Answer:
Gloria explained, that she can't clearly see without her glasses.
Answer:
A rock.
Explanation:
Eugenia Collier's short story "Marigolds," tells the story of a young girl and her family struggling to survive amidst the racist discrimination against the blacks. The story deals with themes of growing up, racism, acceptance, and understanding one's identity.
Lizabeth recalls how one night her father was so frustrated at being unable to provide enough for his family. He felt bad that his wife had to suffer and do more work while he feels helpless in not getting any job. That night, he cried while his wife consoled him. And it was at that moment that Lizabeth recalls how his father, <em>"who was the rock on which the family had been built, was sobbing like the tiniest child."</em>
Thus, Lizabeth compares her father to a rock.
Answer:
Writers probably stayed away from everyone else and also might have stayed inside. I don't know who exactly it was but people probably didn't create the painting until after the plague. They probably just imagined what the plagues would have been like. Some people survived because they either lived somewhere else or something else like that. Famous People who have died from Bubonic Plague (Yersinia pestis) infection: 429 BC - Pericles - Greek Statesman. 251 - Hostilian (Gaius Valens Hostilianus Messius Quintus) (Roman Emperor 251 AD) (251 AD) 664 - Saint Cedd (Missionary Bishop, Northumbria).
Most of my answers are probably wrong, so sorry if they are
Hope this helps!
Have a nice day!
Answer:
CROCODILE BURNING
BOOKSHELF
CROCODILE BURNING
BY MICHAEL WILLIAMS
RELEASE DATE: AUG. 1, 1992
Seraki's Soweto life takes a new direction when, almost by accident, he lands a part in a musical drama. The angry play is called iSezela, after a powerful, menacing crocodile in African myth, symbol of many kinds of oppression. The crocodile haunts Seraki: His brother Phakane is a political prisoner; the Naughty Boys, a gang of urban terrorists, is extorting money from his family; and the play, initially a liberating experience, becomes a nightmarish trap after its wild success in South Africa leads to a Broadway run and the director, Mosake, changes from inspirational leader to violent, exploitative tyrant. The author's theatrical experience stands him in good stead; readers will get a good sense of the work involved in a stage production and the heady feeling when it all comes together. While his lurid, harshly ironic portrait of N.Y.C. is unconvincing, Williams's insider's view of South Africa will open some eyes. The book ends on several hopeful notes: Seraki and the rest of the cast confront Masake, negotiate fairer contracts, and celebrate Nelson Mandela's release and also Phakane's—the crocodile's grip is slipping. ``So many things are happening in this country, Seraki, so many good things!
