12 Writing Tools To Make Covid

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Anti-Semitism as Personified in Fagin from Oliver Twist - Literature Essay Samples

In English novels, Jewish characters have been routinely described as greedy, nit-picking, and stingy misers. They are usually but not always merchants, money lenders, or bill brokers—Shylock from The Merchant of Venice by William Shakespeare, Isaac from Ivanhoe by Sir Walter Scott, and Fagin from Oliver Twist, among other Jewish characters, are the most well-known examples of such racial and cultural stereotype. Oliver Twist is the second novel by Charles Dickens and was first published as a serial 1837-9. Through the crafty description of the orphan Oliver Twist’s uneasy life, Dickens reflects the reality of the massive low class poor people at that period of time. And the villainous character in the novel—Fagin, and his Jewish identity have always been controversial to readers across cultures and generations. In this essay I will talk about anti-Semitism in Oliver Twist as personified in Fagin. I will present the difference in attitude towards Jews as seen in Fagin through the comparison between Dickens’s original novel and other later adapted versions—specifically, David Lean’s 1948 film adaptation and Roman Polanski’s 2005 film adaptation. Also I will demonstrate the causes as well as the consequences of different stages of attitude towards Jews in these versions of Oliver Twist made in three different period of time. In Dickens’ Archetypal Jew, Lauriat Lane makes several arguments. First, he claims that Dickens follows the â€Å"anti-Semitic tradition in English literature† by making the villainous character from Oliver Twist—Fagin as a Jew (94 Lane). However, Lane also claims that Dickens shows himself â€Å"in no way free from the general attitude and prejudice of his age† (95). Lane claims that Dickens’s Jewish character has basis in reality. He is certain true for that he mentioned in the preface to Oliver Twist, Dickens aims to make the novel realistic—â€Å"to draw a knot of such associates in crime as really did exist†¦to show them as they really were† (). Despite Dickens’s aim of being realistic, Lane denies the character of Fagin as a pure realistic study of Jewishness. The evidence Lane offers is a letter Dickens wrote to Mrs. Eliza Davis, of Fagin, â€Å"that that class of criminal almost invariably was a Jew† (94). Al so, â€Å"a few passages from Dickens’s another letter reflect the same prejudice. On 12 September 1843 he wrote to Thomas Hood that one Mr. Colburn had taken ‘a money lending, bill-broking, Jew clothes-bagging, Saturday-night pawn-broking advantage of your temporary situation’† (95). All these suggest that, not only does Dickens follow the anti-Semitic tradition in his writing, but he also stands for a firm stereotypical attitude towards Jews in reality. However, Dickens at his time, was not the only anti-Semitist in reality. Historically, anti-Semitism has been a long-existing racial prejudice both in literature and reality. In order to better comprehend the meaning and causes of anti-Semitism, it is necessary to grasp its opposite, the meaning of Semitism, or a more proper word would be philo-Semitism or Judeophilia, both words refer to people with â€Å"an interest in, respect for, and appreciation of the Jewish people, historical significance, and the positive impacts of Judaism on the world, particularly on the part of a gentile† []. However, this ideological stereotype, as the French Jewish literary critic Bernard Lazare convincingly argues in the preface of his book Anti-Semitism: Its history and causes, â€Å"was not born without cause† (5 Lazare). He noticed that wherever the Jews settled, anti-Semitism develops. Also be noticed that he disputes the word anti-Semitism to describe this certain attitude towards Jews. He claims he’d rather call it anti-Judaism, for which is a more accurate word. Various views have been given to explain the cause of anti-Semitism. The religious t heory from the old time is that, from the Christian perspective Jews are the â€Å"killers† of Jesus progenitors of Jesus; from the Judaism perspective they arrogantly declare themselves to be the possessor of a chosen people mentality. The racial theory propagated by the Nazi is that Jews are considered as an inferior race. The conspiracist theory claims that Jews are hated because they are the cause for most of the world’s problems—Adolf Hitler frequently denounced international capitalism and communism as being part of a Jewish conspiracy. In the original novel, Fagin is described as â€Å"a very old shriveled Jew, whose villainous looking and repulsive face was obscured by a quantity of matted red hair† (63; ch.8). Such an apparently stereotypical description about Jewishness Dickens made, was not on a personal basis. In the Victorian Britain, anti-Semitism was considered as a social convention—Oliver Twist grew out of an era and a literary tra dition which was â€Å"predominantly anti-Semitic† (Stone 225). As Harry Stone has suggested, Dickens â€Å"did exhibit anti-Semitism and this anti-Semitism was typical of his age† (225). Laws, parliamentary debates, newspapers, magazines, songs, and plays, as well as novels, reflect the latent anti-Semitism which was a part of the Victorian heritage. In 1830 a Jew could not open a shop within the city of London, be called to the bar, receive a university degree, or sit in Parliament†¦In 1830 the majority of England’s twenty to thirty thousand Jews earned their living through buying and selling clothes, peddling, and money-lending. Portraits in fiction of Jewish cloth dealers staggering under huge bags of rags, bearded peddlers haggling with country wives, and miserly usurers gloating over their secret treasuries were given reality not only by a long literary tradition but by the intermittent evidence of the London streets. (225) Another factor that contributes to the anti-Semitism in the Victorian era as represented in Oliver Twist, is Dickens’s Christianity. Susan Mayer argues in Antisemitism and Social Critique in Dickens’s Oliver Twist that Dickens â€Å"invokes Christianity† as a moral center in Oliver Twist (239 Mayer). Various discussions on Dickens’s Christianity are employed as evidence: Writing in 1962, John Gross, noting Dickens’s interest in redemption and resurrection, commented that Dickens’s Christianity â€Å"is more relevant than one tends to think nowadays† (xii). Twenty years later, Andrew Sanders again noted that the combination â€Å"of a sincere but simple enough faith with a general refusal to proclaim it from the house tops†¦ [has] rendered Dickens’s insistent Christianity†¦irrelevant to those modern critical discussion of his work. (Resurrection xi) Mayer also claims that, in Oliver Twist, Dickens â€Å"emphatically c riticizes what he represents as unchristian in the behavior of the English towards the poor† (241 Mayer). â€Å"In the novel’s opening chapters, set in the unnamed town of Oliver’s birth, make an criticism of those who created the new Poor Laws and those who justify, administer, and benefit from them, as well as of all the indifferent bystanders who profit from, or do not help to remedy, the situation of the poor† (241-245). Mayer perceives these flaws of both individual and institutional morality as the â€Å"failure of Christianity† (242). Lean’s 1948 film adaptation follows George Cruikshank’s illustration—in the film adaptation, Fagin played by Alec Guinness, is of a repulsive look along with the enormous hooked nose, chipped teeth, shaggy eyebrows, and matted hair, which represent the conventional Jewish racial stereotype at the time. This anti-Semitic portray also resulted protests by Jewish objectors from the new world to the Europe continent. Concerning the 1948 film adaptation with historical background at that time, Liora Brosh has given a context for comprehending Lean’s cinematic representation of Fagin and the audiences’ view (especially the Jewish protests) of it: In a departure from the novel, Lean’s idea is less about the private domestic sphere and more about British collective identity. †¦ Lean’s Oliver Twist is obsessed with those characters who subvert national boundaries. Both Fagin and the prostitute Nancy are represented as untrustworthy and not reliably British. †¦ Even though Lean is said to have relied on Cruikshank for his film, unlike in the illustrations, Fagin is not small and lanky. †¦ In the illustration Cruikshank drew for the novel, Fagin is thinner, smaller, and shorter than any other adult character, especially Sikes. †¦ This film was made when the Second World War was a recent and vivid memory, the British Empire was disin tegrating, and Jews were fighting the British to establish their an independent Jewish state. †¦ These new historical contexts changed the conventional trope of the cowardly feminized Jew represented in Dickens. (Brosh 94-95) As Brosh and other sources have explained, the anti-Semitic portrait of Fagin in Lean’s 1948 film adaptation is set as a political propaganda to serve the diplomatic demand—Zionist emerged in the late 19th century. â€Å"After the death of the moderate pro-British Zionist leader’s son, also with the anti-Zionism policies in Britain, the leadership of the Zionist movement passed to the Jewish agency led by the anti-British socialist party† (125-135 Cohen). In an effort to win the independence of the establishing Jewish state in Palestine, Zionist waged a guerrilla war against Britain. Like 1948 film adaptation, multiple later adaptations on Oliver Twist were also widely criticized. In the London stage premiere of Lionel Bart’s 1960 musical adaptation, Fagin played by the actor Ron Moody received criticism of his â€Å"stereotypical nasal infection and chanted songs in the style of Jewish folk music† (Gross). To avoid the controversy that have occurred to those previous adaptations, Carol Reed’s 1968 film version made a bit of adjustment—â€Å"instead, he played with gay stereotypes, mincing his way through ‘Pick a Pocket or Two,’ and twirling a frilly pink parasol in ‘Id Do Anything’† (Gross). Unlike Lean’s 1948 film adaptation and the other previous versions of Oliver Twist, Roman Polanski takes an obviously different approach in making of his 2005 film adaptation of Oliver Twist. His idea of approaching the character Fagin was revealed in a telephone interview where he said Weve lived long enough to know that certain things should be done for certain reasons. Without analyzing it. Which would be embarrassing, you know? (Gross). When dealing with Fagin, Polanski completely abandoned the anti-Semitic characteristics that earlier adaptations employed. He identifies Fagin neither as Jewish nor the usual evil exploiter of young boys. He focused on the both evilness and g oods—the dualistic nature of human-being in shaping FaginThere is no completely bad man, he added. Fagin, with all his villainy, is still giving the children some kind of home, you know. What was happening to these kids in the street was just unbearable (Gross). For him, Fagin is simply a lost citizen who is morally corrupted due to the social conditions, and meanwhile there is goodness with this character. Polanski’s film adaptation reflects both how contemporary people perceive the general attitude towards Jews today, and how Jewish individual/community respond to the anti-Semitism as they were treated with once upon time (Polanski is Jewish himself). Conventional attitude towards Jewish people and organizations, and the behaviors, ideologies, and policies of Jewish individual/organizations, both have mutual impact to each other. Just as Raphael Magarik has argued, â€Å"denying that Israel’s behavior has any causal in anti-Semitism is deeply counter-intuitive. This summer, Israel fought a war and anti-Semitism surged in Europe—were those two facts supposed to be a coincidence?† (n. pag. Magarik). Magarik’s detail-lacked argument is valid but it is also very weak. What can be discovered in this argument is that the contemporary people, in this context, unlike the people in the Victorian era, define and practice anti-Semitism based on not the Jewish r ace or the past stereotype, but the actions taken by Jewish people/organizations towards others. In this context, the contemporary anti-Semitism distinctly differs from the past ones, which are based on racial or religious hatred. The comparison of Dickens’s novel, Lean’s and Polanski’s film adaptations reveal the evolution of attitude towards Jewishness from the Victorian era, to the Post-War period, and finally to the contemporary world. And the re-organization of the meaning of anti-Semitism helps to clarify and classify Fagin, in different versions of Oliver Twist, as the representation of attitude towards Jewishness. From Victorian era to today, anti-Semitism, or the attitude towards Jewish individual-organization has gone through three main stages, in the Victorian era, anti-Semitic attitude was recognized as a social convention, Jews are generally treated with injustice. There for â€Å"Dickens shows himself in no way free from the general attitude and p rejudice of his age† (95 Lane). In the post war period, due to the anti-British Zionist organizations, the establishment of Israel that weakened Britain’s impact of the Middle East region, anti-Semitism as personified in Fagin from Lean’s Oliver Twist film, was served as a political propaganda, just like the U.S’s and Soviet Union’s political propaganda of each other during the Cold-War period. At this stage, anti-Semitism existed not as a socially accepted convention but merely an ideology to impact the regional and international relation. Move to the contemporary world, after the Third Reich’s failure of dictatorship. Anti-Semitism as a stereotypical attitude towards Jewish culture/religion was eventually denounced by most parts of the globe. Anti-Israeli attitude remains not as an extension of the past racially stereotyped ideology but a form of rational, undeniable pacifism. Polanski’s Oliver Twist film was able to present, in his ideal, the reconciliation between the non-Jewish world and the Jewish community. For the matter of anti-Semitism, the former disputes, the latter lets go. Works Cited 1. Brosh, Liora. Screening Novel Women: From British Domestic Fiction to Film. N.p.: Palgrave Mcmillan, 2008. Print. 2. Cohen, Michael. The making of British policy, 1936-1945. New York: n.p., 1979. Print. 3. Gross, Michael Joseph. A Face Lift for Wretched Old Fagin. New York Times [New York] 21 Aug. 2005: n. pag. Print. 4. Lazare, Bernard. Antisemitism: Its History and Causes, 1894. N.p.: n.p., n.d. Print. Stone, Harry. Dickens and the Jews. Victorian Studies 2 (1959): 223-53. Print. Lane, Lauriat, Jr. Dickens Archetypal Jew. Modern Language Association 73.1 (1958): 94-100. Print. 5. Magarik, Raphael. Do Jewish Actions Ever Cause Anti-Semitism. Forward. N.p., 24 Sept. 2014. Web. 16 Dec. 2015. . 6. Mayer, Susan. Social Critique in Dickenss Oliver Twist.' Victorian Literature and Culture 33.1 (2005): 239-52. Print. 7. Dickens, Charles. Oliver Twist. N.p.: Richard Bentley, 1838. Print. 8. Oliver Twist. Dir. David Lean. 1948. Film. 9. Oliver Twist. Dir. Roman Polanski. 2005. Film. 10. Fagin in Berlin Provokes a Riot. Life 7 Mar. 1949: 38-39. Print.

The Role of International Trade in Economic Growth of...

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Career as a Travel Agent - 700 Words

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Fight Club Interpersonal Communication free essay sample

Interpersonal Communication in the film Fight Club â€Å"You’re the most interesting ‘single serving’ friend I have ever met. † These are some of the first words that initiated the close, yet unorthodox relationship between Jack and Tyler Durden in the movie Fight Club. The film follows the narrator (indirectly referred to as Jack) and the entire movie takes place from his perspective. This is an important factor when analyzing the relationship between him and Tyler, because we only see the events through Jack’s eyes. The relationship between these key characters is a reflection of Mark Knapp’s developmental model as shown in Adler Rodman (2012). (p. 205) In the film the audience can clearly see the three major stages, coming together, maintenance, and coming apart. I will show these stages and how they relate to the narrator’s development through the movie. The film begins with Jack, a businessman with a bad case of insomnia. His insomnia is a constant struggle for him throughout the movie, but it is not the focal point of his relationship with Tyler. The only cure to his insomnia is to join support groups for diseases and cancers he doesn’t have, but pretends to. By interacting with the people in these groups, he finds his catharsis through the guided meditation and the caring atmosphere. Then he meets Tyler Durden, where the audience witnesses the â€Å"coming together† stages between these two characters. (Adler Rodman, 2012) Tyler Durden is a traveling soap salesman whom Jack meets on a business trip. In the narrative, Jack refers to the items in his travels as â€Å"single serving† such as, single serving meals, single serving soap, and shampoo in hotels. Hence at the end of his first conversation with Tyler, Jack calls him a â€Å"single serving friend†. Tyler’s response insight into their future relationship â€Å"You’re clever, how has ‘being clever’ been working out for you? † Jack is constantly hiding behind his support groups and his clever attitude and Tyler isn’t afraid to expose Jack. This initiates the relationship between the two characters, Tyler sees Jack as a soul searching for enlightenment, where Jack sees Tyler as someone who it everything he isn’t. Due to unfortunate circumstances, Jacks apartment is destroyed, Jack finds himself in a bar with Tyler. Jack called this â€Å"single serving friend† because he had nobody else to go to. In the bar Jack and Tyler make small talk about the finer points of human existence. Jack’s life was wrapped up in his apartment, he had all of the material possessions he had ever desired, and he felt he was nearly complete. Tyler expresses to Jack to never be complete, stop being perfect, and let the chips fall where they may. He says â€Å"The things that you own end up owning you†. This theme resonates throughout the movie and is the cornerstone of the relationship between Jack and Tyler. At this point these two characters have experienced the experimenting stage, through this small talk Jack finds his twisted alter ego. Tyler is the embodiment of everything Jack is not, Tyler is spontaneous, enigmatic, confident and attractive. Jack feels like a drone going through life on autopilot. After leaving the bar Tyler makes an interesting proposition to Jack, he tells Jack to â€Å"Hit me as hard as you can†. Thus begins a chain of events that leads to the movies namesake, Tyler and Jack begin fighting each other, as well as including other random men into these fights. Tyler and Jack become the leaders of an underground ring of fight clubs. This first fight between these two characters creates an important bond. Neither of them had ever been in a fight before, they have never truly lived before. â€Å"How do you know if you’ve lived until you’ve been in a fight† Tyler says as he coaxes Jack. The relationship between Jack and Tyler is intensified through this fight, they experience a pure form of existence, and they both feel truly alive. The original purpose of meeting Tyler at the bar, was that Jack needed a place to stay until he could get a new apartment. Despite the original intent of having a temporary living arrangement, Jack doesn’t feel the need to leave Tyler’s house, despite the house’s level of disrepair. They integrate into each other’s lives, in this way they become very close friends not unlike brothers. They take the same night job, and they lie for each other when they have to explain each other’s wounds from fight club. After first meeting Tyler, and fighting at the fight club every Saturday night, Jack becomes cured of his insomnia. Through his experience of feeling more alive when he fights at fight club, Jack feels form of enlightenment. He integrates Tyler’s anti-materialistic philosophies into his own psyche; this leads him to have a false sense of a higher level of existence when compared to his fellow humans. Tyler sense’s Jacks false sense of enlightenment, and in order to pull Jack from his delusions he shows Jack what living really means. He takes Jacks hand, kisses it and pours lye (a key ingredient in making soap) onto the back of Jack hand. This initiates a painful chemical burn, from the saliva from the kiss and the lye, on Jacks hand and Jack rejects the pain. Jack uses the meditation techniques he learned in his support groups to shut out the pain. Tyler jerks him from his meditation telling Jack â€Å"This is the greatest moment of your life and you’re missing it! † Tyler desires for Jack to accept the pain, to acknowledge he his mortal and will die. The pain of the burning represents the pain of living, of being truly alive. Up until this point Jack was dead inside, his experiences in fight club made him feel alive, but it was only pre-enlightenment. â€Å"You don’t know how this feels! † Jack yells to Tyler. Tyler says nothing, he only shows Jack the back of his own hand and Jack sees a scar left from the same burn on Tyler. Jack finally accepts the pain and Tyler pours vinegar on the burn. Through this experience Jack and Tyler form an irreversible bond forged from mutual pain and the desire to truly live. This is the apex of their relationship in the film, and this is where Tyler and Jack start to grow apart. The chain of fight clubs that Jack and Tyler started gets turned into a cult, with Tyler as the leader. Tyler progressively begins to shut Jack out of the dealings in â€Å"Project Mayhem†, the cult/terrorist organization that sets up shop in Tyler’s house. This point in the relationship is where Tyler and Jack begin to grow apart just as in Knapp’s model Adler and Rodman (2009) (p. 207). At this differentiating and circumscribing stage Tyler turns his focus toward Project Mayhem, and largely ignores Jacks requests for inclusion in the organization. Due to Jack’s controlling nature Tyler reacts in an extreme way. He desire’s to break Jack of this nature, hence the avoidance. Tyler releases the steering wheel of a speeding car in which he and Jack are riding. At first Jack grabs hold of the wheel to prevent the possibility of a crash and possibly death. Tyler coerces Jack to â€Å"let go† not only of the steering wheel, but of Jacks fear of death, and desire to be in control. Despite his experience with the burning lye Jack is still holding on to the remnants of his old life, namely his sense of self-preservation. Jack eventually lets go of the steering wheel, and the car careens off the road. Tyler pulls Jack out of the burning wreckage, Jack has now realized that he has nothing to lose, and Tyler’s job is finished. In the morning after the crash Tyler is gone; this firmly establishes the avoidance stage between Tyler and Jack. Tyler is nowhere to be found and Jack literally searches the entire country looking for him. Jack finds Tyler, because Tyler is Jack. It’s at this point in the movie that we learn that both of these characters are one in the same, two different people living in one body. Jack created Tyler as a way to cope with the insomnia. Jack was never slept; when he was â€Å"sleeping† Tyler was living, leading the fight clubs and â€Å"Project Mayhem†. Tyler still exists, and he is tired of Jack dragging him down. â€Å"Hey, you created me. I didnt create some loser alter-ego to make myself feel better† Tyler says to Jack. Tyler wishes to move forward and Jack is only getting in the way. Tyler wants Jack gone, but Jack isn’t going to allow Tyler too â€Å"kill† him. Jack no longer cares about his own life, his motivation is now to protect the world from Tyler. Upon realizing that he has the ability destroy his creation, Jack literally kills his Tyler alter ego. Through extreme, the relationship between Tyler and Jack is terminated in this way. An unorthodox end to an unorthodox relationship. Despite Tyler Durden and Jack being the same person, this film gives a great example of the relationship of two different people. Tyler is a separate person than Jack and both characters are played by different actors, in order to make this clear to the audience. Their relationship follows the building stages clearly, but in the film the coming apart stages aren’t as well defined. It isn’t until the car crash that Tyler and Jack truly enter the coming apart stage and at that point the stagnating phase is skipped and Tyler clearly avoids Jack. The termination of their relationship is also very symbolic, because Jack ends up shooting himself in the face in order to kill Tyler. They share the same body, so this is the only way to kill Tyler. In Jacks mind he sees that Tyler has been shot through the head, but in reality Jack missed his own brain, and the bullet exited through the back of Jack’s jaw. It’s important to note that when Jack shot himself, it’s enough of a traumatic event that his mind imagines the bullet killing Tyler, while Jack physically misses so he doesn’t actually die. The symbolism here it that when a relationship between two real people is terminated, the â€Å"relationship self† is in essence killed while the â€Å"independent self† survives. Though two people may bump into each other later in life, they meet as two separate entities, not as the entity they were when they had a deep meaningful relationship. After Tyler’s death Jack is truly free of the person he used to be, his relationship with Tyler was integral in shaping his new state of being. In this way the movie is analogous of how other people, and our relationships with them, shape our own lives.

The Secret To Visiting All The Colleges On Your List

Whether you’re just starting the college application or deciding where to commit this fall, one thing will certainly help with your decision: a college tour. Unfortunately, colleges are not always close in proximity, and it’s often costly to make the trip. On top of that, with midterms and finals, students may not have the luxury to take a week off of school. The solution? Virtual college tours.With on-demand technology, students can now experience what a college is like without physically being on campus. Universities that were not marketing much on the internet have now collaborated with virtual college tour companies, such as YouVisit, to make sure prospective students are getting a holistic sense of what a school has to offer. On these virtual college tours, visitors are taken across campus, just as they would in real life. There is typically a voiceover of a student tour guide introducing each campus spot with the added ability to pause the videos to read up on the things mentioned during the tour. Though it may not be the same as physically being at a school, this alternative has helped many prospective college students gain access to a more aspects of a college without taking on the heavy financial burden of traveling to visit each one. On average, 80% of applicants visit no more than 4 colleges in person, but, with online campus tours, the schools applicants are able to reach are much more expansive. This has helped many incoming freshman make a more informed decision about where to go to school. However, The benefits aren’t just one-sided. Virtual college tours have also helped increase enrollment rates at certain universities. The United States Air Force Academy, for example, has seen improvements since its launch of their 3D virtual campus tour, increasing their enrollment rate from 10% to 15%. With better technology, these virtual campus tours are becoming more informative and more realistic. From campus tour video chats to 3D campus tours to, now, the possibility of experiencing a school through virtual reality, schools are banking on the positive impact an immersive campus experience will have on its attractiveness to prospective students. YouVisit started to work with Oculus Rift two years ago to transform this experience with the help of Yale University. Mark Dunn, Yale University’s director of outreach and recruitment, believes that it will help students better understand and experience what the school represent for those who are unable to visit. There are definitely many elements that still make in-person college tours more attractive, such as sitting in on college lectures, meeting professors, asking college students questions face-to-face, and experiencing the overall campus vibe. But, with all the effort put into virtual college tours, they dont seem to be a bad substitute at all.

Coming Home essays

Coming Home essays Cornelius picked up the remote control out of the aliens hand. He pressed it and walked out through the invisible wall. He started to run down the beach but then he stopped. He turned back and shouted: The dark man shook his had to awake himself and ran out through the wall. They both ran down the beach. As Cornelius was running he noticed something ahead of him. It couldnt be identified from where they were so Cornelius signaled the man to speed up. As they got closer Cornelius realized what it was, he grabbed the man by his shirt and pulled him behind a dead fallen tree. Look ahead of us! Cornelius whispered. The man did so and saw the alien, he quickly ducked back down and said: Thats one of them! We have to fallow it! stated the dark man. Cornelius knew why but he didnt want to. After a few minutes of debating he gave in and they slowly stalked the alien. After slowly chasing the alien for about an hour, the creature went into a part of the island where the palm trees became denser until their surroundings where like that of a rain forest. They continued into the forest until they came to the outside of a clearing. They moved the bushes aside and inside they could see the craft that abducted them. They looked around, and saw some dome like buildings and aliens wandering the premises. On my word we make a run for the spaceship! WHAT?! asked a shocked Cornelius. After an hour and a half of debating and planning the agreed an a plan. ...