Writing Portfolio of Cristina Marcella Willison
2008 2009
Forward
Having flourished since infancy in a bilingual environment, I received little shock
when a passion for languages, which seemed to have been cultivated in my blood,
became evident. From the moment I first etched my name on paper, the art of writing
entered my life as I scribbled on every imaginable surface, shattering any preconceived-
anxiety that my Italian mother tongue prohibit English academic success. Furthermore, I
proudly present products shaped from the skills provided to me by each intuitive and
intelligent English teacher I have had throughout high school. Through their guidance
and advice, I have been able to refine my skills, allowing me to better understand new
literary and technical techniques to create quality pieces which more effectively express
my ideas.
From allusions, multiple conflict types, tone analysis, diction refinement, and
general abstract thinking, my writing has greatly improved, transforming itself into a
crucial aspect of my academic advancement. Significant alterations to my personal
writing include more concise thoughts, better organization, and, in particularly, the
addition of detailed facts, explanations, and, when appropriate, text references to further
support my ideas.
The portfolio is a compilation of a few works written for my senior English class,
all of which were specifically assigned and are first draft essays, therefore still in need of
a few adjustments. However, they represent skills learned and depict the growth of my
writing. I look forward to continue in my language exploration, mature in my writing,
and potentially continue in the addition to the portfolio.
âPossibleâ
College Essay
âI am not giving you a donation, I am merely giving back to you what your father
gave to us,â I was told by the president of the Edinburgh Post 33 of the American
Legion. âImpossible,â I thought.
As an eighteen-year-old, I once thought of every miniscule error in life as the
most tragic of situations until the day I was faced with the ultimate setback, the passing
away of my best friend, my father. Therefore, in a subtle attempt to exude the great
impact my father has had on my life and on the lives of so many others, this essay will
sing of my fatherâs undying legend, his vivid spirit, and the lasting impact that his lack of
presence has created: a setback that will remain etched into my soul forever.
My dad, the true epitome of a true friend, was a source of stability, security,
tranquility, and unconditional love in my life, as many fathers are to their children. After
finding myself with a stressful and demanding high school curriculum for consecutive
years, in addition to the pandemonium of my busy lifestyle, my fatherâs routine phone
calls transformed into my sole source of serenity. Quality venting sessions stain my
memory and make evident his genuine care for, and the time he allotted to listen to, my
juvenile concerns. Among many of my fatherâs valuable pieces of advice, one that lies at
the core and continues to dance amidst my thoughts is one that he uttered repetitively,
stressing its importance that I obey. âDonât mess up like I did; go to college.â My father
took just as much pride in my rigorous honors courses and in the respectable grades I
received in them as I did in presenting him with them. He made evident the importance
of prioritization in my daily life, for he took much pride in watching my sister and I
balance education with sports, such as speed skating and gymnastics. In order to
represent the work ethic and intelligence that both of my parents had diligently instilled
in me, I worked to my fullest potential, and continuously yearned for more. However,
the day my source of such strong and loving motivation took his last precious breath, due
to an abrupt heart failure that had the temerity to creep into our lives last December, it
seemed as though my own world, my own motivation, my own drive to be all that I can
be, took their last breaths as well.
Consequently, the second semester of my junior year in high school presented
itself as a blur; a fury of emotion, grief, fear, and unexplainable guilt flooded my body
and kidnapped my brain, allowing myself to forget even the slightest, most simple
academic concepts. With no hesitation will I state that such plummetting grades as those
that I received are most certainly not representative of my aspirations to attend college
and receive a solid education to my fullest potential, nor was it a representation of my
fatherâs standards and will for his daughter.
In addition to the mentioned advisory, my father remained adament in his opinion
that what has been done cannot be reversed, and therefore must be taken advantage of to
make an ideal situation from the initial dilemma. After his death, both my sister and I
cast aside academic motivations and our passion for skating, as if that were my fatherâs
will. Instead, we have recently come to the conclusion that the ultimate way to deal with
such a setback is to do exactly what my father would have told us to do, âGo, work hard,
skate, have fun, live life now and build a future because life doesnât last forever.â
Indeed life does not last forever, and if, perhaps, I had fully comprehended such
thoughts nine months earlier in my life, I potentially would have maintained a
commendable grade performance. However, as I continue on in my life, I must learn to
remember my fatherâs motivations and utilize them to inspire myself; I must grasp what
he lent me and run into the world with it. Instead of begging teachers to change a record
that cannot be undone, I must instead present colleges with the best of my abilities and
convince them that the promise I made to my father is a promise I will keep: I will
overcome and use my experience to benefit myself, as well as my prospective university.
I will breathe each breath for my father, who no longer has the chance to inhale the sweet
air of life.
âImpossible,â I thought, âthat anyone can provide an equilibrium to my fatherâs
giving spirit, not even the American Legion.â Unless, of course, I make him proud.
A True Story
Traditionally, the word âheroâ floods the minds of humanity with clichĂŠâ thoughts
of being one who defies huam capabilities in a magical, Hercules-type quest and, bye
chance, escapes any possibilities of defeat. However, in the anti-war novels
Slaughterhouse-Five, by Kurt Vonnegut, and The Things They Carried, by Tim OâBrien,
the universal ideas of the qualifications for a her are ultimately challenged. From
Vonnegutâs one-dimensional, Christ-like figure, extending to OâBrienâs controversial
unfolding of a seemingly-cowardice character, the world of literature encounters two
novels with contrasting approaches, yet ultimately cimilar themes.
Early in the novel, OâBrien already demonstrates an idea which contradicts most
conventional, particularly American, thoughts. As the narrator, divergent from the author
himself, quote, âI was a coward. I went to war,â (The Things They Carried, p. 60),
OâBrien defines one who goes to war as a coward, whereas typcally soldiers are thought
to be heroic. He poises the question as to how exactly the world should define a hero. In
contrast, Kurt Vonnegut commences Slaughterhouse-Five by presenting his audience
with a character who parallels directly Jesus Christ, portraying the illusion that because of
such a smiliar identity, he too carries with him such heroism. Billy Pilgrim accepts both
the good and the bad in life as presented with them. Nearly mimicking Christâs promise
of time, Billy Pilgrim believes time is eternal and will again present itself, for every
moment occurs simultaneously forever, further demonstrating a Christ-like persona.
When faced with death, Billy Pilgrim exutes little fear, and accepts his allotted bullet
peacfeully. All along, as Christ foresaw his own death, Billy Pilgrim lives his life the
same while carrying with him the knowledge of his own death soon approaching him.
Additionally, Billy Pilgrim gave his shooter another try at hitting him, which alludes back
to the famous Biblical quote, âTurn the other cheek.â Therefore, is this not a legitimate
hero, one who foresees his unfortunate fate, yet nonetheless voluntarily stands before a
ball of led which carries with it the dullness of death?
Although potentially perceived as a legitimate âyesâ, the response to the
previousely mentioned question remains controversial due to the additional, ulitmate
question: What, exactly, did Billy Pilgrim die for, to protect another, for a special cause,
or in order to prove an important idea? Although ridiculed and chosen by the
Tralfamadorians as the âchosen oneâ with no rhyme or reason to him being chosen, Billy
Pilgrim has never entirely overcome his delemmas. Throughout the entire novel he
experiences ridicule simply because of his passive nature, yet is never faced with any
unbearable challenge. From observances of character, one would not be off track to
make an inference that, if Billy had not been faced with such challenges, it is doubtful
that he would do much to take initiative to help a cause, or to martyr himself as he has
done in the book.
Contrary to Billyâs lack of courageous tasks, young lieutenant Jimmy Cross, in
The Things They Carried, carried an abuindance more than merely a gun and a pack. In
fact, with initals identical to Jesus Christ, he carried quote a heavy reputation, in addition
to the emotions, grievenaces, pain, destiny, and souls of the many men alongside him.
Additionally, his own personal, internal conflicts often overpowered the energy that
would have better been spent on determining the fate of his men. When forced with a
challenge, rather than escaping time as Billy Pilgrim luxuriously was able to do, Jimmy
Cross attacked, or made every attempt, to exterminate his problems. When all failed, a
heavy gult overcame Cross. âI cared more about Martha thatn I had about my own
men.â He had an obligation to someone, whereas Billy Pilgrim had an obligation to no
one other than himself.
Additionally, due to the sarcastic comments about Americaâs decision to bomb
Dresden in TTTC, OâBrien makes evident his anti-American, or perhaps simply anti-war
decisions. Furthermore, by battling the lack of support at home, Jimmy Cross proves
himself as a hero.
Although the two novels initially contradict themselves, Billy Pilgrimâs attitude
towards life parallels that of a helpless child, whereas, although Jimmy Cross never
physically âwonâ anything, he carried an entire army of men through one of the worst
times of their life, and of Americaâs history; a hero.
Position Paper on The Destructors
A universal reflection of humanity, the short story The Destructors, by Graham
Greene, presents itself as a brutal alert to the world of literature. Although evident that
beneath such unfathomable behaviors lies a message to mankind, an explicit purpose to
the author's work remains undefined.
Starring mutiny itself, The Destructors eminates the lasting impression that World
War II had on the Earth's imhabitants everywhere, particularly on young, confused
children. Reminescences of the war's brutality and horrors affecting Jews, Catholics,
soldiers and other minorites or peoples account for the majority of films and novels
recounting the war. However, lack of acknowledgment of those enduring the wretched
fears and visions of the recurring bombings, chaos, and tortures surroundng their homes,
exists. Although potentially physically unharmed, such "everyday" civilians suffered a
traumatic experience nonetheless, and a latent conclusion to the author's purpose is a
symbolic cry to the world representing the silent sufferers of war.
Although debatable, innocence of the young Wormsley Common Gang is not lost;
rather, naivety is gained. Because no anger existed towards Old Misery personally, the
boys' motives for such destruction present a shaky foundation. What possessed the
adolescents to do what they did? Referring back to the potential conclusion that, through
the story, the author represents the silent sufferers of war, an inference may be made that
the Wormsley Common Gang suffers from the inside out, paralleling their plans for the
beautiful house: destruction from the inside out. Although sporting a rough, nonchalant
facade, the gang makes evident their confusion and yearn for what they believe is "only
fair" by destroying the one thing left reminding them of what they lost. They created
themselves through the ancient home: beauty on the outside, shattered glass and nails on
the inside.
Graham Greene places the characters in a situation in which they may choose the
ever-present decision of good or evil. The mentioned idea of naivety exists and is made
evident when, after having chosen evil, the gang leaves the site never having realized
how their actions affect others. Such a thought mimics war itself, the instantaneous
gratification a country receives from bombing another, blind to the many they hurt, such
as the Wormsley Common Gang. Greene uses children because the world accepts such
internal conflict and behavior more easily from a child than an adult, for whatever reason;
however, the gang is a universal symbol of the emptiness felt by all victims of war.
Never explicity revealed, the author's purpose to the complex short story could
vary over a vast variety of ideas. However, an apparent theme eminates from the pages,
one that relates with people globally, politically, morally, and of all ages: one quick
action leaves a lasting impression on the lives of others; and, a potential purpose to the
story is to exemplify the impression made, and how people need not focus solely on the
false external behaviors of another, but rather on the deeper internal conflict that one
must work to bring to the surface.
Frankenstein From the fantastical story of Hansel and Gretel to the 1981 classic, Siddhartha,
the preconceived notion that mystery protrudes solely in detective novels proves itself
illusory, as a large faction of literature contains the element of mystery. The epic, often
misunderstood novel Frankenstein, by Mary Shelley, particularly shatters such literary
prisms of mystery by cyclically presenting its audience with the monsterâs internal
dilemma, the mystery of his existence and purpose in society. Shelley portrays such lust
through the monsterâs internal conflicts, explicitly displayed, and his unfathomable
actions which illuminate the meaning of the work by serving as the foundation of
virtually every significant event in the novel.
Midway through the novel, the monster speaks with Victor and states,
âRemember, that I am thy; I ought to be thy Adam, but I am rather the fallen angel,
whom thou drivest from joy for no misdeed,â (pg. 69), alluding Paradise Lost and
paralleling himself to Satan. Through such a statement, the creature subconsciously
makes evident his desperation to ascertain his role in society, perhaps foreshadowing the
ever-increasing cry for societal acceptance, and the actions in which he resorts to in order
to accomplish such a campaign. As the creature further seeks potential validity into
society by acquainting Victor with his tale, the monster expresses his initial phase of
frustration on page 74, also presenting a sense of irony to mankind: âHere then I
retreated, and lay down happy to have found a shelter, however miserable, from the
inclemency of the season, and still more from the barbarity of man.â From a
psychological perspective, the labeling of mankind as barbaric could potentially translate
into harsher, more role-suiting substitution for grief, distress, and the unsuccessful
solution for the culprit haunting him: the mystery of his purpose.
After Victorâs persistent abandoning of the creature, the monster displays human
emotions as seeks for love and belonging. Upon finding a cabin, the monster witnesses
what he depicts as lucid arrays of hope and togetherness, despite the familyâs poverty.
Therefore, although the creature never perceived himself as having a purpose, perhaps his
purpose was to provide a counteraction to the plethora of readers who take for granted of
the joys life brings. Whether or not Shelleyâs intention, such a notion legitimately serves
such a purpose.
Additionally, after Victorâs refusal to continue in his creation of a female
companion, the monster promises transform Victorâs wedding night allocated for love
and joy into a night of pain, and indeed he succeeded. The many deaths caused by the
monster suggest that, due to the misery caused by his unsolved mystery, the monster
nominated his own purpose by giving himself power, since he had no authority or
capability to control any other aspect of his life, his origin, or his companionship. As a
result of such a power struggle, the monster attributed the power to kill, which remains
the focus of much of the novel, and which leads to Victorâs death, as well as the
monsterâs own death.
Although an unfortunate yet natural wiring of the human brain to repel diversity,
superficial or not, the majority of intelligible persons cultivate an empathetic mindset to
âlegitimateâ creatures or races; however, a proposed concept for the monsterâs exiling is
the result of the scientific and unnatural manner in which he was created, which
legitimately, classifies as grotesque and somewhat distorted.
As previously mentioned, the monster did not have a predetermined purpose in
life, yet he subconsciously rendered meaning to his life. Similarly, human beings may
not have an exact agenda as to how they should accomplish a seat at societyâs right hand,
yet through genuine acts of citizenship, although perhaps not always recognized by
society, the mystery of life can be solved. However, the solution to such a mystery may
never be revealed to anyone other than the Omniscient.
Helen
A seemingly-diluted version of Euripidesâ initial text, Hadasâ interpretation of the
dramatic play, Helen, confronts its audience with societal concerns which have continued
to haunt humanity through the centuries, making evident its saturation with dramatic
effects. Gender roles and the vulnerability of mankind protrude as eminent themes in
both versions of the play, yet specific elements of Aristotleâs definition of drama directly
correlate with aspects of Helen, and perhaps encompass the previously mentioned
elements: nobility, an epic heroâs tragic flaw, and recognition of such.
In Euripidesâ version of the play, Helen is depicted as the manifestation of
manipulation through appeal. The ultimatum for every man on in Sparta, the beautiful
Helen is perceivably sought after by others; however, in Rachel Hadasâ version of Helen,
her beauty establishes Aristotleâs basic element of a tragic flaw. âFor the gift that Cyprus
gave to me, hath caused a sea of blood to flow.â Helenâs repeated acknowledgement of
her beauty being a curse to women, rather than beneficial, contradicts the eminent theme
in Euripidesâ version, where feminine roles failed to shatter the tight prisms of mere
vulnerable oblige. Helenâs reliance of men, and at times, lack thereof, represents such an
eraâs expectations, and her outrage in Euripidesâ version further bestows the
interpretation that, as a woman, she speaks from emotion, rather than logic. The menâs
fighting in the war symbolizes a masculine role of protection, and sets up a distinct irony
when Helen is blamed for such tragedy; a woman capable of little until there is no one
else to blame, in which she is capable of causing such calamity. Rachel Hadasâ character,
however, depicts Helen as potentially more rational, for her tone is consistently more
precise, with piercing diction. Helenâs composure is evident as she inquires about her
husband: âYet he said so clearly my lord was dead.â Similarities, however, remain, as
Helenâs reaction to her husbandâs death motivates a dramatic speech in which she is
victimzed. âThey will shut me up in prison, thinking me that Helen of Ilium, in quest of
whom Menelaus came thither.â In the latter portion of such a quote, âme Helen of
Ilium,â Helen uses ethos, or emotional appeal, and plays off her previously perceived
persona of pure beauty and naivety by convincing that she, in her reputation, has no
desire, capability, or history to conjure such a wretched act. Therefore, although Rachel
Hadas may have intended to push Helen through her feminist version as more
independent and composed, she created a scenario in which Helen, perhaps intentionally
and stealthily, utilized othersâ rendition of gender to escape from possible blame.
Aristotle continued to mention that not only would such a hero contain a tragic
flaw, but he or she would also be heir to, or affiliated with, nobility. Indeed, Helen, wife
of Menelaus, King of Sparta, continually falls into such a category. However, despite the
vast role of nobility throughout the play, human vulnerability and naivety vividly
remains. As the chorus claims Helenâs husband is dead, and Helen engulfs herself in
such notions, men in Sparta fight to a death over a mere illusion. Therefore, despite all
that is true, nobility, gender, or Hadasâ affirmed intelligence of Helen, the reliance on
others is evidently a desire, or perhaps a subconscious comfort, for mankind.
Although the two directly correspond, Hadasâ feminist perception spills from the
lips of Helen as she speaks. Forceful, yet composed diction contributes to the dramatic
tone, and, in addition to irony and direct correlations to epic Greek Drama, the devices
used assist in the deliverance of universal themes facing humanity and global societies
alike.
Othello Literary Criticisms
In the article âMoor is Less,â written by John Simon, an immediate literary
technique is used through its captivating title incorporating a simple yet appropriate pun
alluding to Othelloâs ethnicity as a Moore. However, one should not be fooled into
interpreting such a title to read, âless makes better,â for the authorâs intentions were
stated explicitly; Othello, the Moor, has indeed been reduced to a weaker character, as
well as many of the accompanying characters. Simon claims that by choosing actors who
physically contrast and demean many of the charactersâ previous grandeur, much of
Doug Hugesâ playâs drama and conflict has been lost. For example, the idea that Iago
deserves perhaps equal, yet never dominant attention over Othello clashes when Iagoâs
actor, Liev Schreiber, physically cowers over Othelloâs character. Such physical appeal
proves significant and suggestive to the human eye, as it ties the playâs loose ends.
Philosophical and political appeal which once saturated Shakespeareâs play merely
dapples the Hughesâ newer, âpoorly executedâ version of âOthello.â
âA Revolt Against God With No Apology,â by Ben Brantley, surprisingly had
little to do with its seemingly-controversial and unruly title; or rather, little was explicitly
stated, yet nonetheless present. Several different versions of âOthelloâ are mentioned,
yet protruding above them all remains Hughesâ version, with Live Schreiber as Iago. The
manipulative Iago uses âCyprus as his playgroundâ and âconfigures his cast members in
the patterns of chess pieces.â Such statements, however, correlate with the idea of a God-
like-revolt as he plays a position of complete control. Cool and controlled, the actor
consistently holds a mask over his enjoyment of the many disasters occurring throughout
the play, yet occasionally allows it to slip, revealing his laughter. According to the
article, Iago is more conniving and scheming in Hughesâ version of the play, âplaying
God,â or rather, perhaps, Satan.
The Pawnbroker
Group Essay (My paragraph is the second paragraph, or first of the body.)
In the poem âThe Pawnbroker,â by Maxime Kumir, the speaker uses both
emotional and physical worlds to express the contrast between outward and inward
appearances and their connection. These contrasts are expressed through diction and
theme, which help create the two dimensions of the outside and the inside world.
Ultimately, the author tries to call to attention the importance of the inward wealth of the
spirit and the outward façade.
Immediately evident is the poemâs physical and external attributes via an
apparently diluted diction and a direct listing of detail. By stating that âthe symbol inside
this poem is my fatherâs feet,â the speaker foreshadows upcoming, more intimate events
in the poem, rendering a taste of her fatherâs long journey. However, such a theme is
shattered instantaneously in line two when the speakerâs diction is made literal as she
discusses the fifty years her father stood behind a counter, causing physical pain. Poor
quality materialistic objects, or perhaps lack of entirely, flood stanzas two and three of
the poem, somewhat camouflaging the diligent work and undying love rendered by her
father. Consequently, the first sentence in paragraph three of the poem further supports
the idea of an âoutward worldâ: âEvery good thing in my life was secondhand,â making
the authorâs external facade appear tainted. However, the poem proceeds by lucidly
reflecting the unconditional love received by her father, and depicts their intimate
relationship and her âinside worldâ as anything but second-hand.
The speakerâs love for the father is shown through the references to his hard work
in order to provide for the family. Kumin uses powerful images such as the
Pawnbrokerâs âwhite feetâ and that the speaker âsaw his time slip down like sand in the
glassâ to convey the strength of her feelings. The clarity of the speakerâs love is
presented most effectively through her explanation of what is good in the speakerâs life.
In the third stanza the speaker says, âEvery good in my life was secondhang,â and then in
the sixth that âFirsthand I had from my father is a love ingrown.â With the use of
firsthand and secondhand, the impact of the fatherâs love is presented as greater than
anything the speaker has ever known. Through his presentation of his love, the speaker
shows how much she loves er father. Though she expresses difficulties of her hard life,
she is grateful that her father worked hard so that his children could have a better life.
This expression of his love is all she ever could have wanted.
Although it seems the outward and inward appearance is in direct contrast, in
reality they combine to help form the main theme. The author speaks of how her outward
appearance reflects that of a struggling family barely making end meet on the salary of
her father. The inward appearance suggests a family rich in values and love for one
another. This direct contrast only emphasizes the theme of the unimportance of lavisg
and extravagant materialistic things and the higher rank of the inward person over her
outward expression. The heavy contrast in the diction expressing the hurt in the
speakerâs fatherâs feet and the âwhite feetâ she speaks of after his death also helps to
bring to light the different views that are expressed inside and out.
Maxine Kumin, in âThe Pawnbroker,â expresses the contrast between emotional
inward and physical outward extremes of the speaker and her family. By using diction
and theme, the contrast between who someone is and who one appears to be becomes
evident. The image of feet also serves as the primary expression of the journey of her
father and struggle to translate his inner values into an outward expression to the world.
Open Ended Question
A novel saturated with psychological conflict and internal struggle, âThe Catcher
in the Ryeâ greatly exemplifies the effects of violence, or perhaps lack of, on the outcome
of both fictional novels or non-fictional, everyday scenarios. By incorporating various
scenes of internal will for violence, yet the inability to physically create the malicious
deed, the author effectively makes evident the relevance of Holdenâs, the main
characterâs, struggle to the work as a whole. Readersâ ability to hear the thoughts of the
character allow for a better understanding of the conflicts not explicitly occurring.
From the very beginning of the novel, Holdenâs thoughts reek of malice and
apathy, criticizing many seemingly-enjoyable aspects of his life. He mentions multiple
times throughout the novel that he dealt with issues by verbally confronting the person,
yet while he imagined very violent proceeding acts, he merely taunted his victim, almost
never physically harassing him. Such an example is found when Holden imagines how
he would deal with a situation in which discovered the thief of his missing gloves. Very
few times does Holden actually physically attack another, yet the situations in which he
does prove themselves quite significant to the meaning of the complete work.
Holdenâs extroverted personality greatly contrasts his introverted emotions,
rendering deeper meaning to moments when he rejected violence, and moreso to
moments when he fell victim to violent acts. By consistently thinking such vicious
thoughts, Holdenâs internal anger is displayed. His emotional state leads to reactions
much more severe than the initial problem at hand, and his ability to hold back from
actually proceeding with violence comes from the even-more-difficult task of holding
back all of the grief, anger, and loneliness he experiences. From a psychiatric standpoint,
one could deduce that Holden must feel that his emotions, including those of violence,
should remain within himself, as well as that his energy is much too drained to care to use
it in an outward expression of emotion. Such a though contributes greatly to the
overlying theme of the noel and of Holdenâs character. However, when Holden out
lashes toward Stradlater , his fondness of Jane is proven. Although one may confuse the
fight for being a result of the composition, which is possible, the dominant element to
Holdenâs anger is Stradlaterâs mistreatment of Jane. His childhood friend, Jane appears
to be one of Holdenâs few genuinely happy memories, one that h holds onto and
consistently alludes to throughout the novel. That after so much fury built up, one
seemingly-simple encounter with mere memories and talk of Jane could bring such
physical violence to Holdenâs character contributes immensely to the work.
Additionally, Holden displays physical violence as the hotelâs elevator greeter
forces Holden to pay the rest of his un-used prostitute fee. Holdenâs internal conflict
arose, and all that had been built up throughout his life was beginning to be unleashed.
Violence is, in fact, always the result of an underlying issue with the personâs
character. Therefore, Holdenâs struggles, as well as his often lack of violence, played an
equally, often moreso, significant role.