I’m pretty sure it’s Future. But if it’s not it’s present. It’s between Future and present but probably Future.
The question "The Story of An Hour" seems to ask is "Why did Mrs. Mallard die?"
I see this question in the story because they mentioned in the beginning and in the end of her "weak heart" and she passes away in the end by "the joy that kills." Ironcally, she was devastated by her husband's return, which ended her freedom from their marriage. Mrs. Mallard was young, so it is possible that her condition was metaphorical for her emotional state.
Kate Chopin might answer with question by saying that Mrs. Mallard passed away because she realized her need for independence was greater than her love for her husband.
Answer:
Explanation:
Because Sarah made a wrong turn one too many times, she was late for her party. The party was supposed to start at seven O’clock, but Sarah didn’t make it until after eight. She knew that everyone was waiting for her, but she couldn’t get there any faster.
Answer:
I agree.
Explanation:
If you look in a dictionary, the word "illegal" means "that which does not obey the law", "that which disobeys". If you look at the word "undocumented" you will see the meaning "what has a document", "what is not legal". However, socially, these words have a much greater weight and meaning, especially when related to immigrants. This is because these words reflect a feeling of aversion, when used to characterize an immigrant, they say reflect a bad denotation, making the immigrant be seen as a villain, a destroyer, a disobedient, someone who will do bad things.
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!
