In captivity. In literary, flight doesn’t always have to

In chapter fifteen, Foster discusses the one fantasy that probably every human have wanted to do; flying. Flight to me means that we have freedom in some sort of way. Freedom in our eyes to see what we what to see. Flying would have to mean there is an escape from the world around us. Having the chance to fly to a different destination would mean our freedom, our escape. For Foster, there is one simple rule of flight. The simple rule would be, if it flies, it is not human. The only reasons that human would be flying would have to be fictional, an angel, heavily symbolic, etc. One of the most common superhero abilities is flight, which is some of the most powerful Greek myths are involved with flight (such as the tragic tale Daedalus and Icarus), and many prominent religions like Buddhism and Christianity speak of literal hovering or flight. Foster uses Toni Morrison’s Song of Solomon, to show that the phrase “flying African” could represents how they desire for freedom when held in captivity. In literary, flight doesn’t always have to mean freedom. In Angela Carter’s Night at the Circus, Fevvers is trapped by her ability to fly. Its ironic power rests on the shared assumption that flight would mean freedom to most. The flights that the readers fancy the most would have to relate to having freedom for most of the characters in the novel. We have to be careful when reading when an author mentions flight because it doesn’t always mean freedom, there are always different meanings to everything. In chapter sixteen, Foster states that sex does not have to look like sex to be sex. Objects can be sexual organs. Actions can also be sex acts. Freud published The Interpretation of Dreams, and unlocked the sexual potential of the subconscious. For example, he said that a tall building can represent a male sexuality and a rolling landscape can represent a female sexuality. Freud’s work begun in the beginning of the 20th century, but sexual symbolism in literature has been around for as long as maybe literature has been around. Before the mid 20th century, coded sex avoided censorship, and descriptions of the symbols and how they are included in a story can be more intense than literal descriptions. Foster said, “Part of the reason for all this disguised sex is that, historically writers and artists couldn’t make much use of the real thing.” This shows that sex is still controversial. Authors cannot get much credit by directly starting that their characters are participating in it. Foster mentions D.H. Lawrence, that Lawrence is associated with sexuality. He argues that Lawrence sexiest scene comes from a wrestling scene between two men in Women in Love. He also mentioned another story that Lawrence wrote called “The Rocking-Horse Winner.” He claims that in this story it mentioned a little boy describing masturbation. In this chapter Frost, discussed two important examples of sexual dynamics that was a big deal in the past: masturbation and homosexuality. These two topics have been talked and reviewed a lot over the past years. Many school districts have banned certain books to teach is because of the heavy sexual content it discusses, but sometimes it isn’t about the sexuality that is important to discuss, but more about what it exactly means.

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