Characterization in Harriet Beecher Stowes Minister without a Pulpit :: Harriet Beecher Stowe Minister Pulpit Essays

Characterization in Harriet Beecher Stowe's Minister without a Pulpit Harriet Beecher Stowe uses characterization and a tragic situation to portray the contrast of the bourgeois and the proletariat classes and the social movements within the class structure. The first character appearing in the story is a little girl whose mother has just died. The descriptions of her are vague, and the name of this child is not revealed until late in the story. Throughout the story, the little girl is referred to as â€Å" ‘ere,† â€Å"beautiful little girl of seven years,† â€Å"little girl,† â€Å"little one,† and â€Å"child.† Only when she is asked for her name do the readers learn that it is Eglantine Percival. Even after her name has been revealed, none of the characters use her name. This absence of a name indirectly reflects Eglantine’s position in society after her mother’s death. Stowe uses vague words like â€Å"child† to show the subordination of Eglantine as a result of Miss Asphyxia’s demands. Before Eglantine is taken in, she held a high status with her mother and brother Harry. Her mother dies, and her brother is taken away from her along with â€Å"money enough† to pay for her mother’s funeral. The loss of these material possessions must coincide with a loss of high status according to Karl Marx. Dropping from bourgeois, Eglantine falls into the proletariat status. She does not submit entirely to the social structure at first. In fact, she resents the work Miss Asphyxia demands of her saying that she â€Å"wants to play.† Eglantine still dreams of her previous leisurely lifestyle where she had no responsibilities, where flowers were beautiful, and where her mother â€Å"always brushed them [her curls] out everyday.† She refuses Miss Asphyxia’s authority on a few occasions, but her efforts end with her own tears and eventual obedience. As her possessions escape her, Eglantine becomes more and more submissive to Miss Asphyxia and more proletariat status-like. Contrasting Eglantine is her benefactor Miss Asphyxia. She is a working woman, older and stronger. Miss Asphyxia is a â€Å"working machine, always wound up and going.† She understood that â€Å"nature had made her†¦entirely for use.† She described herself having nothing but bone and muscle, purely with practical and efficient uses. The use of Miss Asphyxia’s name is quite interesting. The short story is unexpectedly named after her although it seems that Eglantine is the main character of the story. Characterization in Harriet Beecher Stowe's Minister without a Pulpit :: Harriet Beecher Stowe Minister Pulpit Essays Characterization in Harriet Beecher Stowe's Minister without a Pulpit Harriet Beecher Stowe uses characterization and a tragic situation to portray the contrast of the bourgeois and the proletariat classes and the social movements within the class structure. The first character appearing in the story is a little girl whose mother has just died. The descriptions of her are vague, and the name of this child is not revealed until late in the story. Throughout the story, the little girl is referred to as â€Å" ‘ere,† â€Å"beautiful little girl of seven years,† â€Å"little girl,† â€Å"little one,† and â€Å"child.† Only when she is asked for her name do the readers learn that it is Eglantine Percival. Even after her name has been revealed, none of the characters use her name. This absence of a name indirectly reflects Eglantine’s position in society after her mother’s death. Stowe uses vague words like â€Å"child† to show the subordination of Eglantine as a result of Miss Asphyxia’s demands. Before Eglantine is taken in, she held a high status with her mother and brother Harry. Her mother dies, and her brother is taken away from her along with â€Å"money enough† to pay for her mother’s funeral. The loss of these material possessions must coincide with a loss of high status according to Karl Marx. Dropping from bourgeois, Eglantine falls into the proletariat status. She does not submit entirely to the social structure at first. In fact, she resents the work Miss Asphyxia demands of her saying that she â€Å"wants to play.† Eglantine still dreams of her previous leisurely lifestyle where she had no responsibilities, where flowers were beautiful, and where her mother â€Å"always brushed them [her curls] out everyday.† She refuses Miss Asphyxia’s authority on a few occasions, but her efforts end with her own tears and eventual obedience. As her possessions escape her, Eglantine becomes more and more submissive to Miss Asphyxia and more proletariat status-like. Contrasting Eglantine is her benefactor Miss Asphyxia. She is a working woman, older and stronger. Miss Asphyxia is a â€Å"working machine, always wound up and going.† She understood that â€Å"nature had made her†¦entirely for use.† She described herself having nothing but bone and muscle, purely with practical and efficient uses. The use of Miss Asphyxia’s name is quite interesting. The short story is unexpectedly named after her although it seems that Eglantine is the main character of the story.

Evolution Of Management Essay -- Organization Management Industry

Evolution of Management In this paper I will be explaining the evolution of management from the beginning of the industrial revolution to present which includes Classical School of Management, the Human Relations/ Behavioral School of Management, Theory X and Y, the Scientific Approach, Contingency Approach, and Theory Z. I will also be comparing the classical style and the present style to each other and to my current work environment. The Classical school of thought began during the Industrial Revolution around 1900 and continued into the 1920s when new problems related to the factory system began to appear. Managers were unsure of how to train employees (many of them non-English speaking immigrants) or deal with increased labor dissatisfaction, so they began to test solutions. Traditional or classical management focuses on efficiency and includes scientific, bureaucratic and administrative management. Bureaucratic management needs a rational set of structuring guidelines, such as rules and procedures, hierarchy, and a clear division of labor. Scientific management focuses on the "one best way" to do the job. Administrative management emphasizes the flow of information in the operation of the organization. The first... ...g. Fayol believed that all managers performed these functions and that the functions distinguished management as a separate discipline of study apart from accounting, finance, and production." (Online - http://www.referenceforbusiness.com/management/Log-Mar/Management Thought.html) [3] "McGregor recognized that some people may not have reached the level of maturity assumed by Theory Y and therefore may need tighter controls that can be relaxed as the employee develops." (Online - http://www.envisionsoftware.com/articles/Theory_X.html) [4] "This approach arose out of the observation that the three earlier approaches to management - the Classical, the Behavioral, and the Operations Research - did not always lead to an acceptable solution" (Patrick J. Montana and Bruce H Charnov, Management, Third Edition, page 30)

The Cask of Amontillado Essay

Rocio Cruz Professor Fred Kille English 102 February 3, 2013 The Cask of Amontillado Essay â€Å"A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself as such to him who has done the wrong† Some people are driven to do wrong by enviousness and Edgar Allan Poe’s short story â€Å"The Cask of Amontillado† is one good example of such. The story tells the event of the murder of Fortunato in the hands of Montresor, the narrator.Although many critics argue that Montresor acted out of self- righteousness, one cannot conclude such due to the lack of credibility that can be accounted to him and his malice. Montresor is an unreliable, malicious narrator who shows to have contrasting feelings of guilt and remorse towards his crime against killing Fortunato. Montresor, through his own telling of the events, showed not only that he is not accountable for credibility but he also showed that his main mo tif to kill Fortunato was enviousness. Perhaps the most revealing reason to asses that Montresor is not a just person is that he lacked evidence to condemn Fortunato.For instance, Montresor opens the story by saying â€Å"the thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. † These latter lines are all the reader knows of Fortuno’s presumed crime which suggests that there was no concrete wrongdoing from Fortuno after all; therefore revealing that Montresor acted without proof and out of malice. In further support of the claim that the narrator is bad-natured is that he also shows to be a cynic. Throughout the story he constantly refers to Fortunato as â€Å"my friend†.The fact that Montresor does not use negative words to refer to Fortunato tells the audience that he is attempting to protect his self-image and that he acted with hypocrisy. By the same token, the way Montresor talks about Fortuno conve ys that he was somewhat envious. While they were already in Montreso’s mansion, he admits to Fortuno â€Å"your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was†. This words are enough to disclose that Montreso was jealous of the place that Fortunato held in society; perhaps implying that Montresor himself once occupied the same place.Not only does Montresor show that he murdered Fortunato unjustifiably but he also seems to live with mixed feelings of guilt and remorse. Following his atrocity, the narrator of the story seems to live with guilty responsibility of killing Fortunato counteracting what many people believe. Montresor’s remorse came right after the crime was committed. â€Å"There came forth in return only a jingling of the bells. My heart grew sick-on account of the dampness of the catacombs,† says Montresor.To clarify, the narrator first admits that he felt unease in his heart and then, almost like t rying to convince himself, he attributes this feeling to the â€Å"dampness of the catacombs† showing that his conscience was the true causer of this heart â€Å"sickness†. Another clue that tells the reader that Montresor felt guilty is that, although no one certainly knows who the intended audience of the story is, he is conceivably justifying himself to God. In the first paragraph of the story, Montresor says, â€Å"You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat†.By admitting that â€Å"You† knows â€Å"the nature of [his] soul† the reader can draw the conclusion that it might be someone divine who he is talking to for who else would know him so well? In the same manner, he is asking this divine being to not judge his crime so heavily for he did not simply â€Å"give utterance to a threat†. Likewise, another fact that serves as evidence that Montresor is that he is telling the eve nts fifty years later. This goes to show that the event has haunted the narrator for half a century since he not only recalls everything but is taking the time to tell the story.The narrator of â€Å"The Cask of Amontillado† showed, through his own telling of the events, not only an unreliable narrator but also an envious man that is now living in remorse. The events that led to the assassination of Fortunato do not excuse Montresor as he believes they do. From the way in which Montresor â€Å"brags† his â€Å"perfect crime† the reader can draw the conclusion that he is not but a malicious member of society who tries to justify his wrongdoings by attributing them to the honor of him and his famiy.

Causing Fear And Sorrow English Literature Essay

An of import end of literature is the edifice of a connexion between a work and its audience by working common experiences and their emotional responses. Without these personal investings, a reader can go uninterested, and any message the writer intends to portray may be misunderstood. Within the two plants â€Å" The Raven † by Edgar Allen Poe and â€Å" A Good Man is Difficult to Find † by Flannery O'Connor, it is easy to detect the writers ‘ efforts at doing fright and sorrow for the reader by the writers ‘ use of common irrational frights within their Hagiographas. After a thorough scrutiny of important subdivisions within the texts and an probe on how readers may respond to single characters, one can so compare the texts to derive a better grasp of the attempts submitted by the writers to associate to their audiences of today and long ago. Although it could be argued that these writers ‘ mark audiences were merely readers populating at the clip the narratives were drafted, these narratives continue to bring down eerie feelings on the common individual of today. From his ain words, when discoursing â€Å" The Raven † in an essay, Poe explains his purposes for the reader by saying, â€Å" Now, ne'er losing sight of the object supremeness, or flawlessness, at all points, I asked myself – ‘Of all melancholic subjects, what, harmonizing to the cosmopolitan apprehension of world, is the most melancholic? ‘ Death – was the obvious answer † ( Poe 1846 ) . While decease is arguably non the most cheerless subject soon, one will doubtless witness the attempts Poe endured for the interest of the reader as they comprehend this powerful verse form. As decease is a universally understood construct, he creates a narrative that will elicit a reader ‘s emotions by coercing them to retr ieve old experiences or by act uponing them to visualize themselves as the storyteller. By the 2nd stanza of the verse form, Poe brings out the message of decease and sets the plaintive tone of the verse form with the lines, â€Å" From my books cessation of sorrow – sorrow for the lost Lenore – For the rare and beaming maiden whom the angels name Lenore – Nameless here everlastingly more † ( Poe 1016 ) . As one interprets these lines, they imagine a beautiful adult female who has abandoned the talker, or possibly has late passed off. While non straight saying she has died, by proposing her anonymity, Poe pulls at the audience ‘s experience, and makes them inquire if Lenore is now nameless because she has late passed on or if the storyteller is trying to bury her by non leting himself to advert her name any longer, as many in similar state of affairss continue to make. The sorrow of decease continues within the 3rd and 4th poetries. The reader finds that although it is the center of the dark, the talker hears sounds of person knocking at his door, nevertheless as he goes to react to them he discovers nil but darkness outside ( Poe 1016 ) . While the actual actions listed here already intensify the sorrow with an sum of upseting atmosphere, the audience can besides falter upon a nonliteral significance, as though alternatively of a individual strike harding it is really the memory of Lenore trying to come in his head, so rapidly fliting as disconcerting memories frequently do. Since most readers have fought similar conflicts within their ain heads, this subdivision once more battles to take the narrative from the storyteller and attach it to the reader. Traveling on to the 6th and 7th stanzas, the reader stumbles onto uninterrupted tapping. These lines express the tapping is louder and perchance coming from the talker ‘s window ( Poe 1016-1017 ) . The audience is now pulled in two waies as either the tapping is truly go oning and a Corvus corax has really entered into the room, or the memory of Lenore has eventually obtained entryway into the storyteller ‘s head. The two waies both lead the reader to a darkened topographic point as with one, the reader is witnessing an unwelcome animate being within the room, and with the other, the memories the chief character has invariably tried to bury hold begun to thrust ahead into his head and overwhelm him. Within poetries eight through 17, the reader views the storyteller as a adult male in the procedure of traveling huffy, as he begins to talk with the Corvus corax that has entered into the room ( Poe 1017-1018 ) . While the conversation continues, the reader must make up one's mind whether to believe a bird is really in the room and merely the address is imagined, or if the bird and the conversation are both wholly within the head of the talker, and the lunacy expressed is merely some type of internal spiritual argument on the whereabouts of Lenore. In either instance, the reader ‘s emotions are being manipulated purposefully to show the solitariness and unhappiness one faces when they lose a loved one. In the concluding poetry, the reader is once more pulled in two waies. When Poe writes, â€Å" And the lamp-light o'er him streaming throws his shadow on the floor ; And my psyche from out that shadow that lies drifting on the floor Shall be lifted – nevermore! † ( Poe 1018 ) , he intentionally forces the audience to once more make up one's mind if the full verse form is some type of internal argument or if the storyteller with has been driven insane and committed self-destruction. As the bulk of readers will hold experienced a loss of person stopping point to them to suicide, or may hold contemplated suicide themselves, they will hold the ability to sympathize with the storyteller, and by making so, will be emotionally invested within the verse form. While â€Å" The Raven † is a really nonreversible narrative where the message of decease is delivered by flashing it invariably to the reader, O'Connor ‘s â€Å" A Good Man is Difficult to Find † takes the attack suggested by G. W. Thomas by making characters people care about and leting atrocious things to go on to them ( Thomas 3 ) . Interestingly, within the first four pages, O'Connor introduces the household members, but merely allows the grandma and the kids to talk, as they are the characters she wants the audience to link with. To to the full appreciate O'Connor ‘s attempt, one must foremost expose the oddities of these specific characters ‘ personalities. The two kids ( John Wesley and June Star ) come off as spoiled, and as if they starred on â€Å" Childs Say the Darndest Things, † they frequently give uneven comments within their conversations. A twosome of illustrations are John Wesley claiming if caught by The Misfit that he would, â€Å" Smack his face † ( O'Connor 447 ) and June Star ‘s response, â€Å" No I surely wouldn'taˆÂ ¦ I would n't populate in a bedraggled topographic point like this for a million vaulting horses! † ( O'Connor 450 ) , to the adult female at The Tower when she asks June to go her girl. The construct of kids being thankless is evidently non original, but the usage of these kids grants readers something to hate. Furthermore, when the kids are killed by The Misfit ‘s posse at the terminal of the narrative, the audience feels guilt over their abrasiveness of the kids as the decease of kids tends to pique people more than kids misconducting. Beyond the coarse kids, the grandma is the most active character within the narrative, and is invariably trying to pull strings the household to make what she wants. Due to how good O'Connor designed this character, the audience really gets manipulated as good. While the grandma will frequently state something indelicate, the audience rapidly dismisses these comments to her old age and grows closer to her, neglecting to see her mistakes for what they are. This connexion misleads the audience to feeling sorry for the grandma when she is killed, when they should hearten The Misfit for his service to the community. The concluding chief character of the narrative is The Misfit, a inmate who has late escaped prison and leads a group of work forces who finally murder the full household. While a hard-boiled felon is non typically a individual person would openly acknowledge to holding similarities to, O'Connor uses The Misfit ‘s apparently extended yesteryear to make resemblances to the readers. Along with the experiences the audience and The Misfit portion, she grants The Misfit ‘s character with wisdom and a sense of righteousness that the reader appreciates, doing an internal struggle of fright and sorrow when he shoots the grandma at the terminal. By the terminal of the narrative, the reader must make up one's mind for themselves whether The Misfit is so a â€Å" good adult male † or non. A comparing of the two Hagiographas â€Å" The Raven † and â€Å" A Good Man is Difficult to Find † is hard to do due to the narratives ‘ differences in manner. However, while their methods differ, both Poe ‘s and O'Connor ‘s narratives are able to lure fright and sorrow for their audiences. In â€Å" The Raven, † Poe relies on a great trade of symbolism to make the reader, while in â€Å" A Good Man is Difficult to Find † O'Connor uses well-developed characters to construct connexions to the audience and tortures them through the actions of those characters. Overall, both Poe and O'Connor like an expert navigate the reader ‘s emotions and experiences, doing the reader to contend themselves to happen the messages within the narratives. The end of maintaining an audience from experiencing disinterested in a narrative is a precedence that can merely be accomplished by coercing readers to happen connexions for themselves. With Poe ‘s clever usage of symbolism and O'Connor ‘s investing in character edifice, the two narratives â€Å" The Raven † and â€Å" A Good Man is Difficult to Find † both cause fright and sorrow through the connexions they ‘ve built to the readers. While one may merely read either of these narratives for enjoyment, they can compare the two to derive a better grasp of the writers ‘ attempts, and perchance happen more within the narratives to bask. Plants Sited Poe, Edgar Allen. â€Å" The Philosophy of Composition. † 1846. Graham ‘s Magazine. vol. XXVIII, no. 4 ( 1846 ) :163-167. The Edgar Allen Poe Society of Baltimore. 21 Nov. 2010. Poe, Edgar Allen. â€Å" The Raven. † 1846. Literature: Reading, Reacting, Writing. 7th Edition. Eds. Laurie G. Kirszner and Stephen R. Mandell. Boston: Wadsworth Cengage Learning, 2008. 1016-1018. O'Connor, Flannery. â€Å" A Good Man is Difficult to Find. † Literature: Reading, Reacting, Writing. 7th Edition. Eds. Laurie G. Kirszner and Stephen R. Mandell. Boston: Wadsworth Cengage Learning, 2008. 447-457. Thomas, G.W. â€Å" Scare the heck out of your readers — and other horror-writing tips. † The Writer Apr. 2008: 15. General OneFile. Web. 30 Nov. 2010.

Rome’s Via Dei Fori Imperiali

Via dei Fori Imperiali Millions of tourists flock to the eternal city every year to look at the many beautiful and grandiose sites of Rome. What many might not realize is that in the 18th century Mussolini had a plan to restructure, and tear down many of important monuments that define Roman heritage, and he did just this. Benito Mussolini built the road known as Via dei Fori Imperiali in 1931-1933. Mussolini wanted a way to brand Rome with his distinct Fascist ideals.Via dei Fori Imperiali was first built with the idea that it would house many triumphal marches or parades. Mussolini also wanted to form a physical and symbolic link between Piazza Venezia, the headquarters of the fascist movement to the Roman Forum, the epitome of Roman power and strength, and all the way to the Colosseum. Many obstacles lay in Mussolini’s way, to start with many important and historic monuments but also little villages and houses that housed 746 of Rome’s poorest families.The dense amou nt of poor Romans living in the once- Alessandrino neighborhood, could not argue or protest against the tearing down of there homes precisely because they had no political power or even money to make any objection at the time. Apart from kicking thousands of people out of their homes, Mussolini also managed to destroy many millennia- old structures. To name a few Mussolini demolished the churches of San Lorenzo ai Monti and Santa Maria degli Angeli in Macello Martyrum. He also partially eradicated the forums of Caesar, Augustus, Trajan, Vespasian and Nerva.By building this road Mussolini completely changed the landscape of Rome, cutting completely the Forum area in two. Like many overbearing leaders Mussolini had the vision of creating a â€Å"new† Rome, one that had rid itself of the domineering aura of history. Mussolini wanted to make new open spaces that were not cluttered by history. He wanted to leave his own mark on the Country, and in his opinion the only way to do th is was to tear down thousands years of historic monuments and to displace thousands of people.Mussolini modeled himself on Julius Caesar, yet his role model was the first emperor Augustus. Mussolini admired the rulers of the ancient Roman Empire and strived to be like them yet with his arrogance he felt he needed to build bigger, better buildings than the Romans had built, he needed to make Rome the grandest it had ever been. ——————————————– [ 1 ]. http://www. heritage-key. com/rome/dei-fori-imperiali-mussolinis-fascist-route-through-rome

Paramilitarism Project Essay Example | Topics and Well Written Essays - 1250 words

Paramilitarism Project - Essay Example 1997 pp 1-18) The first known paramilitary law enforcement unit dates back to the Roman Empire as early as the year 6 A.D. (Sommerfield 2006) Originally made up of freed slaves, the group was formed for the sole purpose of protecting the Roman cities from fire, the group’s number and powers grew. Eventually free civilians joined their ranks and this law enforcement group elevated to elite status. (Sommerfield 2006) One hundred years later, policing evolved into a ‘head of state’ function across Europe. Lords and aristocratic figures often appointed representatives to maintain order. The English Saxons were similarly constructed. ‘Citizens were divided into groups often called tythings, each of which was headed by a tything man.’ (Sommerfield 2006) The tything groups were each part of a larger group that reported to a Shire-reeve from which the word sheriff originates. The Norman feudalism system witnessed a further revolution of the policy strategy. The tything man evolved into the parish constable who was accountable to the Sheriff who in turn evolved into the Justice of the Peace. (Sommerfield) By the 17th century policing strategies were firmly established. The police system primarily consisted of guards who were appointed from among the general citizenry. They were employed without compensation to watch the city gates and patrolled the streets on foot. As times changed, populations and economic structures grew to a point where this form of policing was no longer practical. As a result the first modern day police force was formed. This notoriety belongs to the London Metropolitan Police. Formed in 1829, the London Metropolitan Police became a model for which many commonwealth countries, inclusive of the United States of America would form their own police force. (Metropolitan Police) Paramilitary policing is not something that only came to fruition in recent years. Throughout history, there has always been a

Drug Violence in Mexico Research Paper Example | Topics and Well Written Essays - 2000 words

Drug Violence in Mexico - Research Paper Example Mexican drug trafficking is not a new item in the history of the country; the country has since Prohibition years of 1917-1933 been exporting illegal substances to the United States, and even before that, in Civil War years, was seen as one of the major suppliers of opiates, including morphine and heroin used to treat soldiers (Gonzalez). Though drugs have been commonly used in Mexico during this time, even though they were exported to the United States, they were still only being used for medical purposes, therefore the government saw no need to regulate or otherwise deter their uses. If there were addicts, they were seen as â€Å"ill persons†, not criminals, and the government was more concerned about protecting the public from low-quality drugs in its desire to make laws against drug use than they were in sending people to jail for it (Gonzalez). Another reason that the Mexican drug trafficking grew and prospered, coming under the control of what is known today as the drug cartels, is that for a long time the attentions of anti-drug campaigns were focused elsewhere, specifically Columbia. With all of the United States attention focused on bringing down the Columbian cartels, it is only natural that Mexico would be able to â€Å"fly under the radar† of the anti-drug missions and grow unchecked to the size that it is today. However, once the Columbian cartels had been dealt with by the American government, the Mexican cartels took what they had learned, and made their own drug pipeline (â€Å"Losing Ground Against Drugs: The Erosion of America’s Borders† 1997). Now Mexico is considered a major drug producer, as well as a major supplier, both in United States and the world. It is the main foreign supplier of methamphetamine and to the United States, and although Mexico accounts for only a small share of worldwide heroin production, it supplies a large share of heroin consumed in the United States, with an estimated 90% of cocaine ent ering the United States through Mexico (Cook 1). Violence in the border region has begun to spill over and affect Americans, with more than 60 Americans kidnapped in Nuevo Laredo, Mexico as of 2008 (Cook 1). Clearly, this is not the relationship that the United States envisioned with Mexico, though Mexico publicly does not support the actions of the drug cartels, as kidnappings and murders are generally seen as bad on both sides of the border. Today in Mexico, seven known drug cartels operate throughout the country: the Arellano Felix Organization, Beltran Leyva Organization, Los Zetas Cartel, Sinaloa Cartel, Carillo Fuentes Organization, Gulf Cartel/New Federation, and La Familia Michoacana, each with its own fluid area and territory of influence (Cook 3). However, that does not mean that each cartel is content with what they have accomplished, and since there are no fences marked with â€Å"this cartel’s territory here† or â€Å"keep out†, the borders are ofte n fought over. Infighting is common, and an almost immediate result of the rise in the Mexican drug cartels was a spike in violence, not just across the US-Mexican border where the cartels fought the authorities, but within Mexico itself, where the cartels wage turf wars against one another (Cook 13). Drugs are a very dangerous trade in Mexico. One of the biggest reasons for