Short Story Writing. Time In A Short Story

The time buried by the action of a short story should be short, and preferably plain. Recurrently speaking a day or two, a interval, or at the most two weeks is enough. We should be focussing on one single incident in the central repute ' s life, and it should cut place in in that few episodes since possible. More time can be brought in by the use of flashbacks, but galling to cover a longer expression in the liveliness of the story can bring problems with maintaining suspense and continuity

If you find yourself inclination to use phrases related in that ' a month next ', or ' a week succeeding ' this is a sign that there is a problem to do with the time scale. Generally the solution is to ajar the story at a more modern stage than you had originally planned, and indicate what has gone on before in the anatomy of a subconsciousness.

Flashbacks

A flash on is a section of a story in which the forward progress of time is temporarily unfavorable stage we look back to the elapsed. Like every other attribute of the story it is governed by point of view, and forasmuch as represents the central type remembering.

Flashbacks should one shot be used to bring in material which is relevant and capital to the story, and which cannot be brought in allotment other way. For example we might have a story about a woman who had a boyfriend when she was a teenager, then lost contact with him, then five years later received a letter from him inviting her to go and visit him. How would we organise the time scale here?

The way not to do it would be to open with her first meeting with the boy, show how the friendship developed, and how they parted, then have ' Five years later.. ', and continue the story with her going to visit him. This would be a rambling episodic plot with little or no suspense to hold the reader ' s attention.

Much better would be to open the story with the woman on the train on her way to the reunion, and to show the past in the form of a flashback, then, when the train arrives at its destination, bring the story back to the present. Journeys are opportune settings for flashbacks, because they break continuity of place just as memory breaks continuity of time, they evoke the idea of connections being made, and they are occasions when, with little else to do, we are apt to drift into memories and daydreams.

A trigger is often helpful to set a flashback in motion, and a letter is an ideal trigger. So we can open our story with Janet sitting on the train, watching the countryside drift past the window. She is excited and apprehensive about meeting John again. Will he have changed? Will they still have the same feelings for each other? She takes his letter from her handbag and starts reading, and remembering... and we are into a flashback as she re - lives events of five years ago. Then the train pulls into the station, bringing Janet out of her reverie, and we continue the story in the present.

This way we will have opened the story on a note of anticipation and suspense, and set up a structure in which the immediate action can take place over a short and continuous period of time.

A flashback always needs to be prepared for by establishing something going on in the present which can be returned to when the flashback is over. The example of a train journey is given above, but it can be just about anything which gives the central character time to sit and remember for a few minutes. She might make herself a cup of coffee, sit down, drift into a daydream about something which happened ten years ago, then come back to the present to realise her coffee has gone cold.

The pluperfect tense ( ' had ' ) is often needed to introduce a flashback, but long passages in the pluperfect are uncomfortable to read, and can lose the reader ' s attention because they are implicitly a digression away from the action. If the flashback is to be a long one it is usually fairly easy to switch back to the simple past tense after the introduction. Look out for the way it is done in published stories.

Several days later

Phrases like ' three days later ', ' a week later ' should be avoided, even though they can fit comfortably into the time scale of a short story. The problem with them is that they imply that the author is telling us about events, instead of dramatising them from the central character ' s point of view. ( see Dramatisation ' )

Suppose Janet doesn ' t hear from John for three days, then receives a ' phone call from him. Rather than ending the first section of the story with a gap in the text, ( a gap indicates a passage of time ), then opening the next section ' Three days later... ' we can open the next section with Janet answering the ' phone and saying: " Hello John. Where on earth have you been for the last three days? "

The idea here, as in all areas of story writing, is to avoid giving information directly to the reader. The information is transmitted in dramatic form so that the reader picks it up for himself.

As the days passed. As the weeks rolled by

Phrases like this give the reader the idea that nothing of very much interest happened for quite a long time. They are usually easy to avoid, in a similar manner to the example above. Instead of saying: ' As the days passed I grew more and more despondent, and I could see I was getting on Janet ' s nerves. ' We can have: " What ' s the matter with you John? " said Janet. " You ' ve done nothing but complain for the last five days. " Instead of: ' As the weeks rolled by we slipped more and more into a dull routine. ' We could have something like: ' Passing the travel agents one morning I realised Janet and I needed a holiday. We ' d been trapped in the same old routine for weeks, it was high time we got away for a few days. ' That way the information about passing time is not given directly, but conveyed unobtrusively while we focus attention on the next important piece of action.

Copyright: Ian Mackean literature - study - online. com

Simply Fly Simple Story Of A Simple Man

We may have scrutinize divers autobiographies of crowded celebrities, including businessmen; however, this particular one has the certain elements which positively make a heart go Wowif he can do it, anyone can! I am conversation here about Master G. R. Gopinath, the man behind India ' s first low cost airline, who reached station he is today, with final curtain will power to following his dreams. Now wouldn ' t that be clich - come from your dreams, do the upright subject, toil hard, be firm with your dreams, learn everyday - we may be amends or reading them quite often in our lives. So what does this book have to offer to make it a good read!

In Simple terms - a Simple man ' s, simple journey from his childhood to where he is today, having built the best in class low cost airline which had a catch word - Simplyfly!! Get inspired - read this book to get to know the man not only as the creator of Air Deccan, but also of several other successful projects in his life, his triumphs and travails. Not many first generation entrepreneurs have dabbled into farming - lost everything to floods, turned a barren land into an award winning silk worm production unit ( he got the Rolex Award for it ), enter politics and lose and election, and that too after having been an Army Officer and fought wars, and then create a revolution in Indian aviation.

' Simply Fly " is a common man ' s story from a village school to being counted among the top businessmen in India. His determination to own an airline which everyone and anyone could fly in took him from where he was to where he is today. It was to be the start of a no - frills airline, where costs were tightly monitored and enable millions of people to fly for the first time. Of course the journey was fraught with problems and he eventually had to sell the airline to Vijay Mallya. In fact he even shares the dialogue between him and Vijay Mallya as an anecdote - the book is actually littered with wonderful first hand anecdotes which also highlight the simplicity of Captain Gopinath. They are fun to read.

You will not find this as the usual management book, which tells you what to do and how to do to reach somewhere in life. In a sense, Simply fly is a true story of a common man ' s life, the challenge any common man faces in his life, problems of poverty, losing everything to a flood, bureaucratic and political apathy etc. It is also a story on the rising up from the ground up with sheer determination every time he falls or fails in all types of adversities! This is where the difference in being a common man and a man among commons! I could safely say that it was he who created his own turf, opened a new market in India, making it possible to others to

Today Captain Gopinath runs Deccan 360, a logistics company and lives and works out of Bangalore. Read this book and be inspired.

Should You Start Your Story At The Beginning

In the beginning of the story, you devoir inculcate your main constitution and the basic plot of the story. The beginning of your story should grasp your tutor ' s attention. It has been oral that considering of the attention spans of people today, you have unequaled 3 - 5 seconds to capture their attention. That ' s not much time. For this reason, your first sentence essential be a powerful one - a hook, seeing we writers call it. It demand capture the tutor ' s attention so that they will want to hold back reading. A stupid first sentence or first matter will ok the orator tossing the book on the fast food or placing it back on the bookshelf. Obviously, that is not what we want. No matter how good your story is, if you fail to hook your preacher with your beginning, your story will probably go unread. Here are a few examples of good beginnings that hook the reader and immediately draw him into the story: Nothing ever starts where we think it does. So of course this doesn ' t begin with the vicious and cowardly murder of an FBI agent and good friend named Betsey Cavalierre. I only thought that it did. My mistake, and a really big and painful one. - Violets Are Blue, James Patterson Notice in this example, the author tells you that the story doesn ' t start where you think it does or even where the main character thought it did. This leaves you wondering where the story actually begins, as well as intrigued by the knowledge that you ' ll be helping to solve a crime. The New England woodcarver Jacob Adams was having a lean year - as lean and unprofitable, he thought, as if the Devil himself had a hand in it. If Jacob Adams had been born two hundred and thirty years later, he would simply have thought, Business is lousy. - Ghost Ship, Dietlof Reiche In this example, you, as the reader, are intrigued by the last sentence. Why would Jacob have thought differently at present than he would have 230 years later? What led him to believe that the Devil himself had a hand in his lean and unprofitable year? In just one short paragraph, you are left with questions that beg to be answered. Winter ' s chill hung in the air like thousands of polished silver shards, poised to fall soundlessly to the ground. A young woman stood in the midst of the chill, heedless of its potential to harm her, and motionless, as if simply breathing in and out was all she could manage. She remained there for quite some time, fighting visibly to keep herself upright. In time, she took a careful step forward, only to rest again, still breathing raggedly, still adding to the frost. - The Mage ' s Daughter, Lynn Kurland Again, the author begins in the middle of the story, leaving you feeling like you must read on to figure out what ' s happening. Who is this young woman? Why is she so weak? What happened to her? Will she be alright? Many new writers are under the impression that at the beginning of the story they have to spill out, in great detail, everything that they know about the main character and the plot of the story. Big mistake! This will cause your readers to feel as if you ' re simply throwing bits of information at them and expecting them to make sense of it. Character development and plot development can take place later in the story. It can be worked in as you go along. Don ' t give in to the temptation to deliver all your facts on the first few pages of your book or first few paragraphs of your story. If you do, you leave your reader with nothing to look forward to, and therefore, no reason to finish reading.

SOCIAL ISSUES IN THE PLAYS OF MAHESH DATTANI

SOCIAL ISSUES IN THE PLAYS OF MAHESH DATTANI The plays of Mahesh Dattani emerged for - fresh triumph ' in the section of Indian English theatre in the last decade of the twentieth century. His plays deal with contemporary issues. They are plays of today sometimes being actual due to to generate controversy, but at the twin time they are plays which embody abounding of the classic concerns of world dramaturgy. I have selected - Tara ', Seven Steps Around the Fire, on a Stuffy Night in Mumbai - Bravely Fought the Ideal ' and - Final solutions, ' to study the contemporary values in these plays. 1. 2: JUSTIFICATION Dattani ' s plays have a universal appeal. They can be staged anywhere in the world, they would frame full attention of the audience. Dattani moulds his subject in parallel a way that it is both topical through vigorous being appealing. His plays speak across linguistic and cultural barriers. Dattani makes an abundant use of Indian mythology, rituals and traditions and contemporary problems, India is beset with but he elevates these themes to a higher planate, touching the human chords that emerge love, delirium, sexual enjoyment and count of personality. Though he lives in Karnataka, he writes about the total nation of India, about the complete world he lives in. It is in the fitness of things that we obligation make an trial at grading the play wright ' s thematic concerns owing to fresh since his exploration of, and experimentation with stage. 1. 3: MAHESH DATTANI: HIS LITERARY ACHIEVEMENTS Mahesh Dattani was born in Bangalore on August, 7, 1958. He is the famous Indian English dramatist. He took impression in Baldwin ' s High School and St. Joseph ' s college of Arts and Science, Bangalore. He is a graduate in History, Economics and Political Science. He is a Postgraduate in Marketing and Advertising Management. He worked because a copy writer in an advertising firm and succeeding on with his father in the family business. Dattani ' s theater assortment - Play pen was formed in 1984. He made his directional debut with Mango Souffle. He has directed copious plays for them ranging from classical Greek to contemporary works. Over a carrier spanning twenty five years he has written radio plays for the BBC and the film script of Ek Alag Mousam. Plays - ( i ) Tara ( ii ) On a Airless Night in Mumbai ( iii ) Footing There ' s a Will ( iv ) Dance like a Man ( v ) Bravely Fought the Ruler ( vi ) Final solutions. Mahesh Dattani notorious the prestigious Sahitya Akademi Award for his remembrance to Indian Acting in 1998. The International Bellwether Tribune shift praising Mahesh Dattani praised him because - - One of Indian ' s best and most meditative contemporary play wrights writing in English. ' ' Mahesh Dattani is India ' s first play - wright to be awarded the - Sahitya Akadami Award ' for his remittance to the world of theatre. Alyque Padamsee calls him one of the most thoughtful contemporary play wrights. There are two published texts of Dattani ' s plays - one a collection of plays bit the other one is in parts. Recently his plays have been cold in a single volume called - Negligent Plays ' published by Penguin. Alyque Padamee says, - - At last we have a play wright who gives sixty million English speaking Indians an specification. ' ' Mahesh Dattani is one of the famous Indian - English dramatists. He has successfully launched the Indian theater in English. In multifold of his plays, he deals with various issues like homosexuality, gender discrimination, communalism and child sexual maltreat. In an interview - Personal Agenda ' Published in Branch on Hike 21, 2004 Dattani vocal, - - The love of my life is acting and I want to write more plays. ' ' His most individual quality is wide reach of themes that he deals with in his writings. Dattani ' s plays are written for the stage. It is the visual quality and dramatic effect which are of paramount importance. Dattani shapes his subject in consonant a way that is both - topical now bright-eyed due to appealing. Alyque Padamsee assisted Mahesh Dattani in co-op his self - esteem and helped him in securing regular audience for his plays. In that Mahesh Dattani points out in his takeoff - - Alyaque believed in my slavery horizontal before I believed in it myself. He gave me courage to call myself a professional playwright and director. In 1998, Dattani won the Sahitya Akademi Award for his book of plays. Final solutions and other plays were published by East - West Books, Chennai. According to the Sahitya Akademi Award, - - ( Dattani ' s attempt ) probes tangled attitudes in contemporary India towards communal differences, consumerism and genera brilliant bequest to Indian acting in English. ' ' His plays deal with religious tension, femininity and gender controversy. Alyque Padamsee calls him one of the - - most unsmiling contemporary playwrights ' ' Dattani takes issues that afflict societies the world over. He has chronicled the social turkey and the follies, foibles and prejudices of Indian society. Some of Dattani ' s plays are eloquent defences of society ' s out casts and would be rebels. These plays build in - On a Stifling Night in Mumbai, ' a compassionate look at the life and tensions of a homosexual community tricked away in Mumbai. - Both On a Stifling Night in Mumbai ' and - Do the Needful ' are routine the first Indian plays to boldly deal with the subject of homosexuality. The play - Final Solutions ' is about item. It reveals how the engendered suspicion unequaled deepens from engendering to procreation. The plays of Mahesh Dattani emerged considering - fresh advance ' in the section of Indian English play in the last decade of the 20th century. The plays have a great - contemporary value. ' According to John Mc Rae. - - They are plays of today, sometimes because actual because to originate controversy, but at the corresponding time, they are plays which embody manifold of the classic cancens of world drama. ' ' Mahesh Dattani ' s plays are revelatory in nature. If, in - Direction There ' s a will, ' it is the ghost not of Hasmukh Mehta but of his father that has to be recognised in - Dance like a Man '. In - Bravely Fought the Queen, ' it is a host of issues that have to be revealed and faced from the homosexuality of certain characters. Dattani shows us the hollowness of middle class lives. His plays explore what lies below the facades characters and families front up to fool the world. The family in Dattani stands for society at large. Dattani ' s characters search for security and acceptance, to be true to themselves. In Dattani ' s world the socialisation process initiated in the family unit has its aim the stunted growth of a bousaitres. The prominent theme of Mahesh Dattani ' s later plays is homosexuality. Homosexuality is dealt with in - Bravely Fought the Queen ', - Where There ' s a will, ' and - Dance Like a Man. ' Another important theme of Mahesh Dattanis ' s plays in Gender Identity. - Bravely Fought the Queen ' foregrounds this whole issue with its very title. Dattai raises these and a number of other questions regarding gender and social stratification and hierarchy and sexuality. The most significant feature of Dattani is, perhaps his use of langauge. The note to his very first play, - Where There ' s Will ' reads as follows. - Should the play be need in classrooms, I sincerely wish that English language teachers will not dismiss my syntax as bad English ' or worse still as incorrect, while knowledge of the rules of grammar is important, the richness and variety of the spoken word is a study in itself. ' ' The past and the present both co - exist, and while the past has fashioned the present, the present helps the characters to re - read the past. Dattani ' s stage techniques are aimed at making the audience intimate with the life of a family, its trials and trilantations and debilitating secrets. Dattani exercises great care in ensuring through his detailed stage direction that reader and potential directors understand all this. This division of the stage allows clearly demarcated space for certain characters, or time periods, as well as for different locales. C. K. Meena says, in an article on Dattani, - - Unmasking the Middle class: The Drama of Mahesh Dattani ' ' ( Indian Review of Books, Vol., N. 6 1999 ), that this distribution of - - the action among different levels on stage not only makes his plays visually exciting landmark but more at a snappy pace. ' ' Mahesh Dattani defends his use of English as spoken by people in India and also goes on to make another serious statement. He says that his characters - - would love to speak in Gujarati ' ' and his challenge as a writer is to convey their Gujaratiness without distortion in English. Dattani ' s characters speak the kind of English that most middle class Indians do. He also uses Indian English with great confidence and captures the rhythms of the spoken English. 1. 4: RESEARCH METHODOLOGY I have resolved to do research on the dramas of Mahesh Dattani: - Tara ', - Bravely fought the Queen ', - Final solutions ', - on a Muggy Night in Mumbai ' and - Seven steps Around The Fire. ' I shall take recourse to the following methods. 1. The study of various literary journals published in India and abroad incorporated in the corpus of the bibliography. 2. The study of various News - Papers in English in India and Abroad. 3. The analysis of each drama after close scrutiny.?

CHAPTER DIVISION

1. CHAPTER - 1 INTRODUCTION

2. CHAPTER - 2ISSUE OF GENDER DISCRIMENATION

2. CHAPTER - 3ISSUE OF EUNUCH [SEVEN STEPS AROUND THE FIRE]

3. CHAPTER - 4ISSUE OF HOMO SEXUALITY [ON A MUGGY NIGHT IN MUMBAI]

4. CHAPTER - 5ISSUE OF COMMUNALISM[FINAL SOLUTIONS]

5. CHAPTER - 6SUMMING UP

?

DETAILED ANALYSIS CHAPTER - 1: INTRODUCTION Mahesh Dattani is a contemporary writer who writes sepcifically in English. Dattani ' s plays question some of the norms and conventions of society. In the process, interesting questions arise regarding gender and other issues like homo - sexuality, lesbianism, child sexual abuse. Dattani tackles issues that afflict societies the world over. Dealing with issues like male - famale ascendance divide, the patriarchal tradition, consumerism, communalism, Dattani holds back nothing. Alygue Padamsee calls him one of the - - most serious contemporary playwrights. ' ' CHAPTER - 2.: ISSUES OF GENDER DISCRIMINATION - Tara ' is a riveting play that questions the role of a society that treats the children of the same womb in two different ways. Dattani ' s - Tara ' is a poignant play about a boy and a girl who are joined together at the hip and have to be separated surgically, which will mean the death of either of the two. The fact that the injustice perpetuated by the victim ' s own mother whose preference is to the male child, makes the play more powerful suggesting that it is woman who continues the chain of injustice. Tara is not just the story of the protagonist of the play - Tara, ' but it is the story of every girl child born in Indian family whether urban or rural. The situation is aggravated if the girl is physically challenged or there is any other physical or mental deformity in her. It is a bitter example of child abuse present in the Indian societies. Every girl child born in an Indian family does suffer some kind of exploitation and if there is a boy child in the family, the exploitation is very much visible as the privileges are consciously or unconsciously propounded to the son. The scene opens in London with Chandan, now a play wright, reminiscing about his childhood days spent with his sister Tara. Tara and Chandan are two sides of the same self rather than two separate entities and that Dan, in trying to write the story of his own childhood, has to write Tara ' s story. The play revolves around the Siamese twins, chandan and Tara Patel, an operation to separate the twins at birth, leaves Tara crippled for life. Chandan, the privileged brother wants to turn his anguish into drama on his sister ' s childhood. Throughout the play we can feel that she bears some kind of grudge against the society. She seems to have some kind of aversion with the outside world and her world consists of only her parents and her brother whom she was ever close to. The play explores besides exposing the typical Indian mind set which has from time immemorial preferred a boy child to a girl child. It looks at the triumphs and the failures of an Indian family. comprising of father ( Patel ). mother ( Bharati ) and two children ( Chandan and Tara ) coping with the trauma of disability. Tara, a feisty girl, who isn ' t given enough opportunities as were given to her brother eventually wastes away and dies. Chandan escapes to London, changes his name to Dan and attempts to repress the guilt he feels over his sister ' s death. His sense of trauma and anguish is so intense that at the end of the play, we see Chandan apologizing to Tara in the most moving of all the lines - - Forgive me, Tara. forgive me, for making it my tragedy. ' ' CHAPTER - 3: ISSUE OF EUNUCH - Seven Steps around the Fire ', the most popular play, dwells on the theme of eunuchs, their identity, their constitution and their connotation. Uma Rao, the sociology scholar, emerges as the most powerful character of the play, the mouth piece of the playwright, who fights to establish the identity of an eunuch. Mammal, during her research on the class and gender - related violence and crime, meets justice in the nemesis of the play. An eunuch, a beautiful one, invited for marriage, and the final tragic death - all seem to be a mis construct. This is all about marriage of a beautiful hizra Kamla to a son of a wealthy government minister named subbu. This shocking revelation culminated into the murder of Kamla. The society accepts a hizra for gracing the ceremonies of marriage and births but would not allow them to portrayed of such ceremonies. The author has ironically portrayed this aspect which would not have been given any head, for any matter related to them is of no importance to anyone. The heart rendering story about a hizra that she is murdered simply because she had fallen in love with subbu a young man having a status of importance in society, fills us with horror and sense of injustice. Again in the play we observe how the Police officer refuses to subject him self to any medical examination to rule out the barrenness of his wife due to his impotency. This bias of squarely blaming the woman for her barren state is another societal phenomenon that Dattani exposes.

CHAPTER - 4: ISSUE OF HOMO SEXUALITY - Bravely Fought the Queen ' charters through the emotional, financial and sexual intricacies of a modern day Indian family. - Bravely fought the Queen ' was written by Dattani in the year 1991 and it was performed at the Sophia Bhabha Hall, Mumbai on August 2, 1991. The narration is centred around an Indian family in which two brothers Jiten and Nitin, the co - owners of an advertising agency, have married two sisters, Dolly and Alka. The women remain at home much of the time, where they look after the men ' s ageing mother Baa. Jiten and Nitin ' s father was a cruel and a dark man who usually harassed their mother. The kind of cruelty perpetrated on Baa by her husband is brought to light every now and then in the play. Baa sees the picture of her husband in her elder son, Jiten and thus automatically develops an inclination towards her younger son, Nitin who resembles her a lot. So here we have two generations sharing the same experiences at the hand of their chauvinistic husbands and yet to come third generation, Daksha who also experiences the mal - treatment of her father even before her birth and is born as a disabled child. In the same way Dolly and Alka in - Bravely Fought the Queen ' arm themselves at the end of the play to fight back. Alka very boldly questions the authority of her husband and asks for an explanation for his disloyalty. She also exposes the betrayal of her brohther for not revealing the existence of homosexual relations between her husband and her brother. There was Kanhaiya, who represents the world of sexuality whether heterosexuality or homosexuality. He might be the alluring cook who might or might not be Krishna of Dolly and Alka, or the dark auto driver who embodies Nitin ' s sexual guilt. Nitin at the end of the play exposes his homosexual relations to Alka who is fast asleep after getting drunk. Thus we see that women have not been presented as sinners but they suffer because of the men who are part of their lives. This play presents the concept of gay culture prevalent in big cities. - On a Muggy Night in Mumbai ' is a tragicomedy which deals with homosexuals In the play, Sharad and Deepali, though comfortable with each other, have different ways of being gay. More stress is laid on the characters of Kamlesh and Prakash who is also Ed and romances with Kamlesh ' s ' s sister Kiran. Initially Kamlesh and Prakash were ardent lovers when Prakash suddenly turns coats and changes into Ed, weaning the garb of a hand some guy, head over heels in love with Kiran, who unfortunately happens to be Kamlesh ' s sister. Kamlesh playing the role of humble lover resides to the changed situation without complaining. Nevertheless, his sexual needs are fulfilled by sharad, his friend. He shocks us a bit by stooping down to mating with a guard for which he is ashamed of himself. Prakash who had now changed to Ed suddenly emerges into the room and the scene to meet Kamlesh ' s sister and bumping into Kamlesh is revived of his earlier crush on Kamlesh, Nonetheless Prakash / Ed is ashamed of being a homosexual and tries to leave the place with Kiran as soon as possible to escape the cynical eyes of the others who knew about his relationship with Kamlesh. Karan is shown to having all compassion for the gay people and wishes they could many for happiness of her brother who she knew was homosexual. The irony of the whole story is that the poor girl did not know that the man to whom she was going to get married was homosexual and ex - lover of her brother. The revelation in the end comes as a shock to her. The whole story throws light on the growing homosexuality and its non - acceptance by the Indian Society. CHAPTER - 5: ISSUE OF COMMUNALISM - Final solutions ' was first performed in 1993. This play foregrounds the Hindu - Muslim problems. It also tackles the theme of transferred resentments in the context of family relations. The characters in the play motivate us to think that angry out - bursts lead to chain reactions. The play opens with Daksha reading from her diary. An oil lamp converted to an electric one suggests that the period is the late 1940. Daksha is the grand mother of Gandhis. Daksha closes her diary and then Hardika appears on the stage. She feels the things have not changed that much. In the living room of the Gandhis, Aruna, Ramnik Gandhi ' s wife, enters while Aruna ' s daughter Sunita and her husband are retiring for the night. Ramnik doesn ' t like Hardika ' s telling his daughter that - - those people are all demons. ' ' Aruna is a God fearing woman who thinks that everything will be smooth and peaceful one day. Ramnik saves the two boys - Bobby and Javed. Ramnik thinks that Javed has done an unforgivable act. Ramnik, a liberal minded person, offers a job to Javed only to give him a chance. Ramnik transfers his anger at his own father ' s black deed ( burning the ship ) to his mother. In the name of communal hatred, this shameful act is done by Ramnik ' s father. The play is a fine example of transferred resentments. Smita, who is unable to express her love for Babban, criticizes her mother bitterly. The play mocks at the politicians who use people as their puppets. These puppeteers are the culprits. The play - wright at the end of the play, wishes to stop this game of hatred and communal tension through the character of Ramnik. Ramnik accepts that his father has done the black deed. We should forgive the offenders and forget the past. This can be the final solution. CHAPTER - 6: DATTANI ' S ACHIEVEMENT AS A PLAY WRIGHT Dattani ' s plays have contemporary values and his plays can be said to have been impaired by Ibsen the Father of Realism. Dattani handles every problem from gender issues to sexuality very successfully. Dattani ' s achievement as a play wright depends on the fact that his plays are a slice of life. They present reality as it exists. Dattani ' s theatre group, playpen, was formed in 1984 and he has directed several of their plays ranging from classical Greek to contemporary work. He has an array of themes to offer in his plays and the issues he chooses to project are the most topical but also the most controversial one. Dattani ' s plays, have purely performance - oriented scripts that elicit from the audience and emotional as well as strongly intellectual response. His plays address the middle class and only the middle class. The reason is not far to seek - it is this class that constitutes his audience. Dattani has created a vibrant, new theatrical form which is a marked development on the hither to stagnant Indian drama in English.? BIBLIOGRAPHY A. Primary Sources 1. Tara: In Collected Plays ( New Delhi Penguin 2000 ) 2. Bravely Fought the Queen In Collected Plays ( New Delhi: Penguin 2000 ) 3. Final Solutions: In collected Plays ( New Delhi: Penguin 2000 ) 4. Seven Steps Around the Fire ( New Delhi: Penguin 2000 ) 5. On a Muggy Night in Mumbai ( New Delhi: Penguin 2000 ) B. Secondary Sources 1. Karnad, Girish: Author ' s Introduction, Three Plays ( New Delhi, Oxford university Press, 1994 ) 2. Ramanujam, A. K. - - Introduction ' ' Follktales from India ( New Delhi, Viking 1993. 3. Naik, M. K. Dimension of Indian English Literature ( New Delhi, Sterling, 1984 ) 4. Styam. J. L. The Elements of Drama ( London: Cambridge University Press, 1960 ) 5. Iyenger, K. R. S. - Indian writing in English ( Bombay, Asia, 1977 ) 6. Iyenger, K. R. S. - Drama in Modern India ( Bombary: The P. E. N. All India centre, 1961 ) C. Articles 1. Padamasee, Alygue - - A note on the Play ' ' in Mehesh Dattani, Final Solutions, collected Plays ( New Delhi: Penguin India, 2000 ) 2. M. K. Naik - - Cinderella Still: Recent Indian English Drama ' ' Littcrit, Vol. 27, Number and 2, June - December 2001. 3. The New Indian Express, Friday October 15, 1999. 4. The Hindu, Sunday March, 9, 2003. 5. Devy, G. N - - - Indian English Literature and common Wealth Literature ' ' In Another Tongue 1993, Madras, Macmillan, 1995 ). 6. Reddy K. Venkata and Dhawan R. K. ( ed ) Rtd. - Flowering of Indian Drama ( New Delhi Prestige 2004 ). 7. Asnani Shyam - - Indian English Drama ' spectrum History of Indian Literature in English ed. Ram Sewak Singh and Charu Sheel Singh ( New Delhi, Atlantic, 1997 ) 8. Naik, M. K. - - - The Achievement of Indian Drama in English ' Dimension of Indian English Lieterature ( New Delhi: Sterling, 1984 ) 9. Dattani, Mahesh: - - Contemporary Indian Theatre and Its Relevance, ' ' Journal of Indian Writing in English, Vol 30, No 1, Jan 2002.

Short Story - A US President Fails to Disclose Use of Bi - Polar Disorder And ADHD Prescriptions

The US was at war thanks to we had just been cyber attacked, instrument was down and the elections were postponed. Yes, it was a contentious poll over economic issues, civil rights, foreign aid, and a host of other single contention debates to harness the votes with each candidate putting emit push ads in the media like there was no tomorrow. And for the media and the Internet, there largely wasn ' t a tomorrow, but no one fairly knew that conclusively until entity went nebulous. Still, until forasmuch as they were on assignment attacking each other for not releasing their medical records, tax returns, college transcripts, and would you believe it flush their birth certificates.

Some folks on the radio and TV joked that possibly they should besides release their underwear size, and get fully measured for their breast size and male reproductive part. Yes, this was an election against a man from one party, and a woman from the other. Although the Independent party candidates didn ' t stand a chance, the election was going to be close enough so it would matter how many votes they pulled away from either side. Since one of the candidates was older than the other, they demanded in absolute terms that the medical records be shown, all the while concealing there ' s.

It turned out that the HIPPA Laws protected people from anyone disclosing their medical records, and yet we expected our future president to reveal there ' s. The reality was they couldn ' t have told us anything because all of those HIPPA records had been hacked, and they were now available on Wiki Leaks - so much for US Cyber Security initiatives. Except for the younger presidential candidate, their records were available. They hadn ' t told anyone that they had been taking psychological drugs throughout high school and college due to their bipolar disorder, and challenges with ADHD.

In college, they had even been diagnosed with mild schizophrenia. Well, when one of the psychologists came forward who had retired long ago with this information the media lambasted him, called him a liar, and refused to report on the story, a story which turned out to be true and was actually verified by the candidate ' s grandmother, who herself was under special care and losing her marbles. Now there was nothing to confirm or deny these rumors, except for paper records still in an old - school filing cabinet, they were immediately ordered sealed by the courts, and only a few knew the truth.

Of course, now that the Internet was turned back on everyone was e - mailing back and forth and it had become an almost epidemic scandal. Then there was the war attack orders, the then current president with the sealed records was diverting everyone ' s attention to the counterstrike from the cyber Pearl Harbor attack on our nation. In the next chapter, we will discuss the outcome of the election and how the president with a different psychological disorder convinced the American people that he was still fit to lead even with these new realities coming to the surface. Please consider all this and think about it.

Stefano Pessina The Background Story

Stefano Pessina is the Italian billionaire who masterminded the 2006 expansion of two of the worlds largest pharmaceutical companies. Alliance UniChem and Boots Cluster merged to skeleton Alliance Boots, with Stefano Pessina beguiling nearly 15 % of the new company in shares. At the time of the spread, these shares were beneficial of around 1. 5 billion, representing just reward for the hard functioning Pessina had put in since setting up his first pharmaceutical company, Alleanza Farmaceutica, in 1977.

Stefano was born in Milan, into a middle class family. His father ran a pharmaceutical company, including several other businesses, so it is perhaps no surprise that Stefano followed his fathers footsteps into business.

Stefano attended Milan University, where he studied nuclear physics. He has stated in the past that had he not gone into business with his own pharmaceutical company, he would have enjoyed life as a scientific academic.

Pessina has his father, once again, to thank for choosing business over academia. The family business was a small pharmacy distribution company when Stefano took it over. In the years that followed, he moulded it first into a national distribution company in Italy, then took it further into Europe driving the growth of the business at an impressive pace.

Stefano Pessinas hard work paid off in 1997 when he brokered the deal to merge his company with UniChem, creating Alliance UniChem, of which Pessina owned 36 %.

Alliance UniChem then merged with Boots Group in 2006, making Stefano Pessina one of the most influential men in the world of pharmaceuticals.

Stories And Short Poems For Kids A Family Reading Night

Reading stories and short poems for kids aloud to your children is a critical step in teaching your child to scrutinize, but it has a miraculous secluded asset in that sane. When you haul the time to construe to your children you are bewitching time with them, with no distractions, no cell phone, no computer, no TV. You are program them that they are an primary priority for you. They will love that express time with you, no matter their age.

Many of our read aloud story times have led to some great heart to heart discussions. Reading stories together gives us time to slow down and a reason to talk about things that maybe we wouldn ' t on a day to day basis. Stories are a wonderful way to teach life lessons, reinforce good choices, model positive morals and open the door to talk about life ' s difficulties such as sickness or death, dating or peer pressure.

As your children get older and you move into more challenging reading material they will benefit greatly from the discussions that will arise during your story time. Keep communication lines open with your children by simply reading to them. The relationship and communication that your family read aloud times will establish can carry you through what could be some very tough teenage years.

There is simply something magical about stories. We are all drawn into them, no matter our age. Sometimes my older child doesn ' t feel like joining in our reading times because he ' s too busy listening to music or on his iPod, but inevitably, as we get into the story he is drawn into the room from wherever he was. He can ' t help but listen - and usually sits down with us to hear the rest of the story.

Institute a story night in your home this week, and if your older children roll their eyes at you just smile, they will learn to love that special time with you.