Charlotte Rosario

It has often been said that opposite forces are complementary. Be it through light and dark, loving relationships, the attraction of magnets, or even the ancient Chinese philosophical symbol Yin and Yang, seemingly antithetical parts create the concept of dualism. This is especially evident in literature, where the theme of “Good versus Evil” is ubiquitous, juxtaposing morally righteous characters with someone antithetical who is ethically flawed, usually after undergoing a turning point in their life. From the perspective of a reader, a story isn’t entertaining if merely one force dominates the entire time, whether good or evil. Instead, literature reflects the combination of these two platforms, through the complements of protagonists and antagonists, rising action and falling action, and the figure of speech of oxymoron. William Golding’s literary work, Lord of the Flies, is the epitome of the theme of “Good versus Evil”: Golding elucidates through Jack how a once innocent character is transformed into evil because of his surroundings. 

Golding’s Lord of the Flies reveals Jack’s transition from morally correct to incorrect (or good to evil), due to his environment. This selection illustrates the survival of a group of boys who are stranded on an island with no adult supervision. In chapter one of the book, Ralph, Jack, and Simon venture into the depths of the island to learn more about their location. As they are about to head back, they hear an animal squeaking – an innocent piglet. Having a large appetite, the boys try to capture and kill the animal. “He raised his arm in the air. There came a pause, a hiatus, the pig continued to scream and the creepers to jerk, and the blade continued to flash… Then the piglet tore loose… Jack’s face was white under the freckles,” (Golding 31). 

The only thing preventing Jack from slaughtering the pig is his attachment to civilization, but more importantly, the sliver of morality that he retains. Just as Jack is about to strike, he realizes that he is a civilized boy from England. Killing the pig would mean that he has lost his decency, turning him into a savage. Jack’s behavior here illustrates the nurturing aspect that humans possess and how it can contain our savage instincts. His actions reflect that humans are equipped with a capacity to understand morality, as well as the knowledge to distinguish between righteousness and grim actions. Jack and the other boys are all hungry, and Jack is in the perfect position to make the kill, but his nurturing disposition is what prevents him from following through. This supports the idea that, at first, Jack is able to differentiate between good (not killing the harmless piglet) and evil (slaughtering the pig). However, his ability to recognize these two parallels of justice diminishes as the novel progresses, resulting in the emergence of his wickedness. 

Jack’s evil persona is shown after he and Roger, another violent boy, brutally slaughter a pig, and Jack’s group of boys imitate this hunt while joining his eerie chant: “Then Maurice pretended to be the pig and ran squealing into the center, and the hunters, circling still, pretended to beat him. As they danced, they sang. ‘Kill the pig. Cut her throat. Bash her in,’” (Golding 75).  

Not only has Jack lost his innocence and transformed into a savage, but he has also influenced his peers to follow similarly, showing that the boys have lost all their decency and no longer retain their civilized manners. The primary reason for Jack’s change is most likely to prove to the other boys that he can kill the pig, as he was taunted for not killing the pig the first time. In addition, being in a stressful environment may have affected Jack and his nurturing instincts have now been clouded by his survival affinities, turning him into a savage. These savage inclinations have most likely grown due to his desire to be accepted by others, supporting that the physical and social environment play a role in one’s ethics.

Golding continues to develop Jack — the antagonist and opposing power of Ralph — into a brute to portray that humans, despite being born with a civilized instinct, may resort to violence solely because of their desire to survive. Jack and his band excitingly reveal their killing to the rest of the group: “We spread round. I crept, on hands and knees. The spears fell out because they hadn’t barbs on. The pig ran away and made an awful noise…It turned back and ran into the circle, bleeding” (Golding 105). 

Jack’s conspicuous transformation into viciousness shows his desire to survive which is accomplished by obtaining an unconventional food source – a pig. The fear of death impels the boys to find any food, no matter how disgusting it may seem, showing that the boys have lost all their decency and no longer retain their civility. Being in a stressful environment where one is forced to survive affects Jack, and his survival instincts prevail over his civilized impulses. He has turned into a savage that is willing to do anything – even brutally stab a pig – to escape starvation and essentially, death. Consequently, the basis of evil may sometimes be a motive to survive.

Jack and his band symbolize evil, whereas Ralph and his squad represent good. This separation is conspicuous because of the savagery and irrationality that distinguishes the two. Most evidently, the driving factor behind Jack’s transition into ignobility is that his life is on the line due to him being stranded on a wild island, with no aspects of civility present. After all, the boys now hunt for food, build their own shelter, and relieve themselves on a beach, instead of having access to the luxuries which are available at home. The perspective of the “Good vs. Evil” theme in this story is that by stripping away all remnants of society, Golding demonstrates through Jack’s group, how humans can quickly transform from innocent to savage (good to evil).

Golding’s Lord of the Flies illuminates how the lack of amenities can result in evil through Jack which supports the theme of “Good versus Evil.” Even in today’s society, humanity tends to forget that the world cannot exist without either “good” or “evil” people. Simply having just one or another is impossible since the spectrum of being morally righteous is subjective. The same can be compared to the concept of light and darkness. Without light, darkness cannot exist. Yet without darkness, light cannot exist. This situation exists solely because the two qualities are mediums of comparison and subjectivity, not definitive measures. Thus, “Good versus Evil” in a literary sense serves as a didactic for mankind to scrutinize not only their potential wrongdoings, but more importantly, how they can be ameliorated.

 

 

Tanay Subramanian is a senior at Dougherty Valley High School, where he competes in Varsity Extemporaneous Speaking, and Varsity Congressional Debate with a nationally-ranked team. He is an avid jazz saxophonist and teaches dozens of students across the nation as part of Tanay’s Music Foundation (tanaysmusicfoundation.org), donating the proceeds to charitable organizations. In his past time, he enjoys performing jazz at public events, in addition to conducting medical and social justice research. When he is not volunteering at John Muir Hospital or shadowing a cardiologist, he can be seen leading his Boy Scout troop as an Eagle Scout.

 

Works Cited
Golding, William. Lord of the Flies. Penguin Books, 2003.
 

 

 

 

Writing to you feels sketchy, like I am trying to paint a picture of a kind of formlessness I cannot grasp. Maybe I am not used to writing everything into something. Maybe it is the wave of guile breathing free around me – freedom is a whimsical thing. My palms are tracing patterns of untold stories and I want to tell you that the leaves in my compound dared flying too close to the sun and free fell abashed. I am marvelled by the burnt brownness of the yellow bushes, the lengthy intrusion of the masquerade trees – is there even such thing as privacy, when the clouds stare bleu into my nakedness as I peel lingerie from my skin? I woke up this morning like a log and my bones stretched like stone, water does not quench anything except the combustion of suppressed sentences submerged in my throat.

I want you to read this knowing that I paused punching my keyboard midway because of a notification on Instagram – it was CNA, wearing an artsy T-shirt that affirmed her ancestry & I wonder if we ever get the chance to be the original of ourselves, if reality is true or if the world is founded on a lie we chose to believe in – if there is an afterlife. Maybe the earth is a stage and all of us are just drama queens! Life and death are similar forms of undoing.

Now, I am trying to make my body elastic, this routine requires me to imagine a bicycle and paddle my legs in the air to the utter disemboguement of the fat walls in my belly,  that shit burns! I have taken to walking & I find that there are loud silences with every forwarding of my limbs. I like that the wind knows me and has the fortitude to shrink my afro into a bulb, but I want to ask you what else you achieved from walking between Dandora to Bangla besides your destination. I ask because I want to find home for my nothingness, I want it to swim in a room full of meaning.

You said I could write to you about the moon, about the currents in the ocean, I imagine one as a bowl of dim light and the other a liquid blanket over the earth, both of them swallow light, both of them conceal, both of them form stillness in the gut of the night.

I want to explore the complexity of memory, how contorted and distorted lived experiences can prove, how heavy it can flex on the brain. There are some I have carried for long days – like the memory of my uncle unfastening his belt at the mercy of a con woman, I passed like a shadow & was present like a storm when he told his wife he had gone to pray. I carry both the genesis and the revelation of this betrayal. Do you ever feel hunted by the memory of the madman you saw at Kilifi whenever his image flashes through your senses?

These days, I am unearthing myself, coming undone with loss as brittle as rose petals; I am looking at the complexities that have made me simple, gearing at the drowsiness in charge of my insomnia. Sometimes I am begging for rest & other times I am wanting to be riled up.  I want to coil into the arms of anything ready to give me a tooth of attention & lest I forget, my cabbage turned purple this evening.

 

Roseline Mgbodichinma is a Fiction Contributing Editor for Barren magazine, a Poetry Mentor & Alumna at SprinNG, and an NF2W scholar in poetry. Her works have appeared or are forthcoming in Native skin, Isele,  The African writer,  Hellebore, West Trestle Review, JFA human rights mag, Indianapolis Review, Artmosterrific, Kalahari review, Blue Marble Review & elsewhere. She blogs at www.mgbodichi.com

The average length of a woman’s hand is 6.8 inches from wrist to fingertip. The length of mine is well under six—I have childish hands disconcertingly attached to an otherwise average person. In spite of this anomaly, and beneath the grueling mockery of those who claim to know at least a legion of fifth-graders with hands bigger than mine, my hands have served me just fine. To their credit, their mobility and appropriate proportions have allowed me to live a perfectly ordinary life.

But if I’m allowed to lament just a little, when taken together with the rest of my body, I look like I wasn’t quite assembled correctly. As if somewhere during my conception, the poor gene that would grow my two palms and ten fingers was struck by a malady so sudden and crippling that it became too disoriented to carry out its instructions properly. But whatever it is, my hands just stopped growing, and I’m stuck with them now.

I wonder if there was a precise moment when I became frustrated with this peculiarity. Maybe it was when my cheeks flushed red after the football toppled out of my hand for what seemed like the millionth time in middle-school PE. I squeezed my fingers extra tightly and stared at my target with ferocious ambition, but every time I hoped to see any semblance of that glorious spiraling arc, I only saw the football slip and fall to the ground a mere few feet away from me.

Or maybe it was when my piano teacher suggested a beautiful Andalusian melody to add to my repertoire one year, only to rescind it when we realized I had no hope of reaching the intervals it demanded. I still listen to it and wonder what it would sound like on my piano.

I soon recognized that my dwarfish appendages were proving to be a real shortcoming, and I naturally blamed them for the problems they caused. At a piano evaluation one year, I was required to demonstrate a technique that I hadn’t had to in previous years. That one was especially daunting because my fingers could barely reach the correct notes half of the time. I tried to do it just about every day, but I could never play it just right. Anyway, at that moment, sure, my heart was probably pounding and my palms inopportunely sweating, but what I remember most is staring at the keyboard and its row of black-and-white teeth flashing back at me in a wide, sinister grin.

Performed well, the notes should have been glimmering raindrops, dancing one by one in clean concision. They should have sprung a wistful tear to the eye, coaxed a warm nod of approval from the evaluator. Unfortunately, by now, one can hypothesize how the music did sound. Perhaps its only saving grace was that it could make the soundtrack of a Tom and Jerry chase (imagine Tom stamping across the keyboard in hot pursuit), with no shortage of discordant clangs and pummeled strings. Disgraced, I rushed through the rest of the music that I had prepared for eight painstaking months.

In any case, the results for that performance were subpar, which wasn’t necessarily a surprise. But seeing the marks with my own eyes made me wonder if I was just not cut out for the piano. Being incapable of perfection, I wondered if there was even a point in continuing.

Alas, all I have is small hands. So what? My goal is not to complain. Maybe I’ll never be the next Liszt, but do I even want to be?

As for middle-school PE, I’m pretty sure I had never aspired to become a professional football player in the first place. Surprising as it may seem to me in the eighth grade, the horrors of fumbled passes and missed tosses would not torment me deep into the future. Some things can just be moved on from.

To my surprise, I suspect that I’ve been able to cultivate my skills in other areas precisely because of these setbacks. In my music, I discovered that I can make the music uniquely my own in shaping the voice it takes on beneath my fingers, and this is a goal I can cultivate to fruition regardless of my hands. Indeed, more than the range of notes my favorite performers can hit, I realize that I admire their tone, touch, and phrasing. In the end, what is the harm in a truncated chord if the return is exceptional lyricism? So although it seems that pianistic virtuosity and expansive intervals can impress an audience (or earn a superb technical score), one’s ability to give the instrument life is what captivates it.

Through endless trials and tribulations, my miniature hands have proven to be limited in their means to conquer the instrument. But maybe my key to musicality is not to conquer but to befriend. My inability to subdue the piano has taught me to understand, to negotiate, and to amuse. Though I sit before the same beast every day in all of its enormity, I don’t remember seeing its teeth glimmer maliciously in quite some time. Rather, I’ve learned to love the instrument and my idiosyncratic relationship with it, a far cry from my exasperation at the universe’s injustices years ago at that evaluation.

Currently, I’m studying a piece affectionately nicknamed “Wrong Note.” My teacher affectionately calls it “inhumane.” Structured upon implausible jumps at a dancelike speed, it demands a precision and elegance that I probably have not yet attained, but I have faith that I can. As long as I avoid attributing my hardships to unalterable disadvantages such as the length of my fingers, I will have the perspective that encourages me to keep at it.

The piece derives its beauty from discordant notes. Leave it to a physics student to explain why, but notes that are too close to each other are less satisfying to the ear. When such incongruous notes are heard in a performance, one often assumes that the performer has accidentally struck a wrong note. However, through the melodies which delight the heart in the way that a toddler’s first steps or a baby goat’s teetering trot might, and through the rhythm’s endearing hesitance, the composer reminds us that there is beauty in dissonance and triumph in being almost.

I imagine that I will play many wrong notes, some of them on purpose, and some of them grievous mistakes. My fingers will stumble, hobble, and ache. I will experience frustration that’ll convince me once again that the world is about to end. Still, I am eager to hear these wrong notes—within them, unimaginable revelations await discovery.

 

 

 

Olivia is a student writer from California, and enjoys a multiplicity of other art forms as well.