Compensation Pl Motivation And The Retention Of Talent

Compensation plan is an approach to motivate employees Benefits are a critical factor in the attraction and motivation and the retention of talent in the 21st century, packages based on rewards will have the power to motivate employees attitudes and baehaviorn are aligned with organization goals strategies and culture (Kaupins, 2012). Companies bring many people in because of job proposals, it set the pace for workers, it determined the relations that will be established. Organizations spends a lot of money on resources trying to find the right candidate(Kaupins, 2012). Benefits are a critical factor in the attraction and motivation and the retention of talent in the 21st century, packages based on rewards will have the power to motivate employees attitudes and behavior are aligned with organization goals strategies and culture Youssef-Morgan, C. M., Stark. E. (2014). A compensation plan is a motivation factor merely to entice employees to go that extra mild and work hard, learn new skill and reach new abilities. There are many different ways to pay a salary ot employees, where compensation and benefits are concerned, there is fixed cash rewards which is paid by an employers to any employee(Kaupins, 2012). The most common pay is base pay salary, this is paid on a daily weekly basis, it is hourly, bi weekly, or monthy.All over the world there is people getting paid minimum wage.There is variable pay, which is non fixed cash, this is payed by the company, now this kindShow MoreRelatedHr Policies in Tcs6004 Words   |  25 Pages.............6 5. Customer Complaint Management......................................................9 6. Performance Management.................................................................13 7. Compensation management...............................................................17 8. 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The company followed variable compensation structure where the employees compensation depended on the performance of the individual, the team and the company. It also very tackles the challenges faced byRead MoreHrm Practices at Infosys14494 Words   |  58 Pages$ 2 billion company by the year 2006, it has still retained the culture of a small company. Infosys attracts the be st talent from across the country and recruits candidates by conducting one of the toughest selection process. Infosys was one of the first companies to offer ESOPs to its employees. The company followed variable compensation structure where the employees compensation depended on the performance of the individual, the team and the company. It also very tackles the challenges faced byRead MoreCompensating Sales Force6663 Words   |  27 PagesCOMPENSATING SALES FORCE Sales is one of the few jobs where you earn your money – every day. COMPENSATION IS MORE THAN MONEY Any type of sales organization can reward sales performance in three fundamental and interrelated ways: 1. Direct financial rewards. 2. Career advancement and personal development opportunities. 3. Nonfinancial compensation. Why is it important? †¢ Sales activities are the life blood of most business †¢ Most misunderstood aspects of running a business †¢ TrickyRead MoreMerger and Acquisition: Current Issues115629 Words   |  463 PagesFinance). Fishman, M. (1989) â€Å"Pre-emptive Bidding and the Role of the Medium of Exchange in Acquisitions†, Journal of Finance, 44(1): 41–57. Ghosh, A. and W. Ruland (1998) â€Å"Managerial Ownership, the Method of Payment in Acquisitions and Executive Job Retention†, Journal of Finance, 53: 785–98. Hamermesh, L. 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What insurances must we arrange? What guarantees or warranties will the client expect? Figure 2.2 Concluded 18 The Essentials of Project Management more costly, approach. This danger is very real. It occurs in

Dissociative Disorder Essay - 1129 Words

Dissociative disorder is a disorder characterized by involuntarily escaping reality. A person with this disorder may be in this state for what feels like hours but in actuality it is only a few minutes. Dissociative disorder can be split into four different categories such as Dissociative amnesia, Dissociative identity disorder, Dissociative fugue, depersonalization disorder. Each of these disorders share the same symptoms. Some symptoms include memory loss for certain periods of time, mental heath problems, a sense of being tied off from the rest of the world, and a having difficulty identifying ones’ self. Dissociative disorder is said to be caused as a way to cope with trauma. If a child is being abused physically, sexually, or†¦show more content†¦When this occurs, the patient is likely to have one or more personalities with personal histories, names, and even different genders. In rare cases, if the personality needs corrective wear, the person with the d isorder will need glasses or contacts to accommodate the personality. It becomes so real to the person that it could possibly take over their life. In the book Sybil, she had sixteen personalities, two of which were men. They all had different traits and they we all different ages ranging from children to her actual age and everything in between. When Sybil would look in the mirror when she was a different personality than herself, she would see the personality in the mirror, not what she actually looked like. This type of disorder could keep a person very confused. The third type of Dissociative disorder is Dissociative fugue. People with this condition further themselves from their real identities. In some cases people may leave work, or home and travel far away to a place they have never been and adapt into a whole new lifestyle without being aware this is occurring. For example a person that used to be terrified of heights may leave for a day and go to an amusement park and ride all the roller coasters. This would be totally out of character for them but they are not aware they are doing it. Although with this disorder you may change back to your normal self at anytime. When this fugue lifts, a person may feelShow MoreRelatedDissociative Identity Disorder2296 Words   |  9 Pagesdefines dissociative identity disorder (DID) as the occurrence of a minimum of two different personalities and maybe more than two. It also clarifies that the switching between the distinct personalities can be observed by the individual who is suffering from dissociative identity disorder or witnessed by others. (Barlow, 2014, P. 1). This disorder used to be known as multiple personality disorder, which is more recognized and understood to people without a psychology background. This disorder can beRead MoreDissociative Identity Disorder1221 Words   |  5 PagesThis research paper is about Dissociative identity disorder (DID) as known as multiple personality disord er. DID in which a person could have many different parts to their personality due to severe stress and an experience of a trauma. A person with DID when the have control over their one identity they cannot remember what they did when their other identities were in control. Most of the time people with DID have two personalities but they could have more than two which is referred as alters. ThenRead MoreDissociative Identity Disorder1900 Words   |  8 PagesAcademic Assignment: Dissociative Identity Disorder and its representation in the media This essay will look at Dissociative Identity Disorder (DID) and its portrayal in the media. 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When an individual is diagnosed with Dissociative Identity Disorder, one personality has dominant control of an individual. This personality controls how a person may act and how they live everyday life. A person diagnosed with this disease may or may not be aware of their alternate personalities. Each personality is contrasting of each other withRead MoreEssay Dissociative Identity Disorder4445 Words   |  18 PagesDissociative Identity Disorder Dissociative Identity Disorder, or DID, is defined as: â€Å"The result of a marvelously creative defense mechanism that a young child uses to cope with extremely overwhelming trauma† (Hawkins, 2003, p. 3). Ross describes DID in this way: â€Å"In its childhood onset forms, the disorder is an effective strategy for coping with a traumatic environment: It becomes dysfunctional because environmental circumstances have changed by adulthood† (1997, p, 62). 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The Lust Lizard of Melancholy Cove Chapter 1 Free Essays

This one’s for Mom Prologue September in Pine Cove is a sigh of relief, a nightcap, a long-deserved nap. Soft autumn light filters through the trees, the tourists go back to Los Angeles and San Francisco, and Pine Cove’s five thousand residents wake up to discover that they can once again find a parking place, get a table in a restaurant, and walk the beaches without being conked by an errant Frisbee. September is a promise. We will write a custom essay sample on The Lust Lizard of Melancholy Cove Chapter 1 or any similar topic only for you Order Now Rain will come at last and turn the golden pastures around Pine Cove green, the tall Monterey pines that cover the hills will stop dropping their needles, the forests of Big Sur will stop burning, the grim smile developed over the summer by the waitresses and clerks will bloom into something resembling real human expression, children will return to school and the joy of old friends, drugs, and weapons that they missed over the summer, and everyone, at last, will get some rest. Come September, Theophilus Crowe, the town constable, lovingly clips the sticky purple buds from his sensimilla plants. Mavis, down at the Head of the Slug Saloon, funnels her top-shelf liquors back into the well from whence they came. The tree service guys, with their chain saws, take down the dead and dying pines lest they crash through someone’s roof with the winter storms. Woodpiles grow tall and wide around Pine Cove homes and the chimney sweep goes to a twelve-hour workday. The sunscreen and needless souvenir shit shelf at Brine’s Bait, Tackle, and Fine Wines is cleared and restocked with candles, flashlight batteries, and lamp oil. (Monterey pine trees have notoriously shallow root systems and an affinity for falling on power lines.) At the Pine Cove Boutique, the hideous reindeer sweater is marked up for winter to await being marked back down for the tenth consecutive spring. In Pine Cove, where nothing happens (or at least nothing has happened for a long time), September is an event: a quiet celebration. The people like their events quiet. The reason they came here from the cities in the first place was to get away from things happening. September is a celebration of sameness. Each September is like the last. Except for this year. This year three things happened. Not big things, by city standards, but three things that coldcocked the beloved status quo nonetheless: forty miles to the south, a tiny and not very dangerous leak opened in a cooling pipe at the Diablo Canyon Nuclear Power Plant; Mavis Sand advertised in Songwriter magazine for a Blues singer to play through the winter at the Head of the Slug Saloon; and Bess Leander, wife and mother of two, hung herself. Three things, omens if you will. September is a promise of what is to come. Admitting You Have a Problem â€Å"Dear, dear, how queer everything is today! And yesterday everything went on just as usual. I wonder if I’ve been changed in the night? Let me think: Was I the same when I got up this morning? I almost think I can remember feeling a little different. But if I’m not the same, the next question is: Who in the world am I? Ah, that’s the great puzzle!† – LEWIS CARROLL, Alice’s Adventures in Wonderland One Theophilus Crowe As dead people went, Bess Leander smelled pretty good: lavender, sage, and a hint of clove. There were seven Shaker chairs hung on pegs on the walls of the Leanders’ dining room. The eighth was overturned under Bess, who hung from the peg by a calico cloth rope around her neck. Dried flowers, baskets of various shapes and sizes, and bundles of dried herbs hung from the open ceiling beams. Theophilus Crowe knew he should be doing cop stuff, but he just stood there with two emergency medical technicians from the Pine Cove Fire Department, staring up at Bess as if they were inspecting the newly installed angel on a Christmas tree. Theo thought the pastel blue of Bess’s skin went nicely with her cornflower-blue dress and the patterns of the English china displayed on simple wooden shelves at the end of the room. It was 7 A.M. and Theo, as usual, was a little stoned. Theo could hear sobs coming from upstairs, where Joseph Leander held his two daughters, who were still in their nightgowns. There was no evid-ence of a masculine presence anywhere in the house. It was Country Cute: bare pine floors and bent willow baskets, flowers and rag dolls and herb-flavored vinegars in blown-glass bottles; Shaker antiques, copper kettles, embroidery samplers, spinning wheels, lace doilies, and porcelain placards with prayers from the Dutch. Not a sports page or remote control in sight. Not a thing out of place or a speck of dust anywhere. Joseph Leander must have walked very light to live in this house without leaving tracks. A man less sensitive than Theo might have called him whipped. â€Å"That guy’s whipped,† one of the EMTs said. His name was Vance McNally. He was fifty-one, short and muscular, and wore his hair slicked back with oil, just as he had in high school. Occasionally, in his capacity as an EMT, he saved lives, which was his rationalization for being a dolt the rest of the time. â€Å"He just found his wife hanging in the dining room, Vance,† Theo pronounced over the heads of the EMTs. He was six-foot-six, and even in his flannel shirt and sneakers he could loom large when he needed to assert some authority. â€Å"She looks like Raggedy Ann,† said Mike, the other EMT, who was in his early twenties and excited to be on his first suicide call. â€Å"I heard she was Amish,† Vance said. â€Å"She’s not Amish,† Theo said. â€Å"I didn’t say she was Amish, I just said I heard that. I figured she wasn’t Amish when I saw the blender in the kitchen. Amish don’t believe in blenders, do they?† â€Å"Mennonite,† Mike said with as much authority as his junior status would afford. â€Å"What’s a Mennonite?† Vance asked. â€Å"Amish with blenders.† â€Å"She wasn’t Amish,† Theo said. â€Å"She looks Amish,† Vance said. â€Å"Well, her husband’s not Amish,† Mike said. â€Å"How can you tell?† Vance said. â€Å"He has a beard.† â€Å"Zipper on his jacket,† Mike said. â€Å"Amish don’t have zippers.† Vance shook his head. â€Å"Mixed marriages. They never work.† â€Å"She wasn’t Amish!† Theo shouted. â€Å"Think what you want, Theo, there’s a butter churn in the living room. I think that says it all.† Mike rubbed at a mark on the wall beneath Bess’s feet where her black buckled shoes had scraped as she convulsed. â€Å"Don’t touch anything,† Theo said. â€Å"Why? She can’t yell at us, she’s dead. We wiped our feet on the way in,† Vance said. Mike stepped away from the wall. â€Å"Maybe she couldn’t stand anything touching her floors. Hanging was the only way.† Not to be outdone by the detective work of his protg, Vance said, â€Å"You know, the sphincters usually open up on a hanging victim – leave an awful mess. I’m wondering if she actually hanged herself.† â€Å"Shouldn’t we call the police?† Mike said. â€Å"I am the police,† Theo said. He was Pine Cove’s only constable, duly elected eight years ago and reelected every other year thereafter. â€Å"No, I mean the real police,† Mike said. â€Å"I’ll radio the sheriff,† Theo said. â€Å"I don’t think there’s anything you can do here, guys. Would you mind calling Pastor Williams from the Presby-terian church to come over? I need to talk to Joseph and I need someone to stay with the girls.† â€Å"They were Presbyterians?† Vance seemed shocked. He had really put his heart into the Amish theory. â€Å"Please call,† Theo said. He left the EMTs and went out through the kitchen to his Volvo, where he switched the radio over to the frequency used by the San Junipero Sheriff’s Department, then sat there staring at the mike. He was going to catch hell from Sheriff Burton for this. â€Å"North Coast is yours, Theo. All yours,† the sheriff had said. My deputies will pick up suspects, answer robbery calls, and let the Highway Patrol investigate traffic accidents on Highway 1, that’s it. Otherwise, you keep them out of Pine Cove and your little secret stays secret.† Theo was forty-one years old and he still felt as if he was hiding from the junior high vice principal, laying low. Things like this weren’t supposed to happen in Pine Cove. Nothing happened in Pine Cove. He took a quick hit from his Sneaky Pete smokeless pot pipe before keying the mike and calling in the deputies. Joseph Leander sat on the edge of the bed. He’d changed out of his pajamas into a blue business suit, but his thinning hair was still sticking out in sleep horns on the side. He was thirty-five, sandy-haired, thin but working on a paunch that strained the buttons of his vest. Theo sat across from him on a chair, holding a notepad. They could hear the sheriff’s deputies moving around downstairs. â€Å"I can’t believe she’d do this,† Joseph said. Theo reached over and squeezed the grieving husband’s bicep. â€Å"I’m really sorry, Joe. She didn’t say anything that would indicate she was thinking about doing something like this?† Joseph shook his head without looking up. â€Å"She was getting better. Val had given her some pills and she seemed to be getting better.† â€Å"She was seeing Valerie Riordan?† Theo asked. Valerie was Pine Cove’s only clinical psychiatrist. â€Å"Do you know what kind of pills?† â€Å"Zoloft,† Joseph said. â€Å"I think it’s an antidepressant.† Theo wrote down the name of the drug on his notepad. â€Å"Then Bess was depressed?† â€Å"No, she just had this cleaning thing. Everything had to be cleaned every day. She’d clean something, then go back five minutes later and clean it again. She was making life miserable for the girls and me. She’d make us take our shoes and socks off, then wash our feet in a basin before we came into the house. But she wasn’t depressed.† Theo wrote down â€Å"crazy† on his notepad. â€Å"When was the last time Bess went to see Val?† â€Å"Maybe six weeks ago. When she first got the pills. She really seemed to be doing better. She even left the dishes in the sink overnight once. I was proud of her.† â€Å"Where are her pills, Joseph?† â€Å"Medicine cabinet.† Joseph gestured to the bathroom. Theo excused himself and went to the bathroom. The brown prescription bottle was the only thing in the medicine cabinet other than disinfectants and some Q-Tips. The bottle was about half-full. â€Å"I’m going to take these with me,† Theo said, pocketing the pills. â€Å"The sheriff’s deputies are going to ask you some of these same questions, Joseph. You just tell them what you told me, okay? Joseph nodded. â€Å"I think I should be with the girls.† â€Å"Just a bit longer, okay? I’ll send up the deputy in charge.† Theo heard a car start outside and went to the window to see an ambulance pulling away, the lights and siren off. Bess Leander’s body riding off to the morgue. He turned back to Joseph. â€Å"Call me if you need anything. I’m going to go talk to Val Riordan.† Joseph stood up. â€Å"Theo, don’t tell anyone that Bess was on antidepressants. She didn’t want anyone to know. She was ashamed.† â€Å"I won’t. Call me if you need me.† Theo left the room. A sharply dressed plainclothes deputy met him at the bottom of the steps. Theo saw by the badge on his belt that he was a detective sergeant. â€Å"You’re Crowe. John Voss.† He extended his hand and Theo shook it. â€Å"We’re supposed to take it from here,† Voss said. â€Å"What have you got?† Theo was at once relieved and offended. Sheriff Burton was going to push him off the case without even talking to him. â€Å"No note,† Theo said. â€Å"I called you guys ten minutes after I got the call. Joseph said she wasn’t depressed, but she was on medication. He came downstairs to have breakfast and found her.† â€Å"Did you look around?† Voss asked. â€Å"This place has been scoured. There isn’t a smudge or a spot anywhere. It’s like someone cleaned up the scene.† â€Å"She did that,† Theo said. â€Å"She was a clean freak.† Voss scoffed. â€Å"She cleaned the house, then hung herself? Please.† Theo shrugged. He really didn’t like this cop stuff. â€Å"I’m going to go talk to her psychiatrist. I’ll let you know what she says.† â€Å"Don’t talk to anybody, Crowe. This is my investigation.† Theo smiled. â€Å"Okay. But she hung herself and that’s all there is. Don’t make it into anything it’s not. The family is in pretty bad shape.† â€Å"I’m a professional,† Voss said, throwing it like an insult, implying that Theo was just dicking around in law enforcement, which, in a way, he was. â€Å"Did you check out the Amish cult angle?† Theo asked, trying to keep a straight face. Maybe he shouldn’t have gotten high today. â€Å"What?† â€Å"Right, you’re the pro,† Theo said. â€Å"I forgot.† And he walked out of the house. In the Volvo, Theo pulled the thin Pine Cove phone directory out of the glove compartment and was looking up Dr. Valerie Riordan’s number when a call came in on the radio. Fight at the Head of the Slug Saloon. It was 8:30 A.M. Mavis It was rumored among the regulars at the Head of the Slug that under Mavis Sand’s slack, wrinkled, liver-spot ted skin lay the gleaming metal skeleton of a Terminator. Mavis first began augmenting her parts in the fifties, first out of vanity: breasts, eyelashes, hair. Later, as she aged and the concept of maintenance eluded her, she began having parts replaced as they failed, until almost half of her body weight was composed of stainless steel (hips, elbows, shoulders, finger joints, rods fused to vertebrae five through twelve), silicon wafers (hearing aids, pacemaker, insulin pump), advanced polymer resins (cataract replace-ment lenses, dentures), Kevlar fabric (abdominal wall reinforcement), ti-tanium (knees, ankles), and pork (ventricular heart valve). In fact, if not for the pig valve, Mavis would have jumped classes directly from animal to mineral, without the traditional stop at vegetable taken by most. The more inventive drunks at the Slug (little more than vegetables themselves) swore that sometimes, between songs on the jukebox, one could hear tiny but powerful servomotors whirring Mavis around behind the bar. Mavis was careful never to crush a beer can or move a full keg in plain sight of the customers lest she feed the rumors and ruin her image of girlish vulner-ability. When Theo entered the Head of the Slug, he saw ex-scream-queen Molly Michon on the floor with her teeth locked into the calf of a gray-haired man who was screeching like a mashed cat. Mavis stood over them both, brandishing her Louisville Slugger, ready to belt one of them out of the park. â€Å"Theo,† Mavis shrilled, â€Å"you got ten seconds to get this wacko out of my bar before I brain her.† â€Å"No, Mavis.† Theo raced forward and knocked Mavis’s bat aside while reaching into his back pocket for his handcuffs. He pried Molly’s hands from around the man’s ankle and shackled them behind her back. The gray-haired man’s screams hit a higher pitch. Theo got down on the floor and spoke into Molly’s ear. â€Å"Let go, Molly. You’ve got to let go of the man’s leg.† An animal sound emanated from Molly’s throat and bubbled out through blood and saliva. Theo stroked her hair out of her face. â€Å"I can’t fix the problem if you don’t tell me what it is, Molly. I can’t understand you with that guy’s leg in your mouth.† â€Å"Stand back, Theo,† Mavis said. â€Å"I’m going to brain her.† Theo waved Mavis away. The gray-haired man screamed even louder. â€Å"Hey!† Theo shouted. â€Å"Pipe down. I’m trying to have a conversation here.† The gray-haired man lowered his volume. â€Å"Molly, look at me.† Theo saw a blue eye look away from the leg and the bloodlust faded from it. He had her back. â€Å"That’s right, Molly. It’s me, Theo. Now what’s the problem?† She spit out the man’s leg and turned to look at Theo. Mavis helped the man to a bar stool. â€Å"Get her out of here,† Mavis said. â€Å"She’s eighty-sixed. This time forever.† Theo kept his eyes locked on Molly’s. â€Å"Are you okay?† She nodded. Bloody drool was running down her chin. Theo grabbed a bar napkin and wiped it away, careful to keep his fingers away from her mouth. â€Å"I’m going to help you up now and we’re going to go outside and talk about this, okay?† Molly nodded and Theo picked her up by the shoulders, set her on her feet, and steered her toward the door. He looked over his shoulder at the bitten man. â€Å"You okay? You need a doctor?† â€Å"I didn’t do anything to her. I’ve never seen that woman before in my life. I just stopped in for a drink.† Theo looked at Mavis for confirmation. â€Å"He hit on her,† Mavis said. â€Å"But that’s no excuse. A girl should appreciate the attention.† She turned and batted her spiderlike false eyelashes at the bitten man. â€Å"I could show you some appreciation, sweetie.† The bitten man looked around in a panic. â€Å"No, I’m fine. No doctor. I’m just fine. My wife’s waiting for me.† â€Å"As long as you’re okay,† Theo said. â€Å"And you don’t want to press charges or anything?† â€Å"No, just a misunderstanding. Soon as you get her out of here, I’ll be heading out of town.† There was a collective sigh of disappointment from the regulars who had been placing side bets on who Mavis would hit with her bat. â€Å"Thanks,† Theo said. He shot Mavis a surreptitious wink and led Molly out to the street, excusing himself and his prisoner as they passed an old Black man who was coming through the door carrying a guitar case. â€Å"I ‘spose a man run outta sweet talk and liquor, he gots to go to mo’ direct measures,† the old Black man said to the bar with a dazzling grin. â€Å"Someone here lookin fo’ a Bluesman?† Molly Michon Theo put Molly into the passenger side of the Volvo. She sat with her head down, her great mane of gray-streaked blonde hair hanging in her face. She wore an oversized green sweater, tights, and high-top sneakers, one red, one blue. She could have been thirty or fifty – and she told Theo a different age every time he picked her up. Theo went around the car and climbed in. He said, â€Å"You know, Molly, when you bite a guy on the leg, you’re right on the edge of ‘a danger to others or yourself,’ you know that?† She nodded and sniffled. A tear dropped out of the mass of hair and spotted her sweater. â€Å"Before I start driving, I need to know that you’re calmed down. Do I need to put you in the backseat?† â€Å"It wasn’t a fit,† Molly said. â€Å"I was defending myself. He wanted a piece of me.† She lifted her head and turned to Theo, but her hair still covered her face. â€Å"Are you taking your drugs?† â€Å"Meds, they call them meds.† â€Å"Sorry,† Theo said. â€Å"Are you taking your meds?† She nodded. â€Å"Wipe your hair out of your face, Molly, I can barely understand you.† â€Å"Handcuffs, whiz kid.† Theo almost slapped his forehead: idiot! He really needed to stop getting stoned on the job. He reached up and carefully brushed her hair away from her face. The expression he found there was one of bemusement. â€Å"You don’t have to be so careful. I don’t bite.† Theo smiled. â€Å"Well, actually†¦Ã¢â‚¬  â€Å"Oh fuck you. You going to take me to County?† â€Å"Should I?† â€Å"I’ll just be back in seventy-two and the milk in my refrigerator will be spoiled.† â€Å"Then I’d better take you home.† He started the car and circled the block to head back to the Fly Rod Trailer Court. He would have taken a back way if he could, to save Molly some embarrassment, but the Fly Rod was right off Cypress, Pine Cove’s main street. As they passed the bank, people getting out of their cars turned to stare. Molly made faces at them out the window. â€Å"That doesn’t help, Molly.† â€Å"Fuck ’em. Fans just want a piece of me. I can give ’em that. I’ve got my soul.† â€Å"Mighty generous of you.† â€Å"If you weren’t a fan, I wouldn’t let you do this.† â€Å"Well, I am. Huge fan.† Actually, he’d never heard of her until the first time he was called to take her away from H.P.’s Cafe, where she had attacked the espresso machine because it wouldn’t quit staring at her. â€Å"No one understands. Everyone takes a piece of you, then there’s nothing left for you. Even the meds take a piece of you. Do you have any idea what I’m talking about here?† Theo looked at her. â€Å"I have such a mind-numbing fear of the future that the only way I can function at all is with equal amounts of denial and drugs.† â€Å"Jeez, Theo, you’re really fucked up.† â€Å"Thanks.† â€Å"You can’t go around saying crazy shit like that.† â€Å"I don’t normally. It’s been a tough day so far.† He turned into the Fly Rod Trailer Court: twenty run-down trailers perched on the bank of Santa Rosa Creek, which carried only a trickle of water after the long, dry summer. A grove of cypress trees hid the trailer park from the main street and the view of passing tourists. The chamber of commerce had made the owner of the park take down the sign at the entrance. The Fly Rod was a dirty little secret for Pine Cove, and they kept it well. Theo stopped in front of Molly’s trailer, a vintage fifties single-wide with small louvered windows and streaks of rust running from the roof. He got Molly out of the car and took off the handcuffs. Theo said, â€Å"I’m going to see Val Riordan. You want me to have her call something in to the pharmacy for you?† â€Å"No, I’ve got my meds. I don’t like ’em, but I got ’em.† She rubbed her wrists. â€Å"Why you going to see Val? You going nuts?† â€Å"Probably, but this is business. You going to be okay now?† â€Å"I have to study my lines.† â€Å"Right.† Theo started to go, then turned. â€Å"Molly, what were you doing at the Slug at eight in the morning?† â€Å"How should I know?† â€Å"If the guy at the Slug had been a local, I’d be taking you to County right now, you know that?† â€Å"I wasn’t having a fit. He wanted a piece of me.† â€Å"Stay out of the Slug for a while. Stay home. Just groceries, okay?† â€Å"You won’t talk to the tabloids?† He handed her a business card. â€Å"Next time someone tries to take a piece of you, call me. I always have the cell phone with me.† She pulled up her sweater and tucked the card into the waistband of her tights, then, still holding up her sweater, she turned and walked to her trailer with a slow sway. Thirty or fifty, under the sweater she still had a figure. Theo watched her walk, forgetting for a minute who she was. Without looking back, she said, â€Å"What if it’s you, Theo? Who do I call then?† Theo shook his head like a dog trying to clear water from its ears, then crawled into the Volvo and drove away. I’ve been alone too long, he thought. How to cite The Lust Lizard of Melancholy Cove Chapter 1, Essay examples

Birlings and Gerald Essay Example For Students

Birlings and Gerald Essay Mr Birling is desperate to keep any scandals from coming out especially now that he is on the honours list for a possible knighthood, social status is of great importance to Mr Birling and a knighthood would put him and his family on an even par with the Crofts (Geralds family) So-well-I gather theres a very good chance of a knighthood-so long as we behave ourselves, dont get into the police courts or start a scandal-eh? (laughs complacently.). He even goes on to joke that it would be Eric (his son) who would cause a scandal if anyone where to, this is in fact dramatic irony as we later learn that every single member of the family has done something that, if got out, would cause a scandal and loose Mr Birling the knighthood, Sure to be. Unless Erics been up to something. And that would be awkward, wouldnt it?. Priestley describes the Inspector as need not being a big man but he creates an impression of massiveness, solidity and purposefulness this symbolises that he is an important figure in the play and not someone to be messed with. Dressed in a plain darkish suit of the period. He speaks carefully, weightily The fact that is he is dressed in a darkish suite of the period gives us no clue to what social class he belongs to, we can only guess that he is of middle to middle-higher status, this could also be a deliberate act on the part of Priestley, to show that the Inspector abstains from social classing but also makes the inspector seem more intense and mysterious, drawing the readers attention in. His disconcerting habit of looking hard at the person he addresses before speaking gives the impression that he sees through surface appearances to the real person beneath. It also gives him a thoughtfulness that contrasts with the thoughtless actions of each of the characters and their treatment of the young girl. His role in the play is not simply to confront each character with the truth, but to force each character to admit the truth they already know. He works methodically through the characters taking them one at a time, partly because he is aware that otherwise, theres a muddle and partly because he realises that the other characters are all quick to defend each other, or to call upon outside help from characters such as Colonel Roberts by Mr Birling, in order to avoid accepting the consequences of his selfish and tight-fisted actions. Even the Inspectors name, Goole, adds dramatic interest, as Goole could very well be mistaken for ghoul, meaning evil spirit and this is exactly what the Inspector is to the Birling family, he is an evil spirit that haunts and confronts the family until they are forced to admit the truth that they already know deep down. Even the stage directions in the beginning of the play add a powerful sense of atmosphere pink until the Inspector arrives and then it should be brighter and harder. The pink atmosphere highlights the families rose tinted view of the world from their dolls house, the white atmosphere the Inspector brings with him symbolises truth and the way nobody can hide from it, the light hits all corners of the room with out exception just like truth hits all members and guests of the house. The Inspector uses a photograph of the girl that he found amongst her things to trigger the characters memory of the girl. He uses this photograph to create tension between the characters as he controls who is allowed to see the picture and who is not. Mr Birling for instance is allowed to see the photograph however Eric and Gerald are excluded from seeing the photograph which causes Gerald to become agitated, .u3a4d02b7c8c127a33c427e0385509d5c , .u3a4d02b7c8c127a33c427e0385509d5c .postImageUrl , .u3a4d02b7c8c127a33c427e0385509d5c .centered-text-area { min-height: 80px; position: relative; } .u3a4d02b7c8c127a33c427e0385509d5c , .u3a4d02b7c8c127a33c427e0385509d5c:hover , .u3a4d02b7c8c127a33c427e0385509d5c:visited , .u3a4d02b7c8c127a33c427e0385509d5c:active { border:0!important; } .u3a4d02b7c8c127a33c427e0385509d5c .clearfix:after { content: ""; display: table; clear: both; } .u3a4d02b7c8c127a33c427e0385509d5c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u3a4d02b7c8c127a33c427e0385509d5c:active , .u3a4d02b7c8c127a33c427e0385509d5c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3a4d02b7c8c127a33c427e0385509d5c .centered-text-area { width: 100%; position: relative ; } .u3a4d02b7c8c127a33c427e0385509d5c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3a4d02b7c8c127a33c427e0385509d5c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3a4d02b7c8c127a33c427e0385509d5c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u3a4d02b7c8c127a33c427e0385509d5c:hover .ctaButton { background-color: #34495E!important; } .u3a4d02b7c8c127a33c427e0385509d5c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3a4d02b7c8c127a33c427e0385509d5c .u3a4d02b7c8c127a33c427e0385509d5c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3a4d02b7c8c127a33c427e0385509d5c:after { content: ""; display: block; clear: both; } READ: Compare and Contrast the depiction of London in Wordsworth's Upon Westminster Bridge and Blake's London EssayInspector takes a photograph, about postcard size, out of his pocket and goes to Birling. Both Gerald and Eric rise to have alook at the photograph, but the inspector interposes himself between them and the photograph. They are surprised and rather annoyed. Birling stares hard, and with recognition, at the photograph, which the Inspector replaces in his pocket.  Gerald: (showing annoyance) Any particular reason why I shouldnt see this girls photograph, Inspector?  Inspector: (coolly, looking hard at him) There might be.  Eric: And the same applies to me, I suppose?  Inspector: Yes.  Gerald: I cant imagine what it could be.  This causes Mr Birling to remember the girl and how and why he dismissed her from his factory but also causes tension as Gerald and Eric begin to get annoyed by the Inspectors investigation tactics and the way they are being pushed out and ignored. Later when Sheila (Mr Birling daughter) enters the room, the Inspector begins to investigate Sheilas part in the girls suicide and shows her the picture.  If youll come over here, ill show you. He moves nearer the light and she crosses to him. He produces the photograph. She looks at it closely, recognizes it with a little cry, gives a half stifled sob, and then runs out This outburst from Sheila causes tension and curiosity levels to rise once again as the audience and characters begin to wonder what part Sheila has to play in the girls death.  Birling: Whats the matter with her?  Eric: She recognized her from the photograph, didnt she?  Mr Birling then begins to get angry that the Inspector has upset his daughter and the Inspector in his usual cool and held back tone denies upsetting her. This outburst of anger after Sheilas outburst draws the reader further into the family and the circumstances surrounding the girls death. Birling: (angrily) Why the devil do you want to go upsetting the child like that?  Inspector: I didnt do it. Shes upsetting herself.  Birling: Well-why-why?  Inspector: I dont know-yet. Thats something I have to find out.  Birling: (still angrily) Well- if you dont mind- Ill find out first  The outburst from Sheila and the anger that the Inspector has upset Sheila only fuels Geralds annoyance that he has been excluded from seeing this photograph. It also increases the audients curiosity about what this photograph shows and what and who else will turn out to have link with the girls death. Gerald: Id like to have a look at that photograph now, Inspector.  Inspector: All in good time  Gerald: I dont see why-  Inspector: (cutting in massively): you herd what I said before, Mr Croft.   The Inspectors tone, secretiveness over the photograph and the way he has disturbed their little party, topped with the amount of alcohol Eric has drunk makes Eric suddenly outburst with:  Eric: (suddenly bursting out): Look here, Ive had enough of this.  Inspector: (dryly) I dare say you have  Eric: )uneasily) I sorry- but you see- we were having a little party- and Ive had a few drinks, including rather a lot of champagne- and ive got a headache- and as Im only in the way here- I think id better turn in. Inspector: And I think youd better stay here.  This shocks Eric as he has had quite enough of the Inspectors investigation, in addition with the amount he has drunk and the fact that he has been excluded from seeing the photograph making him and the audience think that he is nothing to do with this girl and her death. So the use of the photograph in the Inspectors investigation has aided in the remembrance of the girl, added to the tension with the excluding of some characters from seeing the photograph, resulting in anger, an outburst of tears and upset from Sheila and an added atmosphere of unease when Eric is told he is need ed in the investigation even though he has not been allowed to see the photograph. Towards the end of the play, when Mrs Birling enters to see what is going on he admits that. .u98fdc523955f64b8248bdc32765c0c46 , .u98fdc523955f64b8248bdc32765c0c46 .postImageUrl , .u98fdc523955f64b8248bdc32765c0c46 .centered-text-area { min-height: 80px; position: relative; } .u98fdc523955f64b8248bdc32765c0c46 , .u98fdc523955f64b8248bdc32765c0c46:hover , .u98fdc523955f64b8248bdc32765c0c46:visited , .u98fdc523955f64b8248bdc32765c0c46:active { border:0!important; } .u98fdc523955f64b8248bdc32765c0c46 .clearfix:after { content: ""; display: table; clear: both; } .u98fdc523955f64b8248bdc32765c0c46 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u98fdc523955f64b8248bdc32765c0c46:active , .u98fdc523955f64b8248bdc32765c0c46:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u98fdc523955f64b8248bdc32765c0c46 .centered-text-area { width: 100%; position: relative ; } .u98fdc523955f64b8248bdc32765c0c46 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u98fdc523955f64b8248bdc32765c0c46 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u98fdc523955f64b8248bdc32765c0c46 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u98fdc523955f64b8248bdc32765c0c46:hover .ctaButton { background-color: #34495E!important; } .u98fdc523955f64b8248bdc32765c0c46 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u98fdc523955f64b8248bdc32765c0c46 .u98fdc523955f64b8248bdc32765c0c46-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u98fdc523955f64b8248bdc32765c0c46:after { content: ""; display: block; clear: both; } READ: Interesting characters EssayInspector: No it wasnt necessary. And I thought it better not to  When talking about the showing of the photograph to Gerald, yet insists that Mrs Birling must see the photograph.  Mrs Birling: You have a photograph of this girl?  Inspector: Yes. I think youd better look at it.  Mrs Birling: I dont see any particular reason why I should-  Inspector: Probably not. But youd better look at it  This adds to the tension and makes the audience think that not only is Mr Birling, Sheila and Gerald involved in this girls life but maybe Mrs Birling is too. At first Mrs Birling denies knowing the girl and the Inspector accuses her of lying, cau sing an uprising of anger from Mr Birling that the Inspector should insult his wife in such a way. Inspector: Your not telling the truth.  Mrs Birling: I beg your pardon!Birling: (angrily to Inspector) Look here, Im not going to have this, Inspector. Youll apologise at once.  Ã‚  The use of the photograph is a clever one, it aids Mr and Mrs Birling in remembering the girl, creates tension and anger between characters that arent allowed to see the photograph, causes Sheila to run off upset and distressed and anger that the inspector has upset her and then later anger when Mrs Birling tries to lie about recognising the girl. The Inspector also uses graphic detail as a shock tactic to shock the Birlings and Gerald into admitting their guilt and their involvement in the girls suicide. From the very first moment the Inspector enters the Birling house, he puts this tactic into action. After first introducing himself he reveals the shocking revelation that a young girl has just died,  Inspector: Id like some information, if you dont mind, Mr Birling. Two hours ago a young woman died in the Infirmary. Shed been taken there this afternoon because shed swallowed a lot of strong disinfectant. Burnt her inside out of course