The form that Susan Harjo takes to support her claims that the United States government has openly permitted, and even encouraged, the mistreatment and misuse of her Native American ancestors remains is an editorial
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im confused on what there asking whats this aboit
Elie Wiesel's literary work prompted one reviewer to recall Isaac Bashevis Singer's definition of Jews as "a people who can't sleep themselves and let nobody else sleep," and to predict, "While Elie Wiesel lives and writes, there will be no rest for the wicked, the uncaring or anyone else." [1<span>] If uneasiness is the result of Wiesel's work, it is not a totally unintended result. Since the publication of </span>Night<span> in 1958, Wiesel, a Jewish survivor of the Nazi death camps, has borne a persistent, excruciating literary witness to the Holocaust. His works of fiction and non-fiction, his speeches and stories have each had the same intent: to hold the conscience of Jew and non-Jew (and, he would say, even the conscience of God) in a relentless focus on the horror of the Holocaust and to make this, the worst of all evils, impossible to forget.</span>
Wiesel refuses to allow himself or his readers to forget the Holocaust because, as a survivor, he has assumed the role of messenger. It is his duty to witness as a "messenger of the dead among the living," [2] and to prevent the evil of the victims' destruction from being increased by being forgotten. But he does not continue to retell the tales of the dead only to make life miserable for the living, or even to insure that such an atrocity will not happen again. Rather, Elie Wiesel is motivated by a need to wrestle theologically with the Holocaust.
The grim reality of the annihilation of six million Jews presents a seemingly insurmountable obstacle to further theological thought: how is it possible to believe in God after what happened? The sum of Wiesel's work is a passionate effort to break through this barrier to new understanding and faith. It is to his credit that he is unwilling to retreat into easy atheism, just as he refuses to bury his head in the sand of optimistic faith. What Wiesel calls for is a fierce, defiant struggle with the Holocaust, and his work tackles a harder question: how is it possible not to believe in God after what happened? [3]
The story focuses on Patol Babu, who is intercepted by his neighbor Nishikanto Ghosh to tell him that his brother-in-law, Naresh Dutt, producer of a film company, was looking for a man with particular characteristics. This person had to be around fifty and had to be short and bald. Patol Babu could not believe it, he never thought that something like this could happen to him at his age. Before his knowledge in the performance and wanting to know more details of his participation, Patol Babu was going to contact Naresh Dutt.
After the offering of the role Patol Babu began to remember his past as an actor when he played in theaters as the main actor. Before he used to live in Kanchrapara and worked in a railway factory. After mute to Calcutta since he had been offered a better position, in which he remained for nine years. During that time he wanted to start again with the performance but it was impossible, the company in which he worked reduced his staff to reduce expenses and Patol Babu was one of them. After that I fight to make a living: from opening a store and working as an insurance salesman.
Finally, Naresh Dutt arrives at Patol's house claiming that Patol was the person who was looking for the role and that he had to go to the Faraday house to start filming at the next day. After Naresh left, Patol told his wife what he had achieved. For his performance he was paid but his passion for the performance was stronger but his wife told him to get scared because we still had nothing materialized.
The next day arriving at the place there were a hundred people and a large production that were already beginning to film. Patol asked Dutt what his dialogue was because he wanted to start practicing and acting as best as possible, so Dutt gives him a sheet that said the word 'oh'. Surprised Patol could not believe what he was seeing, he thought he was being teased. Then he walked away sad from the place. Sitting and thoughtful, he began to remember what his mentor Gogon Pakrashi had said to him at the time: No paper is small and you should be grateful for the opportunity you are given. After that he reconsidered his role and dialogue and started practicing the different ways of saying 'oh'. After practicing he went to the set to know when it was his turn to act. Patol waited and at the time of recording he played his role correctly. He felt that his mentor was proud of him and his performance made him feel so good that he did not need the money in comparison to his satisfaction for acting, so he left the place without the money.
