Market Entry Strategy Essay Example | Topics and Well Written Essays - 2000 words

Market Entry Strategy - Essay Example From the Porter’s five forces, the study has identified that South Africa’s accounting industry is highly competitive and the bargaining powers of suppliers is low and that of buyers is high. The market has high skilled experts in the industry, which is a critical factor attracting accounting and consulting firms in the market. From the analysis done on the market, this study has recommended Rodl & Partner to invest in the market using licensing and has guaranteed that the market is a viable one for foreign investors who are willing to expand their international market presence. However, it is recommended that the company explores the market to ensure compliance with national and international standards for the company that will be chosen for licensing agreement. This will help in ensuring that the company’s reputation is maintained. Introduction Different market entry strategies can be used to enter a new market, these strategies include mergers, acquisitions, j oint ventures, exporting, Greenfield project, strategic alliances, franchising/licensing and whole subsidiary ownership (Janssen 2004, p. 556). Some of the factors that influence the choice of a market entry strategy include price localization, trade barriers, competition, export subsidies and localized knowledge (Grunig & Morschett 2012, p. 151). Globalization and foreign direct investments have been vital in global expansion of companies (Hill 2005, p. 67). This study suggests licensing as a market entry strategy that could be adopted by Rodl & Partner in its entry to South Africa (Rodl & Partner, 2012). South Africa is one of the well known markets that have well developed accounting, auditing and consulting industry and this makes the selection a suitable one for Rodl & Partner. South Africa enjoys a stable and developing economy and this has been a key attraction for foreign investors. Rodl & Partner Ltd Background of the company Rodl & Partner is an international consulting an d accounting firm with German origin. The company has established and built unique capabilities in the global consulting industry particularly in accounting, tax planning and attestation services for companies across various continents. The company has about 3200 partners located in about 130 countries across globe. The company provides customers with distinctive and high quality service in the various categories of accounting services (Rodl & Partner, 2012). Rodl & Partner has its strengths in tax, assurance and specialist advice. Rodl & Partner will be entering South African accounting and consulting industry in July 2012 and this will require the company to be well prepared in expanding its business in this new market so as to be able to promote its brand awareness in the global market. PESTEL analysis Economic environment: South Africa has risen from international isolation and economic stagnation caused by apartheid era. The new phase of economic reconstruction has received enc ouragement and acclaim internationally (Thompson 2001, p. 23). The country was rated 25th in terms of advanced industrial sectors in the world in 1990s and has since then marked increasing growth. Political and legal environment: South Africa has had stability in its political and legal systems. Policies made by government are focused on strengthening economic power of the country and this makes

Reading journal Essay Example | Topics and Well Written Essays - 500 words - 9

Reading journal - Essay Example In chapter 15 on The Stikine Ice Cap, the author concludes that McCandless death was a result of an accident more so borrowing from his journals. As a youth, we learn that McCandless was fond of mountain climbing and this explains why at 23 he sought to climb the Devils Thumb on the Stikine Ice Cap in Alaska where he dies (Krakauer 92-100). In chapter 16, Chris McCandless visits Liard River Hot Springs in Yukon Territory. He spends two days at the river. Later he becomes friends with Gaylord Stuckey who later gives him a ride after being stuck for a while. Stuckey purchases a rice bag for McCandless then gives him a ride to University of Alaska (Krakauer 108-116). Stuckey advices McCandless that he is too young to move to the snow but he ignores the advice. In the 17th chapter on The Stampede Trail, the story of the Teklanika River is revisited and why McCandless opted not to cross the river. The map that explains the downstream where McCandless wanted to cross is revealed (Krakauer 118-127). It is arguable that McCandless would have attempted using a different route rather than staying in the bus and starving to death. In the last chapter, McCandless is seen to return to the bus, continues hunting and gathering but the amount of energy he uses is more than what he consumes. From these chapters, one questions the concept of happiness in an individual’s life. Is the same related to the struggles of life and attaining the set goals? How far can one link the importance of family to an individual’s happiness? McCandless does not acknowledge his family members and sees no contribution of his family to his life. In a way or another, I am of the opinion that McCandless operated on some form of ignorance. I believe that McCandless died of starvation as a result of arrogance. If he applied some level of wisdom, he would have saved his life and even maintained relations with his family. It is as a result of his pride that his parents and

Buffalo, New York Essay Example for Free

Buffalo, New York Essay Nature, in its core function, is the cause and effect relationship offered to things with ascertainable objectivity, happening without cause. From this we can easily conclude that the state of the nature of something that something being an object with â€Å"thing-hood†, as humorously described in class is its beginning purpose and generality. There are a few debatable definitions of nature, which at first glance are very similar. On hand, we have nature that is described as the first, inchoate, thing belonging to it. To put in simply an objects nature is its core material for example, the nature of my Odd Future Fitted tee-shirt is Cotton. As well we have nature described as quote on quote the shape or look. This statement points to nature as the stereo-type or look of an object, for example, my MacBook does not have the nature of a MacBook unless it assumes the look of a generic looking MacBook. When looking at these definitions it is hard to find a large degree of difference as the stereo-typical MacBook is not only composed of parts generally used to construct a MacBook, but also its acceptance and appearance as a MacBook. For clarification we can use Aristotles example of a doctor healing himself. A artisan of medicine does not have the nature of a Healer, as that would imply that he attained this skill naturally, which is not true. For something to have nature said nature must come into being without cause. Therefor it is safe to assume that the Healer, whom is an artisan of medicine, is a Healer, but has the nature of a normal very day human. When speaking of nature Aristotle means the natures of particular things and would perhaps be better translated a nature a things. What causes differences amongst Laptops and people, even between two Healers? This can be answered by looking at chance. By chance variations are made upon things not to its nature, but to its physical or otherwise growth from its nature. For this reason we must assume that all things have a categorical nature, with variations to its structure. The term purpose can be applied to the science of nature because purpose is an integral part of nature its self. One can come to the conclusion that nature, being the first being thing-hood of an object, is parallel to its purpose by definition. Under these thoughts we inclusively described nature as the original cause or purpose of an object, with relation to its makeup, compositions and molecular materials. The grammatically correct sentence â€Å"Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo which means Buffalo New York bison, whom other Buffalo bison bully, themselves bully Buffalo New York Bison. This statement really speaks to the nature of words in the English language. Nature can be defined as living things in the natural world such as Animals, Humans, Plants, Protista, Fungus, and, various others. Theses thing are often associated with the natural world, one thing that is often called unnatural are the actions of humans, such as the making of plastic or unstable isotopes and mechanical constructs. Is it unnatural for humans to fly around in giant metal contraptions, is it natural to be able to cancel or postpone the effects of disease, is it unnatural to stop a potential pregnancy with just one pill, these are questions that one should ask when discussing the definition of nature or even human nature. According to the dictionarys definition of nature, humans are a part of nature. If this is true, then one can ascertain that all acts of the humans behaviors are quote on quote natural and will lead to natural consequences. What is the nature of humankind, many different philosophers during the renaissance have explored this thought. According to Wikipedia the distinguishing characteristics, including ways of thinking, feeling acting and reacting, that humans tend to have by their nature, independently of the influence of culture. In the eyes of Merriam-Webster human nature is the fundamental disposition and traits of humans, theories about the nature of humankind form a large part of every culture. It can be said that the nature of humans is that of a selfish, competitive, very social or altruistic. Some may even say that the true nature of humans is that of a selfish yet remarkably smart ape that is bent on destroying itself, or that they are the one true guardians of the planet earth, sent here by some unknown force to protect and safe guard for generations to come. Most people believe that humans were created by God, and can go through immense improvement if economical, and social conditions were reformed so that hunger, death, and disease could be wiped off the face of the earth. There are lots of people that would argue that nature of humans is innately bad. Looking throughout history there are a plethora of accounts in which humans have shown the less admirable side of our nature. It can be said that it is quite natural for humans to kill and degrade the lives of other human (it does happen on a regular bases). Humans in their natural state have a tendency for greed and selfish behavior, a need to satisfy their own wants and desires; which often comes at the expense of other living things, human or animal. Of course since Man is a part of nature, and there for all his action are natural, one can’t really say that these attributes are particularly good or bad they are natural.

The historical and significance of Weber output

The historical and significance of Weber output The historical and significant of Weber output (Der Freischutz )in the romantic Germany Opera. The so called Camerata that first met in Florence in the 1580s arose in German Opera. On seventeenth century, Opera came in and dominated Germany. The development of Italy Opera, urged the singing and the performance arts by Italian skills, the delightful in neither show nor theatre brought acknowledge to the rest of Europe. Germany Opera are very much influenced by Italy Opera. Two major Opera composer of Germany, Beethoven and Weber learned from Italian composer and this is the continuous line on the opera development of Germany. ( Edward J.D 1976) During the seventeenth and eighteenth centuries, Italian rival became a factor that Germany opera was struggling with it. Handel and Gluck elect opera seria as a foreign tradition work. Some composer tried to challenge the domination of Italian, Mozart sophisticated music evolved the simple singspiel, Weber create a unique Opera Der Freischutz which influence the romanticism. Wagner is the one to change the Germany Opera never to be the same, significantly great influence to the opera and the later composers. This few composers brought a strong operatic to European cultural. (Edward J.D 1976) Throughout seventeenth, eighteenth and nineteenth centuries, the historically show the importance of opera was there. The musical expression of the opera is the main source of all. There are various definitions for Opera, for my thought, Opera is an art form, sung on the staged in magnificent costume, accompaniment of instrumentals lead the expressive music goes by. It is also device by human expression is made artistic, the equality of piece of music is the same as every poem, the duration and level difficulties of music, must contain emotional climax. Religious is a part of the scenery for opera, the characteristic of the type of opera we called â€Å"Romantic†. (Edward J.D 1976) Exaggeration is the romantic interpretation of older music, for example two different composers output would create a different technique and expressing. To play Bach 48 prelude, used of harpsichord which gives no variety of color and dynamic contrast, yet the beautiful and even expressive we can still played in the music. With another comparison, Weber output by playing without dynamic and experience, the eventually result will be lifeless; as Weber is a typical romantic composer, his outputs depends on his very existence upon intensification or exaggeration. (John D.D 1980) Germany Opera was being concerned when Vienna turn to be international operatic centre, at the mean time of Mozart striking but this is nothing to do with him. The long duration of development took Germany Opera to be well known due to unsatisfactory of libretto badly made. (John W 1976) The two major composers of Germany who wrote opera – Mozart and Hasse brought foreign repertory to the German Opera house. Both of them neglected the important of own country opera music. According to John Warrack, Mozart wrote opera in Italian but not German, hilarious part of Hasse, he never wrote German Opera at all. My thought thats was a major reason of local produce composer had neglected the very significant point which they could developed the opera of the country. Carl Maria Von Weber is a German composer and also the composer of Der Freischutz. He was a significant composer of the romantic school. Weber was influenced by Mozart in his early opera, but he had the sense of innovation and creating a new, distinctly German tradition. The German folk song melodies can be often attach in Webers music. Weber life was connected with his printed work, especially opera. Webers mastery of the orchestra was equaled in his time by Beethoven and Schubert. Weber composed for piano works, opera but he also wrote a quantity of religious music- Catholic Mass. Der Freischutzbecame one of the major influential development opera in Germany, not merely influence of the music but also later composer most likely to be German, for instance Wagner, Liszt, Mendelssohn and Chopin. He still remained a successful composer although he had arrested for debt and fraud and expelled from Wurttemberg. Barely touched by the wand of the magician Weber, the realistic and natural scene for the most German of melodramas assumes a grace and freshness a mystery even worthy of Shakespearian fantasy. CLAUDE DEBUSSY Der Freischutz was the creation of German life and wisdom, ancient but revives with new awareness and given new artistic growth. Der Freischutz translates as â€Å"the marksman† or â€Å"the free shooter†. This opera established a uniquely German form of opera under the influence of Romanticism. The opera contains three acts by Weber to a libretto by Friedrich kinds. The first sketch was on July 2nd 1817 and only complete until May 13th 1820. Instead of the original name Der Freischutz, the title Der Probeschuss ( The trial shot) was chosen, then Die Jagerbraut ( The Huntsmans Betrothed) but eventually the first title was restored by Bruhl ( Director of Berlin Theatre) who had accepted the opera production. For Weber, unparalleled triumph started on Der Freischutz. He breaks the 18th century overture style that consist suggestion of the motives that would follow. This innovation creating began his music career in the romanticism period of producing brilliant outputs. We ber assumed as a great master while his contemporaries have fallen into oblivion. Der Freischutz is still numerous in Germany and essential to the repertoire as Faust or Carmen. In our day now, Der Freischutz is rarely to be presented in other countries. In France and England, the demand works of Mozart and Wagner are more appreciate than Weber. The reason why Weber only alive in Germany because the national quality of Der Freischutz. The affection towards Germany was one irrational, mainly focus on childhood, children was taught to play the simpler tune of it, and was regarded as the most appropriate opera for children first time visit. It is the opera â€Å"for the people† and for the German people. This reason cause the non musician German felt Der Freischutz are simply insufferable if they are not enjoy the work thoroughly. In Weber Career, the important factor brought his music to another stage of written work because he was the modern equivalent of a court jester. He sa ng, played guitar and pianoforte, in this society, young noblemen should write lifeless poem about ladies, Weber put this into his music, the shape of lyric, the structure and musical style mixture of French and Italian Cadence. Weber always called upon to played, most often he did was improvise the popular opera of the day. On my opinion, extemporize could bring inspiration raise on music. We would not expect what will be creating later and this might surprised and became an innovation of a style. Weber became conductor in Dresden since 1817 and this changes make an emphasize focusing on development of German opera. The repertory that he conducted was only French and Italian opera was performed because there is no German opera worth to be performing beside Mozart and Beethoven outputs. For the last ten year operatic in Prague and Dresden, Weber repertories style was mainly influence by French work. (John.W 1991) The story is taken from German folklore and consists of supernatural elements. The opera begins with a shooting competition, Max; a forest ranger worried his poor for competition to marry his love Agathe, the daughter of the head ranger. Caspar tried tempting Max to sell his soul to Samiel, the â€Å"black hunter† to exchange for seven magic bullets which never fail to hit their mark. He now forfeit his soul and life to Samiel, to get free he has to find a victim to replace him. The bullets casting take place in the midnight in the Wolfs Glen. The following day, Max was asked to show his marksmans skills. He shoots a white dove which turns up to be Agathe, but because of the purity love of Agathe, the bullet wound Caspar instead of her which this action was diverted by Samiel. Casper life is to be claimed by Samiel. The miracle escape of Agathe and she was awarded to Maxs hand and bleesed by hermit after a year probation and being pardoned. Max live happily in the end of the s tory The story has a several moral theme, the symbol of love, innocent and kindness represent Agetha. The symbol of evil, battle for Max represents Casper and Samiel. The story takes place of everyday, supernatural and myth. The plot is not merely a history nor excellent story. Underlying the mighty and mysterious forces is at work. The character of story was interacted. The definition basic element in his story by key and exposition by instrumental color was convinced to Weber for this is sound as a framework and with his certify understanding of melody and of theatrical condition, his purposes was certainly right. By choosing the primary colors which to portraying his characters, he may also drain them from the delicacy, unpredicted and of the contradiction real human nature, but he was authorized to define them which a cheerful German nation found the thought of it own qualities. Maxs is a young and simple hunter, for all his weakness and his apt to pensiveness and fantasies, an open air figure, with loyalties; Agathe a mixture of Hausfrau, patient, contemplative, domestic, devout, faithful and a little insensitive; Aennchen the active, innocent, foolish but delightful and generous, all this to be decribe by the word Keck; Samiel and his agent Caspar the embodiment the dark and unfavorable in the origin German wood spirits; Huntsmen and Bridesmaid s, Killian and Cuno, villagers, the familiar natural life upon which the noblemen Ottokar imposes a human order and discipline that must in turn defer to spiritual order in the person of the Hermit, the Man of God. With Der Freischutz Weber succeeded the endeavor by bring the romantisicm into the theatre where failed by Tieck, Brentano, Schlegel, Arnim and Wener. (John D.D 1980) The development and conflict of the character surrounding his persons as actor-out of an ethical principle is not an interest of his. There full arrangement of leitmotiv, cooperation and developing the connection between idea and person was essentially a method to be represents Nature, pure heroine, lively character, well-meaning but misguided hero, hopeless villain, kindly prince, holy hermit were the characters themselves stay very close to long created Singspiel type. (John D.D 1980). The nature influence has no real origins in Singspiel, which by far the partially deal only with formal situation, but Rousseau-inspired sentiment of opera-comic and reaches Weber most presently by two major operas of the year 1816. Faust- The first real Romantic opera by Spohrs is a relatively undigested mixture of French influences; Weber admired even more on Hoffmanns Undine, input many idea of Romanticism into a pattern for opera- particularly, as was concerned as Der Freischutz was the affect of the spirit world on that of human. Undine was the first opera of its generation to set a text of real literate merit; Der Freischutz created inspiration and motivated for Hoffmanns famous attack on the closer combination of literary and musical quality. Weber idea of unity and his literary gifts was essentially a musician and libretto thought from the point of composer view as the combination elements should form. Ten years after without libretto, Weber attach the more enthusiastically on the subject that seemed ideal. Der Freischutz intended to bring out the natural outcome of the romantic rather than to revive the origin of music drama. For Weber music is used to present, reflect and express the mysterious action and magical in this opera. (John D.D 1980) Weber admitted the melodic of opera was arisen from folksong he studied. Der Freischutz wasnt the first opera to use folksong, but never before had folksong been so perfectly epitomized reflect German feeling. The Huntsmens chorus taken from German popular song books but its original derived from 18th century French street song â€Å"Malbrouk sen va ten guerre†. Its a resemblance of simple melodic. (Ex.1). It is not quotation or association which is the point, but the triumphant combination of dialect material into a work of art. Ex. 1 The Bridesmaids Chorus was derives from Volkstanz, Der Windmuller. (Ex.2). Tune from the village march is found on an actual primary still extant in country inns and fairs in Webers day Ex. 2 Weber create bright atmosphere and presence powerful French influence can be overlooked especially as this was an acceptable musical associate in the face of the Italian enemy. According to John Warrack, by realizing occurrence a few Mà ©hul extent of in the music exhibit Maxs melodic style. French style in his repertory work was carefully concentrated during his ten years operatic silence while conducting in Prague and Dresden. Through Mà ©hul to Dalayrac, appears the combination of music idea, perhaps even a single motion, with absolutely dramatic component in the opera. From French opera Weber also developed the Reminiscene Motive which, though by no means unfamiliar in German opera, had not reached the full dignity of Leitmotiv. Two structure devices were used in the opera key association and repetition melodic themes. Although singspiel structure was conventional used to separate speaking dialogue, the music is still underlying the whole meaning of the legend. Weber attached a diminished seventh chord, (Ex.3)a peculiar one when every time the evil spirit occurs. The shock of romantic horror destroyed the fresh and order global of the normal tonality. Weber emphasis its indefinable or ambiguous quality: the supernatural does not belong to a world of order and logical. The nicety of key association implied in these two themes. The C minor are consistently with such skilful modification as to be virtually a leitmotiv and there is of course the operas only true Leitmotiv, Samiel diminished seventh tonal pattern, with minor third interval leads to minor keys, in general connected with the power of supernatural evil. Ex.3 The external circle represents the positive and benevolent major key used in the opera. The inside circle is the used of minor key and be arranged each opposite was the relative major, Samiel diminished seventh was suggested to be a minor third relativity. (John D.D 1980) Maltese cross show the diminished seventh chord a – c – e flat – f flat. Weber did not use the key from b flat to c sharp when noted for the evil minor key. (Key in bracket): The segment show serious challenge to evil which most offer the major key. (Ex. 4) Ex. 4 . The battle take place mainly opposition between C minor and E flat major, A minor (the key of Maxs forebodings) and C major, F sharp minor (the framing key of the Wolfs Glen scene when the magic bullet are cast) and A major (the key in which Agathe and her companion Annchen sing of happy marriage at the beginning of Act Two. The most useful and main scene in Der Freischutz is wolfs glen scene and the overtune among the many musical number of qualities. The opera buffa and Singspiel occur as conventional the most tedious ensemble of plot and confusion at the end of second act of Wolfs Glen scene. Between eighteenth and nineteenth century romantic music drama, there is nothing could demonstrate the difference till Weber create a scene of supernatural horror, allocate at the rocky valley, surround with incantations and magic with supernatural phantom and sensational stage effects. All its materials have by now been interpreted; and indeed it is their close combination with the human character involved that raises the scene above the conventionally picturesque, the disturbed emotion has become the projection to the music, their most dismaying night dread. Webers genius mastery on instrumental sound empowers him to avoid the natural kind of simulated. The scheme melodrama of Wolfs Glen, Weber had himself stag e at Prague to be French despite this is a Czech melodrama, an unfamiliar characteristic in German opera; and there is generally the tendency, under the encouragement of the Dresden taste for description, towards impressive situation rather than development. Moreover, despite Webers unfavorably known aversion, in no way he was presented indifferent by what he called the â€Å"sweet poison from beyond the Alps†, most openly shown in the major solo and above all Agethes scene und Aria. The key analysis showed to hear and see the impressive scene and thrill. The strictly ordered of key structure exhibit the pictorial music on each supernatural. The experience and dynamic elements appear to decide the progress of the music. The domain key of the opera is F sharp minor. The main episode occurs in C minor: act of Samiel, the preparations, Maxs descent, the act of the last three bullets. Agathe appearance is the main point, resist to the episode of the scene and exhibit by Weber in C major. The entire of the scene is form in an arch-like way. Weber approaching the opera as an whole structured of music drama. (Ex.5) Ex.5 At the battle section, the strength of darkness fully developed into position. Astutely, Weber kept the appearance of Agathe redemptive until the menace has been decisively established; Act two goes up in Agathes house show a new world of feeling , nevertheless influence of evil shown at the engagement of Aennchen, hurting Agathe forehead when Cuno portrayed on the wall was fallen. A clear conflict shown in between two relations of Agathes earliest restraint and flowing 6/8 melody for Aennchen chattered happily away. The midpoint of the opera is when Agathe step forward for her aria, a significant knowledge of her nature. Regardless of the Italian influences, the mastery connection of episode was maintain together is thoroughly Weber own; as a skillful economy he meant. The opening of recitative presented a more about Agathe, from the clarinet played of gentle pensive opening, Agathe special instrument, magical stoke as she open the door into balcony, a modulation from E major, a seventh on G to a 6/4 F sharp key, Weber expressing the beauties of the starlit night.( Ex. 6) Ex. 6 In the German nation, Webers characters been rooted in local life and the folksong was the inspiration for his tunes and offered a powerful stimulus in the next stage of establishing their musical independence. (Edward J.D 1976) His incentive of his virtuosity include technical innovation, on Chopin and Liszt, brought variety narrative and dramatic element for the new musical, Berlioz and Mahler were much admired Weber mastery on orchestra instruments of producing new effects. Hardly a single major composer in the tradition failed to pay tribute to Weber. During his time, vividly awareness in which it was utter joy to be alive, Vividly aware of his times as a new dawn in which it was bliss to be alive, Weber was conscious for achieving a new individuality German music in the future. Indeed, he successes and brought the Romanticism to theatre (John W 1976) The successed of Der Freischutz created a developed in German opera house, and come across in the whole Europe with all size and length, this was one agitation incident of the operatic history. The successes not only merely impetus a progress in opera house but also for composer to achieve the ambitious with serious way to approach the Romantic opera or simply tension about missing a convention.

Arthur Neville Chamberlain Essay -- essays research papers fc

CHAMBERLAIN AND APPEASEMENT When studying Arthur Neville Chamberlain, it is at least as important to understand his personality, as well as his political achievement. The Prime Minister of Great Britain between 1937 and 1940, he was an intensely idealistic man, one who believed that he alone could bridge the gap between Germany and the rest of the World. His subsequent policies of appeasement towards Nazi Germany, a policy based upon pragmatism, fear of war, or moral conviction that lead to the acceptance of diplomatically imposed conditions in lieu of warfare, forever characterized Chamberlain as a most central figure at the diplomatic crossroads leading towards World War II. Chamberlain’s father, Joseph, had been the Lord Mayor of Birmingham, so young Neville found himself subjected to strong political opinions throughout his youth. He worked his way through the ranks of British government, becoming a Member of Parliament in 1918, and going on to become Chancellor of the Exchequer in the National Government headed by Ramsay MacDonald for much of the 1920’s. Chamberlain finally rose to the office of Prime Minister in 1937. His lifetime dedication to politics made him a shrewd politician, but his relatively rapid success could also be viewed as a contributing factor towards his developing overconfidence. Chamberlain’s impact on foreign affairs was vast and direct upon his rise to power. He changed the foreign policy dynamic from a slow and passive policy of non-intervention, to a much more pro-active policy of appeasement. Chamberlain believed that Germany had been badly treated by the Allies after it was defeated in World War I. Therefore, he thought that the German government had legitimate grievances, and that these needed to be addressed. By agreeing to some of the demands being made by Adolph Hitler of Germany and Benito Mussolini of Italy, he earnestly believed that he could avoid a European war. Chamberlain’s enthusiasm, conviction in his beliefs, and the fact that he would not listen to criticism, led him to pursue appeasement with a nearly unlimited spirit. This would have been noble had it not been for another problem which was also caused, in part, by Chamberlain’s enthusiasm to pursue appeasement. In his rush to stamp his name on the appeasement process, Chamberlain was too eager to foster good relations with Germany and her allies. To this ... ...ain’s decision to actively pursue appeasement were, initially, his own expectations of himself, and his need to be the man seen as responsible for appeasing Germany. Secondly, Chamberlain’s believed that Britain needed time to recover, both economically and militarily from the last war. Thirdly, his own views of war and his naivety in foreign affairs certainly affected his decision, though not to the extent commonly believed. In any event, he certainly allowed Hitler more input than he should have had when it came to the Sudetenland, and he badly misjudged the threat posed by both Hitler and Mussolini. That cannot be denied. What can also not be denied is that the extra year that Chamberlain gave the democracies to prepare may well have been the difference between victory and defeat for the Allies. Bibliography Chamberlain and appeasement : British policy and the coming of the Second World War. by R. A. C. Parker, (Robert Alexander Clarke), 1927- Basingstoke : Macmillan, 1993. Neville Chamberlain. by Wikipedia Encyclopedia. http://en.wikipedia.org/wiki/Neville_Chamberlain Neville Chamberlain. by Sparticus Educational. http://www.spartacus.schoolnet.co.uk/PRchamberlain.htm

Hucks Conflicted Nature in Mark Twains The Adventures of Huckleberry

Huck's Conflicted Nature in Mark Twain’s The Adventures Of Huck Finn Continuing what he had started in the first eleven chapters, Twain further develops Huck Finn's character through a series of events where Huck's decisions indicate his moral struggle. Adventures shows the dynamic movement of Huck's internal difficulty, illustrating his conflicted nature. As juxtaposition to the fantasy of Tom Sawyer's gang, Huck encounters real robbers and murderers on the wrecked Walter Scott steamboat. After hearing their plans, Huck tells Jim, â€Å"If we find their boat we can put all of 'em in a bad fix -- for the Sheriff ’ll get 'em† (262); despite his developing nihilism , Huck decides to trap the men by stealing their boat. Here Huck has drastically affected the fate of the men, whether it be dying or being arrested, and eventually he realizes his responsibility: â€Å"I begun to worry about the men...I begun to think how dreadful it was, even for murderers, to be in such a fix† (263). To remedy the situation in response to his sudden guilt, Huck employs (deceives) the captain of the ferryboat to rescue the men. Huck applauds his altruism, saying â€Å"I was feeling ruther comfortable on accounts of taking all this trouble for that gang, for not many would have done it† (265) but fails to realize his irony: â€Å" not many [people] would have† boarded the wreck in the first place, much less trapped the men. Regardless, Huck has shown he can act freely, but not free from his conscience, which will prove important later in the novel, specifically at the climax. Prior to chapter twenty-five, the king and the duke had committed mild schemes, towards which Huck had been indifferent; once they plan to swindle the Wilks girls’ inheritance, however, Huc... ...ndons his effort to escape society and its imposition (by becoming Tom Sawyer’s sidekick again). His conflicted nature serves as the novel’s tragic aspect: although he had resolved to decide his morality independent from society, Huck’s freedom will be limited once Aunt Sally adopts him, a result of his choice to comply with Tom instead of freeing Jim and leaving on the river, where they have both lived freely throughout the novel. Works Cited and Consulted Clemens, Samuel. Adventures of Huckleberry Finn. The Heath Anthology of American Literature. Ed. Paul Lauter, et al. 2nd ed. Vol. 2. Lexington: Heath, 1994. 236-419. Kaplan, Justin. "Born to Trouble: One Hundred Years of Huckleberry Finn." Mark Twain Adventures of Huckleberry Finn: A Case Study in Critical Controversy. Eds. Gerald Graff and James Phelan. Boston: St. Martin's, 1995. 348-359. Huck's Conflicted Nature in Mark Twain's The Adventures of Huckleberry Huck's Conflicted Nature in Mark Twain’s The Adventures Of Huck Finn Continuing what he had started in the first eleven chapters, Twain further develops Huck Finn's character through a series of events where Huck's decisions indicate his moral struggle. Adventures shows the dynamic movement of Huck's internal difficulty, illustrating his conflicted nature. As juxtaposition to the fantasy of Tom Sawyer's gang, Huck encounters real robbers and murderers on the wrecked Walter Scott steamboat. After hearing their plans, Huck tells Jim, â€Å"If we find their boat we can put all of 'em in a bad fix -- for the Sheriff ’ll get 'em† (262); despite his developing nihilism , Huck decides to trap the men by stealing their boat. Here Huck has drastically affected the fate of the men, whether it be dying or being arrested, and eventually he realizes his responsibility: â€Å"I begun to worry about the men...I begun to think how dreadful it was, even for murderers, to be in such a fix† (263). To remedy the situation in response to his sudden guilt, Huck employs (deceives) the captain of the ferryboat to rescue the men. Huck applauds his altruism, saying â€Å"I was feeling ruther comfortable on accounts of taking all this trouble for that gang, for not many would have done it† (265) but fails to realize his irony: â€Å" not many [people] would have† boarded the wreck in the first place, much less trapped the men. Regardless, Huck has shown he can act freely, but not free from his conscience, which will prove important later in the novel, specifically at the climax. Prior to chapter twenty-five, the king and the duke had committed mild schemes, towards which Huck had been indifferent; once they plan to swindle the Wilks girls’ inheritance, however, Huc... ...ndons his effort to escape society and its imposition (by becoming Tom Sawyer’s sidekick again). His conflicted nature serves as the novel’s tragic aspect: although he had resolved to decide his morality independent from society, Huck’s freedom will be limited once Aunt Sally adopts him, a result of his choice to comply with Tom instead of freeing Jim and leaving on the river, where they have both lived freely throughout the novel. Works Cited and Consulted Clemens, Samuel. Adventures of Huckleberry Finn. The Heath Anthology of American Literature. Ed. Paul Lauter, et al. 2nd ed. Vol. 2. Lexington: Heath, 1994. 236-419. Kaplan, Justin. "Born to Trouble: One Hundred Years of Huckleberry Finn." Mark Twain Adventures of Huckleberry Finn: A Case Study in Critical Controversy. Eds. Gerald Graff and James Phelan. Boston: St. Martin's, 1995. 348-359.

Practical Demonkeeping Chapter 16-18

16 HOWARD Howard Phillips, the owner of H.P.'s Cafe, had just settled down in the study of his stone cottage when he looked out the window and saw something moving through the trees. Howard had spent most of his adult life trying to prove three theories he had formulated in college: one, that before man had walked the Earth there had been a powerful race of intelligent beings who had achieved a high level of civilization, then for some unknown reason had disappeared; two, that the remnants of their civilization still existed underground or under the ocean, and through extreme cunning and guile had escaped detection by man; and three, that they were planning to return as masters of the planet in a very unfriendly way. What lurked in the woods outside Howard Phillips's cottage was the first physical evidence of his theories that he had ever encountered. He was at once elated and terrified. Like the child who is delighted by the idea of Santa Claus, then cries and cowers behind its mother when confronted with the corpulent red-suited reality of a department-store Santa, Howard Phillips was not fully prepared for a physical manifestation of what he had long believed extant. He was a scholar, not an adventurer. He preferred his experiences to come secondhand, through books. Howard's idea of adventure was trying whole wheat toast with his daily ham and eggs instead of the usual white bread. He stared out the window at the creature moving in the moonlight. It was very much like the creatures he had read about in ancient manuscripts: bipedal like a man, but with long, apelike arms; reptilian. Howard could see scales reflecting in the moonlight. The one inconsistency that bothered him was its size. In the manuscripts, these creatures, who were said to be kept as slaves by the Old Ones, had always been small in stature, no more than a few feet tall. This one was enormous – four, maybe five meters tall. The creature stopped for moment, then turned slowly and looked directly at Howard's window. Howard resisted the urge to dive to the floor and so stood staring straight into the eyes of the nightmare. The creature's eyes were the size of car headlamps and they glowed a faint orange around slotted, feline pupils. Long, pointed scales lay back against its head, giving the impression of ears. They stood there, staring at each other, the creature and the man, neither moving, until Howard could bear it no longer. He grabbed the curtains and pulled them shut, almost ripping them from the rod in the process. Outside he could hear the sound of laughter. When he dared to peak through the gap in the curtains, the creature was gone. Why hadn't he been more scientific in his observation? Why hadn't he run for his camera? For all his work at putting together clues from arcane grimoirs to prove the existence of the Old Ones, people had labeled him a crackpot. One photograph would have convinced them. But he had missed his chance. Or had he? Suddenly it occurred to Howard that the creature had seen him. Why should the Old Ones be so careful not to be discovered for so long, then walk in the moonlight as if out for a Sunday stroll? Perhaps it had not moved on at all but was circling the house to do away with the witness. First he thought of weapons. He had none in the house. Many of the old books in his library had spells for protection, but he had no idea where to start looking. Besides, the verge of panic was not the ideal mental state in which to do research. He might still be able to bolt to his old Jaguar and escape. Then again, he might bolt into the claws of the creature. All these thoughts passed through his mind in a second. The phone. He snatched the phone from his desk and dialed. It seemed forever for the dial to spin, but finally there was a ring and a woman's voice at the other end. â€Å"Nine-one-one, emergency,† she said. â€Å"Yes, I wish to report a lurker in the woods.† â€Å"What is your name, sir?† â€Å"Howard Phillips.† â€Å"And what is the address you are calling from?† â€Å"Five-oh-nine Cambridge Street, in Pine Cove.† â€Å"Are you in any immediate danger?† â€Å"Well, yes, that is why I called.† â€Å"You say you have a prowler. Is he attempting to enter the house?† â€Å"Not yet.† â€Å"You have seen the prowler?† â€Å"Yes, outside my window, in the woods.† â€Å"Can you describe him?† â€Å"He is an abomination of such abysmal hideousness that the mere recollection of this monstrosity perambulating in the dark outside my domicile fills me with the preternatural chill of the charnel house.† â€Å"That would be about how tall?† Howard paused to think. Obviously the law enforcement system was not prepared to deal with perversions from the transcosmic gulfs of the nethermost craters of the underworld. Yet he needed assistance. â€Å"The fiend stands two meters,† he said. â€Å"Could you see what he was wearing?† Again Howard considered the truth and rejected it. â€Å"Jeans, I believe. And a leather jacket.† â€Å"Could you tell if he was armed?† â€Å"Armed? I should say so. The beast is armed with monstrous claws and a toothed maw of the most villainous predator.† â€Å"Calm down, sir. I am dispatching a unit to your home. Make sure the doors are locked. Stay calm, I'll stay on the line until the officers arrive.† â€Å"How long will that be?† â€Å"About twenty minutes.† â€Å"Young woman, in twenty minutes I shall be little more than a shredded memory!† Howard hung up the phone. It had to be escape, then. He took his greatcoat and car keys from the foyer and stood leaning against the front door. Slowly he slipped the lock and grabbed the door handle. â€Å"On three, then,† he said to himself. â€Å"One.† He turned the door handle. â€Å"Two.† He bent, preparing to run. â€Å"Three!† He didn't move. â€Å"All right, then. Steel yourself, Howard.† He started the count again. â€Å"One.† Perhaps the beast was not outside. â€Å"Two.† If it was a slave creature, it wasn't dangerous at all. â€Å"Three!† He did not move. Howard repeated the process of counting, over and over, each time measuring the fear in his heart against the danger that lurked outside. Finally, disgusted with his own cowardliness, he threw the door open, and bolted into the dark. 17 BILLY Billy Winston was on the final stretch of the nightly audit at the Rooms-R-Us Motel. His fingers danced across the calculator like a spastic Fred Astaire. The sooner he finished, the sooner he could log onto the computer and become Roxanne. Only thirty-seven of the motel's one hundred rooms were rented tonight, so he was going to finish early. He couldn't wait. He needed Roxanne's ego boost after being ditched by The Breeze the night before. He hit the total button with a flourish, as if he had just played the final note of a piano concerto, then wrote the figure into the ledger and slammed the book. Billy was alone in the motel. The only sound was the hum of the fluorescent lights. From the windows by his desk he had a 180-degree view of the highway and the parking lot, but there was nothing to see. At that time of night a car or two passed every half hour or so. Just as well. He didn't like distractions while he was being Roxanne. Billy pushed a stool up to the front counter behind the computer. He typed in his access code and logged on. WITKSAS: HOW'S YOUR DOG, SWEETIE? SEND: PNCVCAL The Rooms-R-Us Motel chain maintained a computer network for making reservations at their motels all over the world. From any location a desk clerk could contact any of the two hundred motels in the chain by simply entering a seven-letter code. Billy had just sent a message to the night auditor in Wichita, Kansas. He started at the green phosphorescent screen, waiting for an answer. PNCVCAL: ROXANNE! MY DOG IS LONELY. HELP ME, BABY. WITKSAS Wichita was on line. Billy punched up a reply. WITKSAS: MAYBE HE NEEDS A LITTLE DISCIPLINE. I COULD SMOTHER HIM IF YOU WANT. SEND: PNCVCAL There was a pause while Billy waited. PNCVCAL: YOU WANT TO HOLD HIS POOR FUZZY FACE BETWEEN YOUR MELONS UNTIL HE BEGS? IS THAT IT? WITKSAS Billy thought for a moment. This was why they loved him. He couldn't just throw them an answer they could get from any sleazebeast. Roxanne was a goddess. WITKSAS: YES. AND BEAT HIM SOFTLY ON THE EARS. BAD DOG. BAD DOG. SEND: PNCVCAL Again Billy waited for the response. A message appeared on the screen. WHERE ARE YOU DARLING? I MISS YOU. TULSOKL. It was his lover from Tulsa. Roxanne could handle two or three at once, but she wasn't in the mood for it right now. She was feeling a little crampy. Billy adjusted his crotch, his panties were riding up a bit. He typed two messages. WITKSAS: GO PET YOUR DOGGIE FOR A WHILE. AUNTIE ROXANNE WILL CHECK ON YOU IN A WHILE. SEND: PNCVCAL TULSOKL: TOOK AN EVENING OFF TO SHOP FOR SOMETHING LACY TO WEAR FOR YOU. I HOPE YOU DON'T FIND IT TOO SHOCKING. SEND: PNCVCAL While he was waiting for a response from Oklahoma, Billy dug into his gym bag for his red high heels. He liked to hook the stiletto heels into the rungs of the stool while he talked to his lovers. When he glanced up, he thought he saw something moving out in the parking lot. Probably just a guest getting something from the car. PNCVCAL: YOU SWEET LITTLE THING, YOU COULD NEVER SHOCK ME. TELL ME WHAT YOU BOUGHT. TULSOKL Billy started to type in a modest description of a lace teddy he had seen in a catalog. To the guy in Tulsa, Roxanne was a shy little flower; to Wichita she was a dominatrix. The desk clerk in Seattle saw her as a leather-clad biker chick. The old man in Arizona thought she was a struggling single mother of two, barely making it on a desk clerk's salary. He always wanted to send her money. There were ten of them in all. Roxanne gave them what they needed. They loved her. Billy heard the double doors of the lobby open, but he did not look up. He finished typing his message and pressed the SEND button. â€Å"Can I help you,† he said mechanically, still not looking up. â€Å"You betcha,† a voice said. Two huge reptilian hands clacked down on the counter about four feet on each side of Billy. He looked up into the open mouth of the demon coming at his face. Billy pushed back from the keyboard. His heel caught in the rung of the stool and he went over backward as the giant maw snapped shut above him. Billy let loose a long, sirenlike scream and began scrambling on his hands and knees behind the counter toward the back office. Looking back over his shoulder, he saw the demon crawling over the counter after him. Once in the office, Billy leapt to his feet and slammed the door. As he turned to run out the back door, he heard the door fly open and slam against the wall. The back door of the office led into a long corridor of rooms. Billy pounded on the doors as he passed. No one opened a door, but there were angry shouts from inside the rooms. Billy turned and saw the demon filling the far end of the corridor. It was in a crouch, moving down the corridor on all fours, crawling awkward and batlike in the confined space. Billy dug in his pocket for his pass key, found it, and ran down the hallway and around the corner. Making the corner, he twisted his ankle. White pain shot up his leg, and he cried out. He limped to the closest door. The images of women in horror movies who twisted their ankles and feebly fell into the clutches of the monster raced through his head. Damn high heels. He fumbled the key into the lock while looking back down the hallway. The door opened and Billy fell into the room just as the monster rounded the corner behind him. He kicked the stiletto heel off his good foot, vaulted up and hopped across the empty room to the sliding glass door. The safety bar was set. He fell to his knees and began clawing at it. The only light in the room was coming from the hallway, and suddenly that was eclipsed. The monster was working its way through the doorway. â€Å"What the fuck are you!† Billy screamed. The monster stopped just inside the room. Even crouching over, its shoulders hit the ceiling. Billy cowered by the sliding door, still clawing under the curtains at the safety bar. The monster looked around the room, its huge head turning back and forth like a searchlight. To Billy's amazement, it reached around and turned on the lights. It seemed to be studying the bed. â€Å"Does that have Magic Fingers?† it said. â€Å"What!† Billy said. It came out a scream. â€Å"That bed has Magic Fingers, right?† Billy pulled the safety bar loose and hurled it at the monster. The heavy steel bar hit the monster in the face and rattled to the floor. The monster showed no reaction. Billy reached for the latch on the door and started to pull it open. The monster scuttled forward, reached over Billy's head, and pushed the door shut with one clawed finger. Billy yanked on the door but it was held fast. He collapsed under the monster with a long, agonizing wail. â€Å"Give me a quarter,† the monster said. Billy looked up into the huge lizard face. The monster's grin was nearly two feet wide. â€Å"Give me a quarter!† it repeated. Billy dug into his pocket, came out with a handful of change, and timidly held it up to the monster. Still holding the door shut with one hand, the monster reached down with the other and plucked a quarter from Billy's hand with two claws, using them like chopsticks. â€Å"Thanks,† it said. â€Å"I love Magic Fingers.† The demon let go of the door. â€Å"You can go now,† it said. Before he could think about it, Billy threw the door open and dove through. He was climbing to his feet when something caught him by the leg from behind and dragged him back into the room. â€Å"I was just kidding. You can't go.† The monster held Billy upside down by his leg while it dropped the quarter into the little metal box on the nightstand. Billy flailed in the air, screaming and clawing at the demon, ripping his fingernails against its scales. The monster took Billy into its arms like a teddy bear and lay back on the bed. Its feet hung off the end and nearly touched the dresser on the opposite wall. Billy could not scream; there was no breath for a scream. The monster let go with one arm and placed one long claw at Billy's ear. â€Å"Don't you just love Magic Fingers?† it said. Then it drove the claw though Billy's brain. 18 RACHEL After Merle died and Rachel observed a respectable period of mourning, which was precisely the same amount of time it took the courts to transfer Merle's property to her, she sold the Cessna and the trailer, bought herself a Volkswagen van, and on the advice of the women at the shelter, headed for Berkeley. In Berkeley, they insisted, she would find a community of women who could help her stay off the wheel of abuse. They were right. The women in Berkeley welcomed Rachel with open arms. They helped her find a place to live, enrolled her in exercise and self-actualization courses, taught her to defend herself, nurture herself, and most important, to respect herself. She lost weight and grew strong. She thrived. Within a year she took the remainder of her inheritance and bought a lease on a small studio adjacent to the University of California campus and began teaching high-intensity aerobics. She soon gained a reputation as a tough, domineering bitch of an instructor. There was a waiting list to get into her classes. The fat little girl had come into her own as a beautiful and powerful woman. Rachel taught six classes a day, putting herself through the rigors of each workout along with her students. After a few months of that regimen, she fell ill, waking one morning to find that she had just enough strength to call the women in her classes to cancel, and no more. One of her students, a statuesque, gray-haired woman in her forties named Bella, appeared at Rachel's door a few hours later. Once through the door Bella began giving orders. â€Å"Take off your clothes and get back in bed. I'll bring you some tea in a moment.† Her voice was deep and strong, yet somehow soothing. Rachel did as she was told. â€Å"I don't know what you think you've done to deserve the punishment you are giving yourself, Rachel,† Bella said, â€Å"but it has to stop.† Bella sat on the edge of Rachel's bed and watched while Rachel drank the tea. â€Å"Now lie on your stomach and relax.† Bella applied fragrant oil to Rachel's back and began rubbing, first with long, slow strokes that spread the oil, then gradually digging her fingers into the muscles until Rachel thought she would cry out in pain. When the message was finished, Rachel felt even more exhausted than before. She fell into a deep sleep. When Rachel awoke, Bella repeated the process, forcing Rachel to drink the bitter tea, then kneading her muscles until they ached. Again, Rachel slept. When Rachel awoke the fourth time, Bella again served her the tea, but this time she had Rachel lie on her back to receive her massage. Bella's hands played gently over her body, lingering between her legs and on her breasts. Through the drugged haze of the tea, Rachel noticed that the older woman was almost naked and had rubbed her own body with the same fragrant oils that she used on Rachel. It didn't occur to Rachel to resist. Since Bella had come through the door, she had been giving orders and Rachel had obeyed. In the dim light of Rachel's little apartment they became lovers. It had been two years since Rachel had been with a man. Trading soft caresses with Bella, she didn't care if she was ever again. When Rachel was back on her feet, Bella introduced her to a group of women who met at Bella's house once a week to perform ceremonies and rituals. Among these women Rachel learned about a new power she carried within herself, the power of the Goddess. Bella tutored her in the machinations of white magic and soon Rachel was leading the coven in rituals, while Bella looked on like a proud mother. â€Å"Modulate your voice,† Bella told her. â€Å"No matter what you are saying it should sound like a chant to the Goddess. The coven should be taken with the chant. That is the meaning of enchantment, my dear.† Rachel gave up her apartment and moved into Bella's restored Victorian house near the U.C. campus. For the first time in her life, she felt truly happy. Of course, it didn't last. One afternoon she came home to find Bella in bed with a bald and bewhiskered professor of music. Rachel was livid. She threatened the professor with a fireplace poker and chased him, half-naked, into the street. He exited clutching his tweed jacket and corduroy slacks in front of him. â€Å"You said you loved me!† Rachel screamed at Bella. â€Å"I do love you, dear.† Bella did not seem the least bit upset. Her voice was deep and modulated like a chant. â€Å"This was about power, not love.† â€Å"If I wasn't filling your needs, you should have said something.† â€Å"You are the most wonderful lover I have known, dear Rachel. But Dr. Mendenhall holds the mortgage on our house. That loan is interest free, in case you hadn't noticed.† â€Å"You whore!† â€Å"Aren't we all, dear?† â€Å"I'm not.† â€Å"You are. I am. The Goddess is. We all have our price. Be it love, or money, or power, Rachel. Why do you think the women in your exercise classes put themselves through so much pain?† â€Å"You're changing the subject.† â€Å"Answer me,† Bella demanded. â€Å"Why?† â€Å"They want a sound body. They want a strong vessel to carry a strong spirit.† â€Å"They don't give a rat's ass about a strong spirit. They want a tight ass so men will want them. They will deny it to the death, but it's true. The sooner you realize that, the sooner you will realize your own power.† â€Å"You're sick. This goes against everything you've ever taught me.† â€Å"This is the most important thing I ever will teach you, so listen! Know your price, Rachel.† â€Å"No.† â€Å"You think I'm some cheap slut, do you? You think you're above selling yourself? How much rent have you ever paid here?† â€Å"I offered. You said it didn't matter. I loved you.† â€Å"That's your price, then.† â€Å"It's not. It's love.† â€Å"Sold!† Bella climbed out of bed and strode across the room, her long gray hair flying behind her. She took her robe from the closet, threw it around herself, and tied the sash. â€Å"Love me for what I am, Rachel. Just as I love you for what you are. Nothing has changed. Dr. Mendenhall will be back, whimpering like a puppy. If it will make you feel better, you can be the one that takes him. Maybe we can do it together.† â€Å"You're sick. How could you even suggest such a thing?† â€Å"Rachel, as long as you see men as human beings, we are going to have a problem. They are inferior beings, incapable of love. How could a few moments of animal friction with a subhuman affect us? What we have between us?† â€Å"You sound like a man caught with his pants down.† Bella sighed. â€Å"I don't want you around the others until you calm down. There's some money in my jewelry box. Why don't you take it and go down to Esalen for a week or so. Think this over. You'll feel better when you get back.† â€Å"What about the others?† Rachel asked. â€Å"How do you think they'll feel when they find out that all the magic, all the spiritualism you preach, is just so much bullshit?† â€Å"Everything is true. They follow me because they admire my power. This is part of that power. I haven't betrayed anyone.† â€Å"You've betrayed me.† â€Å"If you feel that way, then perhaps you'd better leave.† Bella went into the bathroom and began drawing a bath. Rachel followed her. â€Å"Why should I leave? I could just tell them. I know as much as you do now. I could lead them.† â€Å"Dear Rachel.† Bella was adding oils to her bath and not looking up. â€Å"Didn't you learn anything from killing your husband? Destruction is a man's way.† Rachel was stunned. She had told Bella about the accident but not that she had caused it. She had told no one. Bella looked up at her at last. â€Å"You can stay if you wish. I still love you.† â€Å"I'll go.† â€Å"I'm sorry, Rachel. I thought you were more highly evolved.† Bella slipped out of her robe and into her bath. Rachel stood in the doorway staring down at her. â€Å"I love you,† she said. â€Å"I know you do, dear. Now, go pack your things.† Rachel couldn't bear the idea of staying in Berkeley. Everywhere she went she encountered reminders of Bella. She loaded up her van and spent a month driving around California, looking for a place where she might fit in. Then, one morning while reading the paper over breakfast, she spotted a column called â€Å"California Facts.† It was a simple list of figures that informed readers of obscure facts such as which California county produces the most pistachios (Sacramento), where one had the best chance of having one's car stolen (North Hollywood), and tucked amid a mlange of seemingly insignificant demographics, which California town had the highest per capita percentage of divorced women (Pine Cove). Rachel had found her destination. Now, five years later, she was firmly set in the community, respected by the women and feared and lusted after by the men. She had moved slowly, recruiting into her coven only women who sought her out – mostly women who were on the verge of leaving their husbands and who needed something to shore them up during the divorce process. Rachel provided them with the support they required, and in return they gave her their loyalty. Just six months ago she initiated the thirteenth and final member of the coven. At last she was able to perform the rituals that she had worked so hard to learn from Bella. For years they seemed ineffective, and Rachel attributed their failure to not having a full coven. Now she was starting to suspect that the Earth magic they were trying to perform just did not work – that there was no real power to be had. She could lead the coven to attempt anything, and on her command they would do it. That was a power of sorts. She could extract favors from men with no more than a seductive glance and in that, there was a power. But none of it was enough. She wanted the magic to work. She wanted real power. Catch had sensed Rachel's lust for power in the Head of the Slug that afternoon, recognizing in her what he had seen in his ruthless masters before Travis. That night, while Rachel lay in the dark of her cabin, contemplating her own impotence, the demon came to her. She had locked the door that night, more out of habit than need, as there was very little crime in Pine Cove. Around nine she heard someone try the doorknob and she sat upright in bed. â€Å"Who is it?† As if in answer, the door bent slowly inward and the doorjamb cracked, then splintered away. The door opened, but there was no one behind it. Rachel pulled the quilt up around her chin and scooted up into the corner of the bed. â€Å"Who is it?† A voice growled out of the darkness, â€Å"Don't be afraid. I will not hurt you.† The moon was bright. If someone was there, she should have been able to see his silhouette in the doorway, but strain as she might, she saw nothing. â€Å"Who are you? What do you want?† â€Å"No – what do you want?† the voice said. Rachel was truly frightened; the voice was coming from an empty spot not two feet away from her bed. â€Å"I asked you first,† she said. â€Å"Who are you?† â€Å"Ooooooooooo, I am the ghost of Christmas past.† Rachel poked herself in the leg with her thumbnail to make sure she was not dreaming. She wasn't. She found herself speaking to the disembodied voice in spite of herself. â€Å"Christmas is months away.† â€Å"I know. I lied. I'm not the ghost of Christmas past. I saw that in a movie once.† â€Å"Who are you!† Rachel was near hysteria. â€Å"I am all your dreams come true.† Someone must have planted a speaker somewhere in the house. Rachel's fear turned to anger. She leapt from bed to find the offending device. Two steps out of bed she ran into something and fell to the floor. Something that felt like claws wrapped around her waist. She felt herself being lifted and put back on the bed. Panic seized her. She began to scream as her bladder let go. â€Å"Stop it!† The voice drowned her screams and rattled the windows of the cabin. â€Å"I don't have time for this.† Rachel cowered on the bed. She was panting and felt herself getting light-headed. She started to sink back into unconsciousness, but something caught her by the hair and yanked her back. Her mind searched for a touchstone in reality. A ghost – it was a ghost. Did she believe in ghosts? Perhaps it was time to start. Maybe it was him, returned for revenge. â€Å"Merle, is that you?† â€Å"Who?† â€Å"I'm sorry, Merle, I had to†¦Ã¢â‚¬  â€Å"Who is Merle?† â€Å"You're not Merle?† â€Å"Never heard of him.† â€Å"Then, who – what in the hell are you?† â€Å"I am the defeat of your enemies. I am the power you crave. I am, live and direct from hell, the demon Catch! Ta-da!† There was a clicking on the floor like a tap-dancing step. â€Å"You're an Earth spirit?† â€Å"Er, uh, yes, an Earth spirit. That's me, Catch, the Earth spirit.† â€Å"But I didn't think the ritual worked.† â€Å"Ritual?† â€Å"We tried to call you up at the meeting last week, but I didn't think it worked because I didn't draw the circle of power with a virgin blade that had been quenched in blood.† â€Å"What did you use?† â€Å"A nail file.† There was a pause. Had she offended the Earth spirit? Here was the first evidence that her magic could work and she had blown it by compromising the materials called for in the ritual. â€Å"I'm sorry,† she said, â€Å"but it's not easy to find a blade that's been quenched in blood.† â€Å"It's okay.† â€Å"If I had known, I†¦Ã¢â‚¬  â€Å"No really, it's okay.† â€Å"Are you offended, Great Spirit?† â€Å"I am about to bestow the greatest power in the world upon a woman who draws circles in the dirt with nail files. I don't know. Give me a minute.† â€Å"Then you will grant harmony to the hearts of the women in the coven?† â€Å"What the fuck are you talking about?† the voice said. â€Å"That is why we summoned you, O Spirit – to bring us harmony.† â€Å"Oh, yeah, harmony. But there is a condition.† â€Å"Tell me what you require of me, O Spirit.† â€Å"I will return to you later, witch. If I find what I am looking for, I will need you to renounce the Creator and perform a ritual. In return you will be given the command of a power that can rule the Earth. Will you do this?† Rachel could not believe what she was hearing. Accepting that her magic worked was a huge step, yet she was speaking to the evidence. But to be offered the power to rule the world? She wasn't sure her career in exercise instruction had prepared her for this. â€Å"Speak, woman! Or would you rather spend your life collecting gobs of hair from shower drains and fingernail parings from ashtrays?† â€Å"How do you know about that?† â€Å"I was destroying pagans when Charlemagne was alive. Now, answer; there is a hunger rising in me and I must go.† â€Å"Destroying pagans? I thought the Earth spirits were benevolent.† â€Å"We have our moments. Now, will you renounce the Creator?† â€Å"Renounce the Goddess, I don't know†¦Ã¢â‚¬  â€Å"Not the Goddess! The Creator!† â€Å"But the Goddess†¦Ã¢â‚¬  â€Å"Wrong. The Creator, the All-Powerful. Help me out here, babe – I'm not allowed to say his name.† â€Å"You mean the Christian God?† â€Å"Bingo! Will you renounce him?† â€Å"I did that a long time ago.† â€Å"Good. Wait here. I will be back.† Rachel searched for a last word, but nothing came. She heard a rustling in the leaves outside and ran to the door. In the moonlight she could see the shapes of cattle standing in the nearby pasture and something moving among them. Something that was growing larger as it moved away toward town.