Discussion Board #7: Harrison Bergeron

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HARRISON BERGERON by Kurt Vonnegut, Jr.

THE YEAR WAS 2081, and everybody was finally equal. They weren't only equal before God and the

law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better

looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was

due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

Some things about living still weren't quite right, though. April for instance, still drove people crazy

by not being springtime. And it was in that clammy month that the H-G men took George and

Hazel Bergeron's fourteen-year-old son, Harrison, away.

It was tragic, all right, but George and Hazel couldn't think about it very hard. Hazel had a

perfectly average intelligence, which meant she couldn't think about anything except in short

bursts. And George, while his intelligence was way above normal, had a little mental handicap

radio in his ear. He was required by law to wear it at all times. It was tuned to a government

transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains.

George and Hazel were watching television. There were tears on Hazel's cheeks, but she'd forgotten for the moment what they were about.

On the television screen were ballerinas.

A buzzer sounded in George's head. His thoughts fled in panic, like bandits from a burglar alarm.

"That was a real pretty dance, that dance they just did," said Hazel.

"Huh" said George.

"That dance-it was nice," said Hazel.

"Yup," said George. He tried to think a little about the ballerinas. They weren't really very good-no

better than anybody else would have been, anyway. They were burdened with sashweights and

bags of birdshot, and their faces were masked, so that no one, seeing a free and graceful gesture

or a pretty face, would feel like something the cat drug in. George was toying with the vague

notion that maybe dancers shouldn't be handicapped. But he didn't get very far with it before another noise in his ear radio scattered his thoughts.

George winced. So did two out of the eight ballerinas.

Hazel saw him wince. Having no mental handicap herself, she had to ask George what the latest sound had been.

"Sounded like somebody hitting a milk bottle with a ball peen hammer," said George.

"I'd think it would be real interesting, hearing all the different sounds," said Hazel a little envious.

"All the things they think up."

"Um," said George.

"Only, if I was Handicapper General, you know what I would do?" said Hazel. Hazel, as a matter of

fact, bore a strong resemblance to the Handicapper General, a woman named Diana Moon

Glampers. "If I was Diana Moon Glampers," said Hazel, "I'd have chimes on Sunday-just chimes. Kind of in honor of religion."

"I could think, if it was just chimes," said George.

"Well-maybe make 'em real loud," said Hazel. "I think I'd make a good Handicapper General."

"Good as anybody else," said George.

"Who knows better then I do what normal is?" said Hazel.

"Right," said George. He began to think glimmeringly about his abnormal son who was now in jail, about Harrison, but a twenty-one-gun salute in his head stopped that.

"Boy!" said Hazel, "that was a doozy, wasn't it?"

It was such a doozy that George was white and trembling, and tears stood on the rims of his red eyes. Two of of the eight ballerinas had collapsed to the studio floor, were holding their temples.

"All of a sudden you look so tired," said Hazel. "Why don't you stretch out on the sofa, so's you can

rest your handicap bag on the pillows, honeybunch." She was referring to the forty-seven pounds

of birdshot in a canvas bag, which was padlocked around George's neck. "Go on and rest the bag for a little while," she said. "I don't care if you're not equal to me for a while."

George weighed the bag with his hands. "I don't mind it," he said. "I don't notice it any more. It's just a part of me."

"You been so tired lately-kind of wore out," said Hazel. "If there was just some way we could make a little hole in the bottom of the bag, and just take out a few of them lead balls. Just a few."

"Two years in prison and two thousand dollars fine for every ball I took out," said George. "I don't

call that a bargain."

"If you could just take a few out when you came home from work," said Hazel. "I mean-you don't compete with anybody around here. You just set around."

"If I tried to get away with it," said George, "then other people'd get away with it-and pretty soon

we'd be right back to the dark ages again, with everybody competing against everybody else. You wouldn't like that, would you?"

"I'd hate it," said Hazel.

"There you are," said George. The minute people start cheating on laws, what do you think

happens to society?"

If Hazel hadn't been able to come up with an answer to this question, George couldn't have supplied one. A siren was going off in his head.

"Reckon it'd fall all apart," said Hazel.

"What would?" said George blankly.

"Society," said Hazel uncertainly. "Wasn't that what you just said?

"Who knows?" said George.

The television program was suddenly interrupted for a news bulletin. It wasn't clear at first as to

what the bulletin was about, since the announcer, like all announcers, had a serious speech

impediment. For about half a minute, and in a state of high excitement, the announcer tried to say, "Ladies and Gentlemen."

He finally gave up, handed the bulletin to a ballerina to read.

"That's all right-" Hazel said of the announcer, "he tried. That's the big thing. He tried to do the best he could with what God gave him. He should get a nice raise for trying so hard."

"Ladies and Gentlemen," said the ballerina, reading the bulletin. She must have been

extraordinarily beautiful, because the mask she wore was hideous. And it was easy to see that she

was the strongest and most graceful of all the dancers, for her handicap bags were as big as those worn by two-hundred pound men.

And she had to apologize at once for her voice, which was a very unfair voice for a woman to use.

Her voice was a warm, luminous, timeless melody. "Excuse me-" she said, and she began again,

making her voice absolutely uncompetitive.

"Harrison Bergeron, age fourteen," she said in a grackle squawk, "has just escaped from jail, where

he was held on suspicion of plotting to overthrow the government. He is a genius and an athlete, is under-handicapped, and should be regarded as extremely dangerous."

A police photograph of Harrison Bergeron was flashed on the screen-upside down, then sideways,

upside down again, then right side up. The picture showed the full length of Harrison against a

background calibrated in feet and inches. He was exactly seven feet tall.

The rest of Harrison's appearance was Halloween and hardware. Nobody had ever born heavier

handicaps. He had outgrown hindrances faster than the H-G men could think them up. Instead of a

little ear radio for a mental handicap, he wore a tremendous pair of earphones, and spectacles with

thick wavy lenses. The spectacles were intended to make him not only half blind, but to give him

whanging headaches besides.

Scrap metal was hung all over him. Ordinarily, there was a certain symmetry, a military neatness

to the handicaps issued to strong people, but Harrison looked like a walking junkyard. In the race of life, Harrison carried three hundred pounds.

And to offset his good looks, the H-G men required that he wear at all times a red rubber ball for a

nose, keep his eyebrows shaved off, and cover his even white teeth with black caps at snaggle-

tooth random.

"If you see this boy," said the ballerina, "do not - I repeat, do not - try to reason with him."

There was the shriek of a door being torn from its hinges.

Screams and barking cries of consternation came from the television set. The photograph of

Harrison Bergeron on the screen jumped again and again, as though dancing to the tune of an earthquake.

George Bergeron correctly identified the earthquake, and well he might have - for many was the

time his own home had danced to the same crashing tune. "My God-" said George, "that must be Harrison!"

The realization was blasted from his mind instantly by the sound of an automobile collision in his

head.

When George could open his eyes again, the photograph of Harrison was gone. A living, breathing Harrison filled the screen.

Clanking, clownish, and huge, Harrison stood - in the center of the studio. The knob of the

uprooted studio door was still in his hand. Ballerinas, technicians, musicians, and announcers cowered on their knees before him, expecting to die.

"I am the Emperor!" cried Harrison. "Do you hear? I am the Emperor! Everybody must do what I

say at once!" He stamped his foot and the studio shook.

"Even as I stand here" he bellowed, "crippled, hobbled, sickened - I am a greater ruler than any man who ever lived! Now watch me become what I can become!"

Harrison tore the straps of his handicap harness like wet tissue paper, tore straps guaranteed to support five thousand pounds.

Harrison's scrap-iron handicaps crashed to the floor.

Harrison thrust his thumbs under the bar of the padlock that secured his head harness. The bar

snapped like celery. Harrison smashed his headphones and spectacles against the wall.

He flung away his rubber-ball nose, revealed a man that would have awed Thor, the god of thunder.

"I shall now select my Empress!" he said, looking down on the cowering people. "Let the first woman who dares rise to her feet claim her mate and her throne!"

A moment passed, and then a ballerina arose, swaying like a willow.

Harrison plucked the mental handicap from her ear, snapped off her physical handicaps with marvelous delicacy. Last of all he removed her mask.

She was blindingly beautiful.

"Now-" said Harrison, taking her hand, "shall we show the people the meaning of the word dance? Music!" he commanded.

The musicians scrambled back into their chairs, and Harrison stripped them of their handicaps, too.

"Play your best," he told them, "and I'll make you barons and dukes and earls."

The music began. It was normal at first-cheap, silly, false. But Harrison snatched two musicians

from their chairs, waved them like batons as he sang the music as he wanted it played. He slammed them back into their chairs.

The music began again and was much improved.

Harrison and his Empress merely listened to the music for a while-listened gravely, as though synchronizing their heartbeats with it.

They shifted their weights to their toes.

Harrison placed his big hands on the girls tiny waist, letting her sense the weightlessness that would soon be hers.

And then, in an explosion of joy and grace, into the air they sprang!

Not only were the laws of the land abandoned, but the law of gravity and the laws of motion as

well.

They reeled, whirled, swiveled, flounced, capered, gamboled, and spun.

They leaped like deer on the moon.

The studio ceiling was thirty feet high, but each leap brought the dancers nearer to it.

It became their obvious intention to kiss the ceiling. They kissed it.

And then, neutraling gravity with love and pure will, they remained suspended in air inches below the ceiling, and they kissed each other for a long, long time.

It was then that Diana Moon Glampers, the Handicapper General, came into the studio with a

double-barreled ten-gauge shotgun. She fired twice, and the Emperor and the Empress were dead

before they hit the floor.

Diana Moon Glampers loaded the gun again. She aimed it at the musicians and told them they had ten seconds to get their handicaps back on.

It was then that the Bergerons' television tube burned out.

Hazel turned to comment about the blackout to George. But George had gone out into the kitchen for a can of beer.

George came back in with the beer, paused while a handicap signal shook him up. And then he sat down again. "You been crying" he said to Hazel.

"Yup," she said.

"What about?" he said.

"I forget," she said. "Something real sad on television."

"What was it?" he said.

"It's all kind of mixed up in my mind," said Hazel.

"Forget sad things," said George.

"I always do," said Hazel.

"That's my girl," said George. He winced. There was the sound of a rivetting gun in his head.

"Gee - I could tell that one was a doozy," said Hazel.

"You can say that again," said George.

"Gee-" said Hazel, "I could tell that one was a doozy."

Harrison Bergeron: Completely Equal Answer the following questions as thoroughly as possible.

1. Describe the state of the U.S. society as described in the first paragraph. How has “equality”

been achieved?

2. Consider the characters of George and Hazel. Why isn’t Hazel handicapped?

3. How does George seem to feel about his handicaps?

4. Consider the character of Harrison in terms of both his physical qualities and personality traits.

Why is he considered a threat to society?

5. In your opinion, what is the shedding of Harrison’s handicaps symbolic of?

6. What is the significance of the dance that Harrison performs with the ballerina? How does the

style in which the story is written change in this passage?

7. Why do you think the Vonnegut decides to write dance scene in this way?

8. How do George and Hazel react to the televised murder of their son? What connections can you

make between this scene and Fahrenheit 451?

9. What do you consider to be the message of Harrison Bergeron (there are multiple)? What leads

you to this understanding of the text?

10. Reread the first column of the story. What revelations occur to you now that you know the

ending?

Brave New World: An Introduction The World State Motto: COMMUNITY, IDENTITY, STABILITY. In your groups, find a quote

that briefly describes your topic, then write a response underneath that explains to the class

how your topic promotes “stability” in that society.

Development of The Bokanovsky Process

Creation of Alphas, Betas, Deltas, Gammas, and Epsilons

Use of “Hypnopedia”

“Everyone belongs to everyone else.”

Removal of “mothers” and “fathers” from society

Creation of increasingly complex sports and games

Writing Analysis: What Does Writing Style Do? Commenting on author’s decisions to confuse readers!

In the space below, draw a diagram of chapter 3 from Brave New World:

What are the overall effects of this writing style? What could it be compared to in our society

today?

Why does Aldous Huxley use this “experimental” structure? What are the benefits of writing in this

way?

Scientific Allusions in Brave New World Important science allusions that would be missed if you weren’t smart…and stuff.

Sigmund Freud:

Ivan Pavlov:

Henry Ford:

Thomas Malthus:

BNW Connection:

Hypnopaedia in Today’s Society Take notes on the behavior the 1950s instructional videos are trying to mold in our modern society. After

viewing, ask yourself if you disagree with the delivery of the message, the behavior, or both.

Core Message of Lesson Rewritten in Hypnopedia Behavioral Outcome

Types of Propaganda PROPAGANDA: The use of a variety of communication techniques that create an emotional appeal

to accept a particular belief or opinion, to adopt a certain behavior or to perform a particular

action.

BANDWAGON: The basic idea behind the bandwagon approach is just that, "getting on the

bandwagon." The propagandist puts forth the idea that everyone is doing this, or everyone

supports this person/cause, so should you. The bandwagon approach appeals to the conformist in

all of us: No one wants to be left out of what is perceived to be a popular trend.

EXAMPLE: Everyone in Lemmingtown is behind Jim Duffie for Mayor. Shouldn't you be part

of the winning team, instead of wasting your vote?

TESTIMONIAL: This is the celebrity endorsement of a philosophy, movement or candidate. In

advertising, for example, athletes are often paid millions of dollars to promote sports shoes,

equipment and fast food. In political circles, movie stars, television stars, rock stars and athletes

lend a great deal of credibility and power to a political cause or candidate. Just a photograph of a

movie star at political rally can generate more interest in that issue/candidate or cause thousands,

sometimes millions, of people to become supporters.

EXAMPLE: "Sam Slugger", a baseball Hall of Famer who led the pros in hitting for years,

appears in a television ad supporting Mike Politico for U.S. Senate. Since Sam is well known

and respected in his home state and nationally, he will likely gain Mr. Politico many votes

just by his appearance with the candidate.

TRANSFER: Transfer employs the use of symbols, quotes or the images of famous people to

convey a message not necessarily associated with them. In the use of transfer, the

candidate/speaker attempts to persuade us through the indirect use of something we respect, such

as a patriotic or religious image, to promote his/her ideas. Religious and patriotic images may be

the most commonly used in this propaganda technique but they are not alone. Sometimes even

science becomes the means to transfer the message.

EXAMPLE: The environmentalist group PEOPLE PROMOTING PLANTS, in its attempt to

prevent a highway from destroying the natural habitat of thousands of plant species,

produces a television ad with a "scientist" in a white lab coat explaining the dramatic

consequences of altering the food chain by destroying this habitat.

GLITTERING GENERALITIES: This approach is closely related to what is happening in TRANSFER

(see above). Here, a generally accepted virtue is usually employed to stir up favorable emotions.

The problem is that these words mean different things to different people and are often

manipulated for the propagandists' use. The important thing to remember is that in this technique

the propagandist uses these words in a positive sense. They often include words like: democracy,

family values (when used positively), rights, civilization, even the word "American."

EXAMPLE: An ad by a cigarette manufacturer proclaims to smokers: Don't let them take

your rights away! ("Rights" is a powerful word, something that stirs the emotions of many,

but few on either side would agree on exactly what the 'rights' of smokers are.)

NAME-CALLING: This is the opposite of the GLITTERING GENERALITIES approach. Name-calling

ties a person or cause to a largely perceived negative image, such as communism, socialism, etc.,,

EXAMPLE: In a campaign speech to a logging company, the Congressman referred to his

environmentally conscious opponent as a "tree hugger."

PLAIN FOLKS APPEAL: Attempt to convince the audience that a prominent person and his ideas

are “of the people.”

EXAMPLES: A prominent politician eats at McDonald’s; an actress is photographed shopping

for groceries.

ELITIST APPEAL: Attempt to convince the audience that a prominent person and his ideas are for

a very select group of people.

EXAMPLES: If you would buy this Lexus, you wouldn’t have to TELL people that you were

successful; the car would scream it for you.

FEAR: This technique is very popular among political parties and PACs (Political Action

Committees) in the U.S. The idea is to present a dreaded circumstance and usually follow it up with

the kind of behavior needed to avoid that horrible event.

EXAMPLE: The Citizens Against Terrorism, or CAT for short, show an image of Al Qaeda

operatives raising a rebel flag over the White House with the tagline “Support Our Candidate

or the Terrorist Win.”

LOGICAL FALLACIES: Applying logic, one can usually draw a conclusion from one or more

established premises. In the type of propaganda known as the logical fallacy, however, the

premises may be accurate but the conclusion is not.

EXAMPLE:

Premise 1: Bill Clinton supports gun control.

Premise 2: Communist regimes have always supported gun control.

Conclusion: Bill Clinton is a communist.

EITHER/OR: Argument that presents only two of many alternatives. This type of fallacy is often

used to make the audience feel guilty or like they have no where to turn.

EXAMPLE: “Either you support your president or you completely abandon him.”

STEREOTYPES: To indulge in stereotypical thinking means that your brain has slipped into idle;

you're accepting as truth a tiresome, commonplace (if not downright idiotic) assumption about

people. "Women make lousy drivers. Asians are naturally good at mathematics. Scottish people are

tight with money. White men can't jump."

EXAMPLE: "Vegetarians are weaklings. They don't have good muscle strength because they

don't eat meat."

GUILTY BY ASSOCIATION: If something gets categorized with something else that is "guilty" of

something awful, there is a tendency for everything to be tainted by the guilty party. Remember

how unfair it seemed when Mother accused you of stealing Mrs. Young's necklace just because you

hung out with Jerry Biggsloff, who she knew was up to no good?

EXAMPLE:"I read somewhere that most cults are made up of vegetarians. We know that

cults are filled with kooks and weirdos. John and Mary are vegetarians so they must be

weirdos."

Other Notes from Mr. Randon

Propaganda in Political Attack Ads Propaganda is the use of a variety of communication techniques that create an emotional appeal that

convinces the masses to accept a particular belief, to adopt a certain behavior, or to perform a particular

action.

Summary of Advertisement: Propaganda at work: Goal of propaganda tactic:

Propaganda in Brave New World Now let’s look at examples of propaganda in BNW. We can use the World State’s slogans as examples.

Propaganda in Advertising Brainstorm As a group, brainstorm a list of popular slogans that have become prevalent in our society today. Are

there slogans from our society that you can repeat without having to think about it very much? List

them below:

Propaganda example used in

Brave New World:

Name for propaganda example: Goal the propaganda technique is

trying to accomplish:

“Cleanliness is next to

Fordliness”

“Transfer”

This slogan connects…

“Everyone belongs to everyone

else.”

“A gramme is better than a

damn.”

“Civilization is sterilization.”

“When the individual feels, the

community reels.”

Mustapha Mond’s Department of Propaganda As we have talked about, Brave New World is obsessed with creating economical stability through

consumerism. In your groups, use the propaganda techniques (and others you may know naturally from

watching commercials), and create a public service announcement for your assigned department.

Congratulations on your job offer and welcome to Mustapha Mond's Department of Propaganda! As a

new employee, it is imperative that you understand clearly and completely your role in our brave new

world of stability, harmony, and never-surpassed human happiness. Please read the following closely:

The Department of Propaganda plays a key role in maintaining the paradise we have constructed. This

world of ours did not come about by accident - in fact, mankind almost destroyed itself first, and only

the prospect of imminent extinction through instability and war brought about the necessary changes

leading to a better tomorrow. We have less freedom now than in previous societies, but we are

happier and more stable for it; in fact, we have discovered that stability is more important than

freedom. Our way of life is controlled and planned down to the smallest details, and endless attention

and care is required if society is to maintain its steady progress towards an ever improving quality of

life. Hence your job in the Department of Propaganda. You play a vital role in the health of our

state. In attending to the organization and rationale of our society, we can never rest in our efforts to

ensure stability through social engineering and advanced science.

As you know, our slogan repeats: "No civilization without stability. No social stability without

individual stability." Individual citizens need to know their role in society and how to fulfill their

expectations; everyone must be reminded how to keep happy, stable, and how thereby to keep the

gears of our social machine running smoothly. Your job is precisely to remind them of this correct way

to live. Virtue and sanity in our world rely, in large part, on how well you do your job. You must

supply the healthy thoughts that will occupy the minds of our citizenry. You must craft the powerful

words and dynamic images that effortlessly but effectively persuade and therein ensure obedience.

Your efforts here at the Department of Propaganda are central to the stability and strength of our

civilization. The ideas you fashion and then communicate are the glue which helps hold our social

structure together, the grease that keeps the machine humming smoothly and contentedly. Good

luck!

You will be assigned to one of four Department of Propaganda subdepartments responsible for

reinforcing correct thought and correspondingly correct behavior:

Better Living Through Test Tubes Subdepartment:

Everyone belongs to everyone else! And all have a role and a function in society. Everyone

has to do their part! To understand and act on this is to be happy and to live healthily. One

cannot be reminded of this long enough - or forget the ugliness, squalor, and irrationality of the

old family-model based on [sic] "parents"!

Never a Dull Moment Subdepartment:

Whether it be the Obstacle Golf, Orgy Porgy, or the Feelies, a normal person just wants to have

non-stop 24-7 fun! Sensory stimulation is the highest pursuit of the best form of happiness.

Don't be the last to indulge in the latest greatest amusement! And let's all do it TOGETHER!

Happiness is a Pill Subdepartment:

Feeling a bit under the weather? Gloomy thoughts clouding your day? Take a Soma vacation!

Pop a pill(s) and kiss those rain clouds good-bye. Relief is just a dose away! What are you

waiting for? TAKE IT NOW!

Shop 'til You Drop Subdepartment:

You are responsible for promoting the idea that an increase in production and consumption lead

to happiness and virtue. Newer is better! More is best! Old is horrid!

Mustapha Mond’s Department of Propaganda (Part II) With the resources and virtually unlimited media access of the State, your job is to help design a

public service announcement for your subdepartment to be broadcast over the hypnopaedic airwaves,

and displayed prominently in all World State “literature.” It must effectively and dramatically convey

the message that obedience to the World State values and organization of our society leads to

individual virtue and sanity, thereby bringing about stability and happiness for all. The announcement

should be perfectly understandable and equally digestible to both an Alpha-Plus and Delta-Minus. Your

message will be broadcast tens of thousands of times over weeks and millions of viewers will be

exposed to it, so your work must be of the highest quality. It cannot seem stale and boring after only

a handful of viewings. Be advised!

In selecting you to work in his Department of Propaganda, Mustapha Mond has the highest confidence

in your ability to produce creative work realizing (and even surpassing!) these high expectations. In

particular, he wishes that you not lose sight of the following questions:

• How can you fashion your message so as to gain maximum acceptance by the target audience?

• What tricks can you use to make your message seem reasonable and not overbearing?

• What techniques can you use to influence people without their feeling controlled?

• Is your message upbeat and is the tone appropriate to our brave new world?

• Will your slogans and/or jingles stay in people's minds afterwards?

• Are they simple?

• Are they catchy?

Mustafa Mond wishes you good luck in the discharge of your duties, among the most important in our

brave new world of order and happiness! In having given you full reign to be creative and develop

your own ideas of exactly how to get our message across in the video, Mond hopes to be pleasantly

surprised by your work. Don't let him down:

• 8x11 paper…no posters!

• An eye-catching image that reinforces BNW values

• An appealing new slogan that the citizens would accept and repeat

• Full use of propaganda techniques to develop your message

*If you must, you can create an original product to center your message around.

Mr. Randon Notes and Brainstorming

Brave New World Character Sketch Draw an outline of your character’s body. Find quotations to illustrate at least 5 of the following

body parts in preparation for talking to the class about what your character symbolizes. Place the

quotations around the character’s outline with the page number. Each group will present its sketch

to the class. At the top of the page, write the idea that your group thinks your character

symbolizes.

Head – Intellectual side of the character – What are his dreams? Visions? Philosophies he

keeps inside?

Eyes – Seeing through the character’s eyes – What memorable sights affect him? How?

Ears – Hearing through the character’s ears – What does he notice and remember others

saying to him? How is he affected?

Nose – Smelling through the character’s nose – What smells affect him? How?

Mouth – The character’s communication – What philosophy does the character

share/espouse? What arguments/debates? What song would symbolize the character’s

philosophy of life? What lyrics/images from the song would symbolize his or her philosophy?

Arms – Working – What is the character’s relationship to work in general? To specific work?

Hands – The practical side of the character – What conflicts does he or she deal with? How?

Heart – The emotional side of the character – What does he or she love? Whom? How?

Torso – The instinctive side of the character – What doesn’t he or she like about himself or

herself? What does he or she hide? What brings the character pain? What does he or she

fear? (Describe his or her “dark” side.)

Legs – The playful side of the character – What does he or she do for fun? What are his or

her avocations?

Feet – The character’s mobility – Where has he or she been (literally/figuratively)? How

has he or she been affected by travel or setting?

“Wings” – The character’s future – Where is he or she going?

Symbolism in Brave New World

Soma Bokanovsky Process

What is important about this object: