education policies in their local contexts." English Journal , vol. 113, no. 6, July 2024, pp. 25+. Gale Academic OneFile , link.gale.com/apps/doc/A813057098/AONE?u=corningcc&sid=bookmark-AONE&xid=b41bf9f4 . Accessed 8 Nov. 2024. Gillespie, Nick. "Literature Lost: Social Agendas and the Corruption of the Humanities."  Reason, vol. 29, no. 11, Apr. 1998, pp. 69+. Gale OneFile: High School Edition,  link.gale.com/apps/doc/A20468736/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid =7cacfd89. Accessed 7 Nov. 2024. Kirby, Philip. “The Girl on Fire: The Hunger Games , Feminist Geopolitics and the  Contemporary Female Action Hero.” Geopolitics , vol. 20, no. 2, Apr. 2015, pp. 460–78.  EBSCOhost ,  https://doi.org/10.1080/14650045.2014.984835 . Peterson, Linda H., editor. “Victorian Women Writers’ Careers.” The Cambridge Companion to Victorian Women’s Writing . Cambridge: Cambridge University Press, 2015. 13–86. Print. Cambridge Companions to Literature. Rehn, Jensen. "BATTLEGROUNDS FOR BANNED BOOKS: THE FIRST AMENDMENT  AND PUBLIC SCHOOL LIBRARIES." Notre Dame Law Review, vol. 98, no. 3, Mar. 2023, pp. 1405+. Gale Academic OneFile, link.gale.com/apps/doc/A747379057/AONE?u=corningcc&sid=bookmark-AONE&xid=0cd22704 . Accessed 8 Nov. 2024. Rosenberg, Alyssa. "'The Hunger Games' warned us that reality TV would take over our  politics." Washington Post , 13 July 2016. Gale Academic OneFile , link.gale.com/apps/doc/A457904175/AONE?u=corningcc&sid=bookmark-AONE&xid=ba46b23b . Accessed 8 Nov. 2024.

by Skylar “She had found a jewel down inside herself and she had wanted to walk where people could see her and gleam it around. But she had been set in the market-place to sell.”- Zora Neale Hurston, Their Eyes Were Watching God .  Zora Neale Hurston’s Their Eyes Were Watching God  offers a unique perspective on what it means to be a Black woman during the early 20th century. Taking place in Eatonville, Florida, the novel follows Janie Crawford through three marriages. It explores a woman’s struggle for self-expression, independence, and agency in a world that seeks to silence her. While these themes are present, the way they exist in Hurston’s novel may not reflect traditional feminist movements. Rather than engaging in overt activism or aligning with 20th-century feminist organizations, many of which excluded Black women, Janie’s journey is a deeply personal and internal fight for self-definition. Through her experiences in love and loss, she challenges societal expectations of Black womanhood to carve out her own space.  The feminist portrayal in Their Eyes Were Watching   God  isn’t a direct critique on patriarchy, nor does it explore the dismantling of patriarchal structures. Instead, Feminism manifests through Janie’s reclamation of her voice and autonomy. She learns, by self-realization, to reject the roles that others have imposed upon her and embrace her desires and sense of self. When Janie is sixteen, her grandmother, Nanny, marries her off to Logan Killicks. In a conversation with Nanny, Janie’s developing ideas about love are curtailed by Nanny’s insistence on the benefits of marriage. Janie believes that love should come before marriage, while Nanny believes that love does not matter in a marriage, only stability and security. In her partnership with Logan, Janie realizes that her marriage won’t be centered around love, but servitude. Logan expects Janie to work the land with him; he disregards her desires and reduces her person to a laborer. Understanding how a life dictated by others will not fulfill her, Janie finds a man who seemingly offers that freedom: aspiring businessman Joe Starks.  Joe Starks whisks Janie away with promises of a better life. He, unlike Logan, is full of ambition and Janie is excited by this; he’s an escape from Logan’s confining ways. Initially, it seems that Joe values Janie as a partner. However, Janie comes to understand that Joe’s vision for their future centers around his power. As the mayor of Eatonville, Joe positions Janie as a trophy wife in his store. She is an extension of his success. Joe deters Janie from engaging with the men on the porch, forcing her to be subservient. Janie endures this suppression for years until, in a moment of defiance, she publicly challenges him, asserting herself in a way she never has before. This moment, though brief, marks a turning point in her journey toward reclaiming her voice. Eventually, Joe dies from kidney failure. His death comes as a relief to Janie as she finally feels unburdened from the control he exerted over her life. In his final moments, Janie confronts him, refusing to be silenced any longer. His death is the beginning of Janie’s self discovery. Shortly after, Janie meets and is courted by Tea Cake, a traveling musician who arrives in Eatonville to watch a baseball game.  Tea Cake is Janie’s final love and is the only marriage that has companionship, adventure, and laughter. Together, they leave Eatonville and she experiences a love that isn’t controlling, but one that has space for her choices. However, Tea Cake is still a man that is characterized by ideologies in the 20th century. He continues to carry remnants of patriarchal ideals, which are evident in his displays of dominance. Yet, this marriage is the first time when Janie is able to exist as herself freely. Nearing the end of their relationship, Tea Cake contracts rabies and Janie is forced to shoot him to protect herself. Tea Cake’s death is what finalizes her independence; Janie is now truly on her own, no longer defined by a relationship. By choosing to protect herself, Janie asserts her autonomy and fully realizes her self-worth and agency. Janie’s ultimate act of feminism is finding her voice. Since she was sixteen, Janie has been restricted to what the world wants her to be, from her grandmother to even her freest relationship. Through it all, Janie refuses to be confined. She leaves Logan to find someone better. She refuses to remain silent for Joe. She chooses to protect herself from Tea Cake. In the end she returns to Eatonville with her head held high. Janie is a woman who has embraced her own identity. She’s found peace within herself, one that does not factor in societal expectations. Returning to the quote, Janie’s “jewel” represents her identity, voice, and self-worth. Though the world tries to place her in a marketplace to be sold, whether through marriage, societal expectations, or male dominance, she refuses to be owned.  Janie’s story remains a powerful feminist narrative, especially for Black women, because it reflects a struggle that is both personal and universal: the right to define oneself. Zora Neale Hurston crafted a protagonist who, despite the constraints of her time, finds a way to live life on her own terms. Their Eyes Were Watching God  presents feminism as self-actualization rather than political ideologies.  Citation :  Hurston, Zora Neale. Their Eyes Were Watching God.  Harper Perennial Modern Classics, 2006

by Carina Mystery novels have always been interesting to me. Their unique storytelling always keeps me interested and allows me to test my detective skills. The interactive storyline never fails to spark my imagination. But it isn’t easy to write such complex stories, with hidden details everywhere. Mystery books have an alluring way of drawing readers in. Typically, they start with an interesting event or cliffhanger that leaves the reader wanting to know more. You could introduce a crime that the protagonist must solve, or something mysterious like an unknown letter or package. The beginning of the story should tell the reader what the book will be about, but leave out some details to leave them intrigued. You can also add emotion to the story by making the stakes high, possibly by giving the detective or protagonist a personal connection to the crime or mystery. Clues are arguably the most important part of a mystery novel, and definitely my favorite. Whenever I’m reading a mystery book, I like to annotate clues, connections, and foreshadowing to help me solve the puzzle. Although clues are very important parts of mystery novels, it can be difficult to make them fit into the story naturally. Clues can include fingerprints, DNA, suspicious behavior, witness testimonies, missing items, traces of items where they shouldn’t be, etc. When writing clues or foreshadowing, you don’t want to make them exceedingly obvious. You should hide them in the text enough so they don’t pop out, but not so much that they go completely unnoticed. This allows the reader to think about the text more, putting together the pieces of the puzzle. One way you can do this is by making the clues correspond well with the detective or protagonist's plan of action, so they don’t seem out of place. You can also hide clues in seemingly insignificant details, such as casual conversations. Of course, there are also times when clues have to seem obvious, like if a secret letter or fingerprint is found. Even when you include these clues, you can add secret underlying details. Oftentimes there are also false clues and dead ends in mystery novels. These could be things such as an unreliable witness or planted or missing evidence. Things like this throw off the protagonist and reader, lead to problems in the investigation, and cause distractions from what’s really happening in the book. These red herrings are often accompanied by a shocking plot twist. Plot twists can have the same effects as false clues and dead ends, and sometimes even lead to an unexpected ending. The well resolved endings found in mystery novels can be some of the most satisfying parts. Readers typically prefer a good, or just, ending to mysteries. Not only should you include who committed the crime or caused the mystery, but the motives and provide answers to questions throughout the story. Seeing the mystery finally solved and all the loose ends tied up is like a breath of fresh air. On the other hand, you could also leave a few loose ends on purpose to prepare for another mystery novel. If you decide to do this, you should still answer questions throughout the book so you don’t leave readers frustrated. In mystery novels, you can always find some key roles that are crucial for keeping the story interesting. The first, most important role, is the sleuth/detective. The sleuth is usually the protagonist, and follows clues to solve a mystery. Alongside the sleuth, the sidekick is someone who helps them along their journey. On the contrary, the villain is the bad guy in the story, or the person the sleuth is chasing. The victim is someone who has been harmed by the villain, and who the sleuth is trying to help.

by Alin “ German is my mother tongue and as such more natural to me, but I consider Czech much more affectionate, which is why your letter removes several uncertainties; I see you more clearly, the movements of your body, your hands, so quick, so resolute, it’s almost like a meeting. ”  – Franz Kafka, Letters to Milena Despite being born and having lived in Prague most of his life, almost all of Franz Kafka’s works were exclusively written in German. Yet he found Czech to be the language that touched his soul the most and invoked the feeling of closeness. To Kafka, it was the language that was more genuine. Any multilingual person can relate to this feeling that Kafka had. Although many of us may have complex feelings regarding our native language now, whether it’s because of how hard it is or how we’ve grown apart from it, we can’t deny that reading, hearing, or writing in our native language makes us feel the most. Although there is an option to always write an English translation, we don’t want to spend half of our time translating our hearts. If you speak one language, this article is a sign to you that you should learn another. If you already speak more than one, then why not add another into your list?  To Learn A Language is To Be Reborn Elsewhere. Have you ever been curious how different languages view the same subjects?  In French, the saying “avoir une peur bleue” or “to have blue fear” means to be extremely scared, while a saying about the same color in Russian, “быть голубым” or “to be light blue” means to be homosexual. And of course, in English, to be blue means to be sad. Although they are all talking about the color blue, all of them have widely different meanings, stemming from negative emotions to one being homosexual. The different meanings can influence you to view the world differently, whether it is by colors, structure, or time.  “A different language is a different vision of life.” — Federico Fellini. And the quote is absolutely true. When we use a language, we also weave its culture into our expressions. Thus, our perspectives of the world changes and you’d begin to make more ‘unusual’ comparisons between  subjects. To Learn A Language is To Enjoy The Journey When learning a new language, we need to practice writing in that language too. This forces us to get out of our comfort zone and try something new – something that might inspire your greatest work. You’re forced to write, but it’s different, it’s writing in a completely foreign language. Straying away from the regular schedule and trying something new may also help you overcome your writer’s block. It helps you understand the atmosphere of the place as well, especially when you’re writing a story that takes place in another country. For instance, idioms are based of folktales and everyday lifestyles. Learning about the stories behind the idioms will shape how you view the average day-to-day routine of the people in the country. Especially during the old, historical times as that was when the majority of idioms were developed. You can also insert words from different languages into your writing. Similar to Dostoevsky’s novel, Crime and Punishment , despite the characters being native Russian, some speak words of French in between sentences.  Once you’ve mastered the language, you can also try translating English texts into that target language. It’s another exercise that can be used to improve your grammar skills and bring out your creative juices. To Learn a Language is To Find Yourself Again When learning the grammatical logistics of another language, you’re also relearning the grammar rules for English too. You’ll find yourself comparing the constructions of the target language to English. Although I’m not a native English speaker, it’s a language that I’m very familiar with. Yet when it comes to taking an English grammar test, I struggle, mostly because I don’t remember the intricacies of the rules – what ‘adverbs’ or ‘indirect speech’ truly mean. It just comes naturally to me. Now that I’m learning other languages (French and Russian), I am reminded of these terms. Thus, technically, I am learning two languages while reviewing one that I’m TOO familiar with at the same time! Not to mention, you might find new literary devices hidden in other languages. For instance, Russian has a complex grammatical case system, which allows it to have unique sentence structures. You can create a sentence that starts with the verb followed by the subject and object or vice versa, and it would still make sense. That’s because the cases alter the way a word is spelled and pronounced in different contexts, so the sentence would still have the same meaning to switch all the words around. All thanks to the changing endings of the words. That’s why Russian literature and poetry are regarded as majestically beautiful. To Learn a Language… Of course, it’s hard to learn a language, but I promise it is definitely worth it. You bring out your hidden creative side that only exists in that writing script. A new literary field will also be accessible to you now – translating, which might help you land a job, while maintaining your love for writing. Just imagine reading your favorite books in their original language, experiencing the raw emotions that you may have missed through translation. Although it would take a lot of effort, in the end, it will all be worth it. Citations Cranford, Andie R. “Does Learning a New Language Help Your Creative Writing?” Medium , 15 Aug. 2023, medium.com/@andrea_cranford/does-learning-a-new-language-helps-your-creative-writing-b113e98ad961 . Price, Grant. “How Learning a Foreign Language Can Make You a Better Author.” Medium , 13 Dec. 2021, grant-rhys-price.medium.com/how-learning-a-foreign-language-can-make-you-a-better-author-19019d821a79 . Stein, Rob. “Learning a Foreign Language Yields Better Writing | the Writing Cooperative.” Medium , 30 Mar. 2022, writingcooperative.com/how-learning-a-foreign-language-translates-to-better-writing-ee2b1e67d4ba .

by Shel Zhou In 1984 , a dystopian novel by George Orwell, Orwell delivers a warning about how the  manipulation of language can affect one’s thinking and control a society. This message, conveyed through Orwellian concepts like doublethink, Newspeak, and the Party’s [in 1984 ] totalitarian regime, speaks to the dangers of governments censoring language and reality to maintain power. However, this warning seems to go unheeded in modern America as echoes of his fictitious story become reality in both political rhetoric and media manipulation. This is evident in two present-day examples: Donald Trump’s Jan. 6th speech and research published by Stanford University that demonstrates how language reinforces stereotypes. Despite Orwell’s clear warnings, modern society, particularly in the United States, seems to follow a path eerily similar to the dystopian future Orwell imagined, where language is weaponized by certain people to gain power and suppress dissent. Orwell’s 1984 depicts a society in which the government, led by the omnipotent ‘Big Brother,’ controls not only the actions of its citizens but also their thoughts. One of the Party’s most powerful tools is the manipulation of language - exemplified by Newspeak, a language fashioned to turn the citizens of Oceania into mindless drones. As Syme, a specialist in Newspeak, tells Winston, “the whole aim of Newspeak is to narrow the range of thought. In the end, we shall make thoughtcrime literally impossible because there will be no words in which to express it” (Orwell 52). This deliberate constriction of language makes rebellion impossible because when the people do not have the words to articulate discontent, it does not exist. This notion is an upsetting parallel to the very real censorship of language today, as language distortion continues to shape our political narratives. For instance, the phrase “fake news” has been weaponized to discredit legitimate journalism and reporting, similar to how Newspeak simplifies and distorts language to prevent independent thought. As Orwell demonstrated, controlling language is the first step to controlling thought, and this is a lesson contemporary political leaders seem to have learned all too well.  The United States, despite its tumultuous and often ugly history, is founded on Enlightenment principles of democracy and liberty. In contrast to Orwell's 1984 , where language is manipulated to suppress freedom of thought, the United States Constitution includes the First Amendment, which protects freedom of speech, press, and assembly—cornerstones of a stable democratic-republic. However, as Orwell explained in 1984 , even systems built on liberty can manipulate language for control, which can be seen in the U.S. today. Political discourse often distorts the meaning of words like "patriotism," "liberty," or even "democracy" to advance specific agendas. This distortion is comparable to Orwell's notion of Newspeak, where words lose their meaning and are repurposed to serve those in power. There is also a historical irony to consider: for all its vehement rejection of socialism and communism, the United States was, in many ways, born in the throes of a rebellion—an idea central to socialist and Marxist principles. Marx theorized that workers should rise up against corrupt governments to secure true freedom, arguing that rebellion against oppression was necessary to dismantle unjust systems. Likewise, the American Revolution itself was a rebellion against British tyranny, with the colonists advocating for freedom from what they perceived as a corrupt monarchy. The rejection of British rule was a violent uprising in the name of liberty, making the early United States' resistance to centralized authority somewhat akin to Marx's belief in overthrowing corrupt systems, despite the nation’s later demonization of anything resembling socialism. This ideological contradiction, therefore, reflects another manipulation of language: the word "socialism" in the U.S. political lexicon has been heavily demonized and misrepresented (Democracy Journal), as is Orwell’s concept of “thoughtcrime.” It is no longer associated with its original ideas of economic fairness but is instead used as a term to stifle discussion and fuel fear in the name of national security. In modern America, the spread of misinformation and the manipulation of facts have become increasingly common, particularly in political discourse. The 2020 U.S. presidential election and its aftermath serve as a prime example. Despite clear evidence to the contrary, many of Trump’s supporters continue to believe the election was “stolen,” a belief fueled by the former president’s rhetoric. This parallels the Party’s manipulation of reality in 1984 , where lies become indistinguishable from truth. In both cases, the Orwellian concept of “doublethink” is at play, as people accept contradictory information without question. Orwell’s warning about the dangers of manipulating truth is especially relevant in today’s era of “alternative facts”, where the very concept of truth is under siege. Trump’s infamous Jan. 6th speech, delivered shortly before the Capitol riot, demonstrates how language can be used to incite action and reinforce dangerous ideologies, much like the Party’s slogans in 1984 . In his speech, Trump repeatedly used words like “we” and “our,” creating a sense of unity and collective identity among his supporters. He declared, “Our country has had enough. We will not take it anymore, and that’s what this is all about” (Naylor). This rhetoric mirrors the Party’s use of slogans like “War is Peace” and “Freedom is Slavery,” which serve to simplify complex issues and foster a sense of collective purpose. By framing the issue as “us vs. them,” Trump’s speech capitalized on a binary worldview, much like the Party in 1984 does. The effectiveness of this tactic lies in its ability to manipulate emotions and create a sense of belonging among supporters, making it easier to suppress dissenting voices and manipulate reality. Furthermore, Orwell’s exploration of the power of language in 1984 is underscored by research conducted by Stanford University, which highlights how even well-meaning statements can perpetuate harmful stereotypes. The study found that phrases like “girls are as good as boys at math” inadvertently reinforce the stereotype that boys are naturally better at math than girls (Shashkevich). This demonstrates the subtle ways in which language shapes our perceptions of reality, much like Newspeak in 1984 shapes the thoughts of Oceania’s citizens. The researchers’ conclusion, that “language can play a huge role in how we perceive the world,” aligns with Orwell’s warning about the power of language to control thought (Shashkevich). Both 1984 and the Stanford study illustrate the importance of scrutinizing language and recognizing its potential to reinforce harmful ideologies or suppress dissent. In Orwell’s dystopia, the Party controls all aspects of life, from the media to personal relationships, using propaganda and censorship to maintain its grip on power. Today, we see echoes of this in the extreme polarization of American politics, where both major political parties engage in censorship and manipulation to further their agendas. The recent bans on books discussing race, gender, and LGBTQ+ issues in schools across conservative states, like Florida, evoke Orwell’s portrayal of the Party’s control over information. The censorship of ideas deemed “dangerous” or “unpatriotic” in modern America is reminiscent of the Party’s erasure of historical events.  Ultimately, Orwell’s 1984 is not just a cautionary tale about a distant dystopian future, but a reflection of the political and social dynamics at play in the modern world. The manipulation of language, the suppression of dissent, and the distortion of reality are not scary stories, confined to the pages of Orwell’s novel; they are realities we face today. The takeaway is evident: if we do not remain vigilant of how media perpetuates bias and how our everyday language influences perception, we risk falling into the same traps as the citizens of Oceania, where thought itself becomes a crime.  Works Cited 1984 . (n.d.). STRAUTNIEKAS Illustration. https://strautniekas.com/1984   Andrew Atterbury. (n.d.). LGBTQ advocates sue over Florida’s “Don’t Say Gay” bill . POLITICO. https://www.politico.com/news/2022/03/31/lgbtq-advocates-sue-florida-00022001   File:EugeneDebs.gif - Wikimedia Commons . (1920, October 11). Wikimedia.org . https://commons.wikimedia.org/wiki/File:EugeneDebs.gif   Naylor, Brian. “Read Trump’s Jan. 6 Speech, A Key Part Of Impeachment Trial.” NPR News , 10 February 2021. https://www.npr.org .  Accessed 28 September 2021.  Orwell, George. 1984 . Signet Classics, 1977.  Shashkevich, Alex. “Some Well-Meaning Statements Can Spread Stereotypes.” Stanford University Website , 10 July 2018. https://news.stanford.edu .  Accessed 28 September 2021.  Stening, T. (2022, July 27). Would a second term save Donald Trump from prosecution–even jail time? Northeastern Global News; Northeastern Global News.  https://news.northeastern.edu/2022/07/27/donald-trump-second-term-prosecution/   The Week Staff. (2017, May 30). Political cartoon U.S. College graduation free speech liberal censorship . Theweek; The Week.  https://theweek.com/cartoons/701847/political-cartoon-college-graduation-free-speech-liberal-ce   nsorship Words, Fighting. “Fighting Words.” Democracy Journal , 19 Mar. 2018, democracyjournal.org/magazine/48/fighting-words/ . Accessed 11 Jan. 2025. ‌ Follow the author on Instagram here!

by Mila Long Tales as old as time carry unimaginable influence. Stories that influence every waking breath of the modern literary era are often riddled with questions and misinterpretations. The quintessential male hero, is pitted as the ultimate warrior, strong of mind and heart and body. These characters only seem to strengthen in time, setting in stone their influence over our world and our words. However, the female characters disappear and are altered or set in stone as monstrous, weak, or docile. New translations of classical literature can give room to new interpretations, or clearer visions of what the original work showed, and yet these new translations chose over and over again to keep the female characters as less than the male ones. The complex and clever queen is reduced to a dutiful wife. The strong and mighty are simply discussed as a monstrous hag. This line of new and old becomes blurred as we chose to repeatedly speak of these women in such a diminishing fashion when it would not be against the essence or truth of the story to alter them. The translations of old classics that have carried their stories and influences into the modern era must for the future of complex and equal literature be open to interpretation and clarification.  In Beowulf ,   Grendel's Mother is described as a mighty mare wife or a monstrous hell-bride. These three words influence the reader from the very beginning of her introduction into the story line. It establishes three things: her power, her morals, and her gender. The old English term used to characterize Grendel's Mother is the same term used to characterize Beowulf’s strength, and through their extremely close battle it is shown that this term is more than accurate. Yet still, translators chose to use one of the myriad of other translations like describing her as a  monstrous hag that could be used for the same word, often with more negative connotations, when Beowulf is still described as mighty. It immediately lowers her power from the audience's perspective. It also loses any sympathetic nature that can be applied to her despite the multiple losses she takes throughout the poem, such as her son who is killed by Beowulf and was all she had. Her and her son were simply two inhuman creatures ousted from the world at large. Once Grendel is dead, his claws are displayed like  a trophy. A trophy of the death of the only person who ever had the possibility of understanding her. When the story is read, she is horrible in every word choice despite the intense power and issues she is clearly shown to have. Some modern translations have rectified this, however it is few and far between. Grendel's mother doesn’t even get her own name. She is forever defined by someone else, a man. The extremity in which female characters are defined as monsters, yet still limited in their power, leads characters to be shown as inherently worse than male counterparts or opposites.  In The Odyssey , Penelope is a dutiful and loyal wife or a rebellious and clever Queen of Ithaca. Penelope is Odysseus's wife who, while remaining in Ithaca, has to fight off suitors who want her hand in marriage as they believe Odysseus to be dead. She tells the suitors when she finishes weaving, she will marry one of them, but she takes apart the shroud she sews every night so she doesn’t have to marry a suitor. The interpretation of her central act, of her weaving, severely influences how audiences and the world views her character. An intensely interesting character, Penelope states that she will marry a new man once she finishes weaving a burial shroud for Odysseus’s father. However, every night, she unravels the day's work. This act can be interpreted in so many styles. Is she a wife knowing that her life should be for the man across the sea for 20 years? Is she cunning, wishing only to scheme quietly against the men who believe they can take so much power from her? Is she a hopeful woman wishing and praying that her husband will get home safe? Is she a rebellious and intelligent queen understanding that she is unable to fight in public due to the time period and social norms expected of her? Is she all of this? Her state as a complex female figure often confuses the audiences, forcing them to pick one interpretation or another. Instead, most translations often choose to center their analysis around Odysseus, not Penelope herself. This ultimately disregards an intensely interesting activity to be done by a woman of that time period, especially one who is not a god. The motivation and interpretation change throughout the versions of the Odyssey, but every change even one word influences the outlook on Penelope. Reducing a complex female character to a one dimensional one removes the interest and power carried in such fascinating storylines.  In Doctor Zhivago by Boris Pasternak, Lara and Tonya can be viewed only as catalysts to the male characters in the story due to translation choices. However, they both work to serve as incredibly important characters in the central conflict of the novel. Tonya is removed in the novel to be exiled, and seems to believe that she should not be mad for her husband's blatant cheating due to some of the translations of her letter which lead to her commending Lara for her husband. She can be seen as a push over and even unimportant, however Tonya is an incredibly brave woman. All of this is merely in subtext, which causes translations to fluctuate from sticking exactly to the work or expanding to provide context. Translations chose to make her merely an attachment of her child, despite the main challenge of the translation being to keep even slight faithfulness to the syntax. Lara, however, becomes only an attachment to another character, Yury. She is an incredibly important person and character who works to propel various essential side plots, such as that of consent and of the people left at home during the war. Even when Yury must leave for his safety, the description of her letting him go changes her character from a dutiful lover to a strong woman who must do what she has to for her family. Doctor Zhivago is a work of passion and of large scale battles between ideologies that have set the stage of world history for modern readers. Restricting the interest to the male characters removes vitally important side plots and is ultimately regretful to the vision of Boris Pasternak. It is time to thoroughly analyze the stories of women throughout the classics. Classics are history, reflecting the society of the times they are written in. Every word leaks bias and opinion and influence that future generations will see. As such, how do we want future generations to view us? Will we merely be figureheads of a misogynistic norm to reduce and lessen female stories? Will they be the exact same as us, still carrying antiquated interpretations of stories that reach far beyond simply literature? Literature affects the world. This is a fact proven in every era and every change. Literature portrays the world as it is but also as we wish it could be. Literature spearheads new beliefs and systems of thought, it portrays opinion and disagreement, and ultimately it shows hope and difference. Literature is immortal, so is this really how our time wants to be seen forever? Follow the author Mila Long on Instagram here!

by Prisha Have you ever picked up a book that you physically couldn’t put down, no matter how hard you tried? Is there a book you wish you could read for the first time? Well, this is one of those books. From the moment I started Thirteen  by Steve Cavanagh, I was hooked by a story that masterfully combines law and psychology into a riveting thriller. This book is part of a captivating series featuring Eddie Flynn, a criminal lawyer unlike any other. What makes him unique is his past that is filled with experiences and skills that set him apart since he was once a con man himself. He now uses his unconventional background to defend his clients, making him a capable and highly intuitive figure in the courtroom. By using the skeletons in his closet, he can understand both sides of the courtroom in a way no other lawyer would.  The way Eddie Flynn demonstrates and convinces the jury is truly awe-inspiring through how he can read the jury and understand how best to alter his speech. You then realise that court cases are all a game of manipulation and even the most masterful manipulator will always have some tell that will give them away, all you have to do is find it. Eddie Flynn’s time on the "other side" of the law grants him an almost sixth sense, allowing him to perceive deception, anticipate his opponents’ moves, and work around legal systems that often trap less experienced attorneys. Despite his rough background, he is one of the most compassionate lawyers you can find, in the fictional world. This double-edged insight gives Eddie a depth and authenticity that’s rare to find in legal thrillers. After all, the courtroom’s just like a stage, only here, everyone is trying to steal the same scene. The story kicks off when Eddie is approached by a prestigious law firm with a high-profile case. It's the kind of case that grabs the headlines, the one all lawyers want –– a scandal involving a celebrity power couple, where the stakes are high, and the details are tantalisingly dark. Eddie is brought on board to defend a wealthy man accused of killing his wife and her lover. From the outside, the case seems almost cut and dry, with strong evidence pointing to the husband as the prime suspect. But Eddie is too seasoned to accept appearances at face value, and as he delves into the details, he discovers that things are more dangerously interweaved than what it seems. “ THE SERIAL KILLER ISN'T ON TRIAL. HE'S ON THE JURY” Now that's a really intriguing blurb, reading it made me pick up the book, but how can a killer be on a jury ?Well now we’re also introduced to Joshua Kane, a truly fascinating, but chilling character who is unlike any other. Kane is a meticulous and highly intelligent individual with a dark obsession that drives him to extreme lengths. His perspective adds a whole new layer of tension to the story, as we gain glimpses into the mind of someone who operates outside the usual bounds of morality and law. Calculating and disturbingly calm, Kane plans every move with precision, making him a formidable figure who thrives on manipulation and control. His role in the story injects an eerie sense of danger, as his motives and actions slowly unfold. Not only is Kane conniving, but he also cannot feel any physical pain through a genetic abnormality called congenital analgesia. He is one of the best antagonists of the whole series, showing a completely different way of being a serial killer. After all, what’s the best way to get away with murder? Imitate the victim, so no one ever misses them. As Eddie navigates the convoluted twists and turns of the case, he uncovers shocking secrets and hidden agendas that completely upend any notion of a straightforward crime. The writing is tight and full of suspense, with each chapter building on the last to create an atmosphere of mounting tension. The pacing is relentless, driving readers forward and making it nearly impossible to put the book down for even a moment. One of the standout aspects of the book is its character depth. Eddie Flynn, as a protagonist, is layered and relatable. His past as a conman gives him a rough-around-the-edges charm, but it also means he understands moral ambiguity in a way that more conventional lawyers may not. He doesn’t shy away from difficult decisions or moral grey areas, instead he runs into them. And while Eddie is clearly the hero of the story, he isn’t a flawless knight in shining armour. His struggles, both personal and professional, make him feel real. He wrestles with ethical dilemmas, battles his own inner demons, and faces moments of self-doubt that add to his humanity. Eddie’s character highlights the fact that perfection is just fictional. There are nuances Eddie and that is what makes him so intriguing. And remember, every courtroom is a circus, but Eddie’s one of the few who can juggle law and order. The antagonists are more than just typical "bad guys." Each has their own set of motivations, secrets, and pressures that drive their actions, creating a tangled web of alliances, betrayals, and unexpected twists. It weaves in such a way that it’s nearly untraceable, yet the urge to leave his mark is his downfall. The villains aren’t simply evil for the sake of it, they have their demons and their reason, and yet their actions will still unsettle you to the core.  The author’s writing style is another reason this book is so compelling. The prose is sharp, direct, and laced with wit, perfectly matching Eddie’s voice and perspective. The courtroom scenes are detailed and intense, capturing the high stakes and strategic manoeuvring that define the legal profession. The author’s attention to detail brings the courtroom to life, making readers feel as though they’re sitting right beside Eddie as he faces off against formidable opponents and navigates the intricacies of the law. The dialogue is realistic and engaging, filled with tension and subtext that add to the overall suspense of the story. Themes of power, corruption, and morality give the book much more depth. The case at the centre of the story isn’t just about guilt or innocence, it’s about the power dynamics at play within the justice system and the way wealth and influence can shape outcomes in ways. Eddie’s fight isn’t just for his client’s freedom, it’s for the integrity of the system he believes in, even as he faces its flaws. It’s one of those books I wish I could experience for the first time all over again, diving into the characters’ minds, dissecting every emotion and thought, savouring every twist as it unfolds. It’s a perfect read for fans of John Grisham or The Lincoln Lawyer  by Michael Connelly, blending legal suspense with psychological depth in a way that grips you from start to finish.

by Prisha Translating works is quite a difficult job since it requires a blend of linguistic skill, cultural sensitivity, and creative intuition. It bridges gaps between cultures - allowing stories, poetry, and narratives to leave the confines of their native languages and find resonance with audiences across the globe. With the globalisation of literature and the increasing demand for cross-cultural storytelling, literary translation has become a fulfilling and viable career option for language enthusiasts and literary connoisseurs alike.  Have you ever read Crime and Punishment by Fyodor Dostoevsky or War and Peace by Leo Tolstoy? Did you know that both of these books were originally written in Russian and what we now read is just a translation of it? Even the translation of Gabriel García Márquez’s One Hundred Years of Solitude into English required not only linguistic expertise but also a deep understanding of Colombian culture, magical realism, and the historical backdrop of the novel. Similarly, translating Japanese haikus into English involves navigating the challenges of brevity, cultural references, and syllabic constraints. So many of these hidden gems would still be well hidden if not for translators. So what is Literary Translation ? Literary translation refers to the process of adapting literary works from one language to another, focusing not only on the linguistic meaning but also on the emotional, cultural, and stylistic essence of the original text. Unlike technical or legal translations, literary translation seeks to preserve the artistry of the source material, recreating its every nuance in the target language. Rabindranath Tagore’s Gitanjali, originally written in Bengali, offers another profound example. When Tagore translated his own work into English, he didn’t merely translate the words but reimagined the poetry to appeal to a global audience, ultimately earning him the Nobel Prize for Literature. His translation highlighted the spiritual essence and lyrical beauty of the original text, allowing it to connect deeply with readers worldwide. It’s more than knowing two languages, it's a delicate balance tipping precariously between fidelity to the source material and the creative freedom necessary to engage a new audience that defines the essence of literary translation. It is more than finding equivalent words but about capturing the spirit of the original work, ensuring its universal appeal whilst preserving its emotional and artistic integrity. How is Translation Important ? Translation of literary works has been essential in many ways. It gives readers worldwide to, allow the novel to overcome linguistic barriers and connect with a global audience. It gives people worldwide the chance to explore stories and ideologies that otherwise would have remained inaccessible. It’s given readers a view into diverse narrative and perspectives, building a bridge into various cultures and communities. Translating historical or lesser-known works ensures that they are not lost to time, preserving their significance for future generations. The Future of Translation? The future of literary translation holds numerous possibilities. It’s not as simple as using tools like Google Translate. Even though AI-powered tools have significantly advanced, they lack the nuanced understanding of context, tone, and cultural understanding that human translators bring. While technology can aid in initial translations or suggest alternatives, the artistry of literary translation remains firmly in human hands. In short, the psyche and creative ideas of the author can only be understood on an emotional level by another person, not a computer. In a globalised world, demand for literary translation is expected to grow, with an emphasis on preserving cultural integrity while appealing to wider audiences. The rise of digital platforms has also expanded opportunities for translators, making literature more accessible than ever before.  In short, translation has been a boon for literature by helping us understand various texts from different backgrounds. Translators can be thought of as cultural ambassadors, bringing stories to new audiences and building global empathy. Each successful translation is a testament to the translator’s dedication and skill, contributing to the ever-growing world of literature.

by Carina Humans have been expressing ourselves through poems for thousands of years, from ancient epics to sonnets. Poetry is arguably one of the most popular forms of writing, and for good reason. Like music and art, poetry allows us to express ourselves. It’s also enjoyable to read, oftentimes including aesthetically pleasing visuals or wordplay. Although I love poetry, I often find it difficult to digest, and especially write. This guide to the many genres of poetry is for anyone like me who wishes to understand more about the different types of poetry. Free Verse: This type of poetry is pretty straightforward. It doesn’t have many rules or guidelines, allowing the poet to express themselves freely. Free verse poems don’t require rhyming, certain themes, and can be any length. Limerick: Limerick poems are some of my favorites, because they are funny and lighthearted. Unlike free verse poems, limericks have some rules. They must be 5 lines, and follow an AABBA pattern of rhyming. This means the first, second, and fifth lines should all rhyme, while the third and fourth lines should also rhyme with each other. Haiku: This genre of poem is short, yet extremely popular. It originated in Japan and is spreading throughout the world. It consists of seventeen syllables throughout three lines. There should be five syllables in the first line, followed by seven syllables in the second, and five again in the last. Also, haikus are usually about nature. Blackout: Blackout poetry is one of the most visually appealing types of poetry. It starts with a page of words, typically from a book or short story, where you will identify words that correspond with a theme or tell a story. Then, you will color in the space around the words with a picture relating to the theme or fill it in with black. Epic: Epic poems tell tales of heroic adventures. They’re typically fictional or historical with some dramatic effect. These poems can be very long, even book length at times. Because of their impressive length, epic poems are very detailed with amazing storytelling. Ode: Ode poems are dedicated, in celebration, to a person, idea, place, or object. They usually have a formal and serious tone, but aren’t very strict with rules such as size and rhyming. Sonnet: Many people have heard of sonnet poems in school, because they were popularised by Shakespeare. They consist of fourteen lines, and typically follow an ABAB CDCD EFEF GG rhyme pattern, although there are other variations. Acrostic: Similar to blackout poems, acrostic poems are also visually pleasing. These poems are very common for exercises in school, so it’s likely you’ve seen one. In acrostic poems, the first letter of each line spells out a word. For example, if the first letter of line one was L, line two was O, line three was V, and line four was E, they would spell out the word love. Oftentimes these poems have a similar theme to the word they spell out. Elegy: Although elegies don't have strict rules, they do have a thematic guideline. They are about death, mourning, and loss, but can contain hopeful messages. Villanelle: This genre of poem has quite strict rules. It has nineteen lines, broken into five tercets (3 line stanzas/groups), and one quatrain (4 line stanza/group). The tercets of this poem follow an ABA rhyming pattern, while the quatrains follow an ABAA pattern. There is also a lot of repetition in villanelle poems. Line one should repeat in lines six, twelve, and eighteen. Line three should repeat in lines nine, fifteen, and nineteen. These poems are usually about admiration and obsession. Reading and writing poetry don’t have to be confusing. Exploring the foundation of poetic genres can help us interpret them and understand how poetry works. As I learn more about poetry, it becomes more enjoyable for me. I hope that you can say the same after reading this deep dive. References: “What Is Poetry? Definition, Characteristics and Types.” Domestika , www.domestika.org/en/blog/11367-what-is-poetry-definition-characteristics-and-types . Accessed Dec. 2024. Kramer, Lindsay. “11 Types of Poetry to Know, with Examples.” Grammarly Blog , 13 Apr. 2023, www.grammarly.com/blog/creative-writing/types-of-poetry/ . Accessed Dec. 2024. “What Is an Ode? Definition and Examples.” Poem Analysis , poemanalysis.com/poetic-form/ode/ . Accessed Dec. 2024. “18 Poetic Forms Every Poet Should Know.” BBC Maestro , 24 Nov. 2023, www.bbcmaestro.com/blog/poetic-forms . Accessed Dec. 2024. Bergman, Bennet. "Villanelle." LitCharts.  LitCharts LLC, 5 May 2017. Web. 17 Dec 2024.

by Skylar When I begin to write, my fingers become an entryway into all the aggressions and joys that have been kept under wraps. A blank page sits patiently, waiting to be colored with your thoughts, ideas, and dreams. Writing can truly be a safe space —a sanctuary where you can create whatever worlds your heart desires. This article explores how writing provides not only a creative outlet, but also a haven for comfort, reflection, and growth.  Writing, in its purest form, is a reflection of our thoughts, beliefs, and experiences. The act of putting pen to paper, or fingers to keyboard, gives us freedom to express the multitude of emotions that swirl through our minds. Often, we only think of writing as something created for others to consume. Stories, articles, and essays are written with an audience in mind. But writing has the potential to satisfy an intrinsic need; we need to process, release, and understand our feelings.  The page is a judgement-free zone, one that absorbs all emotions without any bias. Whether that’s happiness, sadness, anxiety, or anger, the page is always there for you, ready to receive and to wear your sentiments. Writing allows you to process those emotions, to get them out of your head and onto the page. Simply expressing those ideas that are hard to articulate can be cathartic, offering clarity and preventing emotions from building up. This release unburdens you.  Beyond helping you understand your feelings, thinking of writing as a safe space can open up possibilities for you as a creator. Free of judgement, you can create those magnificent worlds, sketch out characters, and explore ideas that might never see publication. These ideas aren’t meant to impress anyone. They will exist solely for the sake of your happiness.   As we begin to view writing as a safe space, we open ourselves to look at the mistakes we’ve made and embrace the growth they will bring. Drafts that don’t work become opportunities to reflect and improve, reminding us that perfection is not the goal. Growth is. Writing is a process of discovery. By just typing your thoughts, you can discover new and unique metaphors and similes. You’ll be surprised by introspective writing and what it can uncover. Remember, this isn’t anything you show to others. Writing can be personal; it’s you on a page. To truly create a safe space, set aside time to write. It’s important to create the right environment. Relax, write, let the thoughts flow, and don’t judge. This doesn’t call for editing or censoring. Remember, this isn’t about perfection. To further experiment with creativity, use prompts that you wouldn’t normally choose, experiment with different styles of writing, journal about your day. Or just write what you’re used to. The key is to just let yourself exist.   Writing doesn’t always have to be for an audience. Sometimes, it can remain a sacred, intimate practice only meant for you. So, choose your medium, whether pencil or paper or open a blank document and let yourself be free. Writing isn’t just a job; it’s a gift you can give yourself.

by Lily Most of us have experienced the disappointment of a truly terrible book-to-movie adaptation that totally misses the entire point of the original. The main reason these films or TV shows fail to carry over the core themes of the books they intend to visually translate typically boils down to small changes made to make the story more appealing to general audiences or a lack of adequate synthesization and analysis from the majority of viewers. In short, a lack of media literacy tends to kill whatever messages these adaptations are attempting to convey and could even go so far as to have an impact on the way people interact with politics and the news.  Take  The Hunger Games  franchise. In the recent film adaptation of the prequel, The Ballad of Songbirds and Snakes , there were many minor changes made to the characters and story in order to make the movie more marketable. One of these changes was to make the character of Coriolanus Snow more likable. By removing many of his wrongs and betrayals and portraying his relationship with the other protagonist as significantly more romantic than it is in the book, Snow’s internal possessiveness, manipulation, and eventual descent into paranoia and madness are lost (Wang). For many watching the movie without having read the book, this makes the ending extremely jarring, especially if one is not viewing the movie with a critical eye. Likely, these changes were made to cater to an audience less willing to fully digest the story or an audience that hasn’t yet learned proper media literacy skills. Ultimately, these changes compile to the point where the book’s strong themes of morality, propaganda, privilege, and power are lost within a shallow teen romance.  The clear solution to this problem is to incorporate media literacy into school curricula. Media literacy teaches critical and analytical viewing skills to people to help them understand the 'message' behind visual images like TV shows, movies, advertisements, newsletters, infographics, and more. It fosters an ability to question what went into creating this message, what biases were involved, and the intended effect (Pack). This aids children in understanding the fictional content they consume and empowers them to better understand the world around them. Additionally, teaching these skills from a young age will bring on a new generation of powerful producers of media using not only words but also visuals and sound (Pack). As it becomes increasingly important that young adults are able to process the endless news articles and pseudo-news TikToks they see on a daily basis, it also becomes increasingly important that media literacy be just as prevalent in education as learning how to read and write.  Some may question the real-world ramifications of a lack of media literacy. However, during an election year, the need for media literacy education becomes scarily real. In the United States, many people regularly get news from social media or potentially biased sources such as CNN or Fox News. Many political campaigns have begun to use artificial intelligence in their advertisements, and voters are becoming increasingly misinformed (Stockwell). It is extremely important to democracy that voters are able to form a logical opinion of political candidates, and without access to comprehensive news and critical opinions, people cannot properly fulfill their role in our democracy. Without media literacy, people will not be able to evaluate the quality of the news they are receiving or be able to ask their own questions about current events, which makes them very susceptible to propaganda and false information (Stockwell). The impacts of misinformation go far beyond personal choices and voting habits, threatening the public’s trust in government institutions and leading to intense polarization and division. Thus, the possible effects of a lack of media literacy are endless and grim, ultimately undermining freedom of the press and the democratic process.  Whether we’re referring to book-movie adaptations like The Hunger Games or misinformation in a presidential election, media literacy is the only way to put a stop to misinterpretation and misinformation. To help Hollywood create more meaningful movies and hold politicians accountable, we must embed learning strong media literacy skills into English class curriculums for all ages to ensure that generations to come have the tools they need to consume and create any form of media and are able to navigate a complex digital landscape. Empowering them to spot misinformation in the news or subplots in films from a mile away—and to make well informed decisions in all areas of their lives. Works Cited Al-Nasser, Nassir Abdulaziz. "Media and Information Literacy As a Means of Preventing Violent Extremism."  UN Chronicle , vol. 54, no. 3, Oct. 2017, pp. 30+. Gale OneFile: High SchoolEdition,  link.gale.com/apps/doc/A522063187/GPSu=nysl_sc_campsav&sid=bookmark-GPS&xid=42ea2367 . Accessed 30 Oct. 2024. Pack, Thomas. "Media literacy: educational organizations advocate enlightened media consumption." Link-Up,  vol. 19, no. 3, May 2002, p. 10. Gale OneFile: High School Edition,  link.gale.com/apps/doc/A86650242/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=bafedb78 . Accessed 30 Oct. 2024. Stockwell, Norman. "MEDIA LITERACY IN A POLITICAL YEAR." The Progressive , vol. 88, no. 3, June-July 2024, pp. 6+. Gale OneFile: High School Edition,  link.gale.com/apps/doc/A801441946/GPS?u=nysl_sc_campsav&sid=bookmark-GPS&xid=0e0b7009 . Accessed 30 Oct. 2024. Wang, Jessica. “A complex villain story, turned to film: a review of ‘The Ballad of Songbirds and Snakes.’” The Daily Princetonian , 3 Dec. 2023, https://www.dailyprincetonian.com/article/2023/12/princeton-prospect-entertainment-hunger-games-snow-katniss-ballad-of-songbirds-and-snakes , Accessed 30 Oct. 2024.

by Alin To all the writers: those who write every day, those who have written a novel, those who are still working on their book, those who haven’t written anything in a week/a month/a year, those who write but are afraid to call themselves writers, and those who are young and learning. Let me tell you about my NaNoWriMo (National Novel Writing Month) journey, in which you write a full-on novel within one month. Usually, the planning happens during October, called ‘Preptober.’ Instead of working on a novel, I was writing a novella, partially because I’m too scared to commit to a long project. I dedicated one week of November to outlining the story; however, I didn’t do a scene-by-scene plan and now I suffer the curses of I-don’t-know-what-happens-next and what-is-the-plot-again. So far, on the 16th of November, I’ve written 3.3k words out of my 15k-word goal. Did I mention that this is the first draft? And that I’m submitting this to a competition with a deadline? While juggling university applications?  When life throws rocks at you and breaks your hands, what do we, as writers, do?  When They Laugh at You, Laugh With Them. You can hear the words mocking you when you read your WIP(s). Why can’t you be like Mary Shelly who published Frankenstein when she was only TWENTY? Why can’t your prose be like Fyodor Dostoevsky? Why can’t you just write properly?  You’d cower in fear and close Google Docs, promising yourself to never write again. Like a kid who got called cringe by a bully after being discovered to unironically enjoy fanfictions.  They say bullies bully because they enjoy putting others down. So if you take all the power away, making yourself seem unaffected, then you win. Laugh at yourself, accept the truth, and move on. No one’s first story is perfect, nor does it have to be. Or imagine this: You embarrassed yourself on a big stage while rehearsing the show you’ve been looking forward to your whole life. The stage manager tried to hide their cackle, but you heard it loud and clear. Would you just leave the stage and abandon your dreams behind? When this is your first day  practicing? That’s right. You laugh along with them and try again.  But sometimes it does hurt, so take a breather and give yourself a healing period: Step outside, listen to music, socialize – anything but write. But afterward, you must go home and retrieve that deleted file. Whether you need a 1-day or 2-month break, as long as you return with a fresh mind, you’ll have the last laugh. When They Want a Divorce, Buy Them a Bouquet of Books In the middle of your first draft, not only do you have self-doubts, but you may have the same curse as me - not knowing what to write next. Any writer here who still doesn’t know if they’re a planner or a pantser? Or a planner-pantser or panster-planner? Or a planner-pantser-planner-planner-pantser? No matter how much you’ve experimented with the outline, the story never finishes. You then give up before writing a scene you’ve daydreamed about too many times – the very reason you started this project in the first place. Guilty as charged!  Now, this may seem hopeless seeing that I, the person who’s supposed to give you the ultimate cure to every writing problem, am also going through this. Trust me there is one single trick: Reading.  Subscribe to newsletters. Read literary magazines. Download Substack. Go to a bookstore. Borrow from libraries.  Ah, no, but what if I’m on a deadline? Make time for it. You know how in the morning, all you do is laze around in bed? Yeah, pick up a book instead. Remember how you spend 20 minutes trying to pick a YouTube video to watch while eating lunch? Why not just read while eating? Or on long car rides where you look out the window and daydream to edgy songs? Read. Motion sickness? Audiobooks.  You never never have enough time.  When you read, you may find something you love and hence, inspire your WIP(s). Don’t just read books by your favorite authors, expand your taste! I like to approach people who read often and ask them to recommend a book. If you’re a student, your English teacher is the best bet. Plus, you’ll establish new friendships and maybe they’ll let you borrow their copy! When They Cry, Make Them Laugh, Just Not at You. When both you and your words are on the verge of giving up from getting rejected by a literary agent or magazine for the 237th time, think of published authors and look through their life before that one famous, signature book of theirs. Or better yet, look at terrible works that managed to be published. Now this is getting controversial. Some of you may be convinced that writing is subjective and that there are no objectively bad books, but you might change your mind after reading this REAL excerpt from an ACTUAL, PUBLISHED book. “I ask for giveness of the world of mankind for teling the trouth I meane No hurt to A flie only when he bits me then I kils the flye if I can I have bin my one tromter fore teene years my tromter is Dead my haveing so many wounds in fas and on my head I Doue it to make a good Lafe to keep my sperets from sinking pittey me all good peopel A men” Yes, this is real. This is from A Pickle for The Knowing Ones  by Timothy Dexter . This is an autobiography in which he grandiosely describes his life while avoiding punctuations and misspellings practically the whole book. That’s not the end of it. At the end of the second edition, Timothy wrote long blocks of different punctuation with a note that read: “ fouder mister printer the Nowing ones complane of my book the fust edition had no stops I put in A Nuf here and thay may peper and solt it as they plese ” People were complaining about the lack of commas and periods, so he put all of the punctuation at the end and went “Add it yourself.”  Still, this book was published and is talked about to this day. Of course, the industry has gotten harsher and it’s harder to be published nowadays. But listen, if he made money out of this, so can you. Learning the history behind each novel makes you feel less uneasy since you can see that they’re all learning writers, not a gifted child writing like Shakespeare out of the womb.  Moral of The Story When life breaks your hands, wait for them to heal, exercise to regain strength, and keep writing. These are all the hardships you as a writer have faced or will face. It’s natural to have these self-doubt feelings and inspiration blocks. It just depends on how you deal with them. And these are the methods that effectively work for me. It might be different for you, which is why I encourage you to confront your feelings rather than let them linger. Remember: if your writer-self ever causes distress again, think of your favorite book. In another timeline in which the author quit writing and that book was never published, what would your life be like now? Lost, empty, and longing for a home? That’s exactly how your future readers would be if you never finished your story.