Models of Supervision Essay Example for Free

Models of Supervision Essay Frameworks from various psycho-therapeutic orientations and professions can be integrated into this model’s broad context. Supervisee developmental stage (m. 4) is catered for as, with experience, progress from lower to higher levels is enabled, in response to their pressing concerns. Identification of supervisee strengths is facilitated, encouraging positive feedback and affirmation, conducive to the supervisee’s willingness to divulge both negative and positive aspects of their work and their commitment to continued development. Practice characteristics requiring attention are identified, thereby providing a focus for the supervisor’s interventions to encourage improvement and growth (m. 4). This guide is useful as it raises awareness of all pertinent levels. Other frameworks inherently place disproportionate emphases on certain modes with some completely ignored. This model promotes balanced supervision as each mode is weighted equally over time. The implied hierarchy relates to the supervisor’s responsibility to attend to all levels. The supervisee provides the client’s primary care, but protection of rights and well-being is ultimately the supervisor’s responsibility (Helsel, 2012). This hierarchical responsibility is explicit (Hawkins and Shohet, 2002). To ensure quality care, the supervisee (m. 4) acknowledges the importance of on-going enhancement of professional knowledge and competencies (Carroll Gilbert, 2011). Reviewing the supervisee’s application of theory, by exploring techniques utilised (m. 2), is one of the supervisor’s responsibilities to support the supervisee’s professional development ((Helsel, 2012). Obtaining consent and ensuring confidentiality of personal information (consent documents, case notes and recordings) is mandatory (Helsel, 2012). To ensure transparency, an awareness of how the process functions and informed consent is necessary (Helsel, 2012). With the assurance of confidentiality, trust and enhancement of both therapeutic relationships may follow. Within the broader work context (m. 7), it should also be established to whom the supervisor reports regarding the supervisee’s capabilities (Carroll Gilbert, 2011). Appropriate supervision documentation can facilitate professional growth and development of both supervisee and supervisor (Helsel, 2012). Aspects to be included are: client status and progress (m. 1), supervisee interventions (m. 2) and supervisor input and guidance (m. 5, 6). The focus on organisational requirements (m. 7) and potential legal demands is addressed. Maintaining professional boundaries to avoid dual-relationships, conflicts of interest and subsequent exploitation of client trust is mandatory (Nichols, 2011). Any relationship that diminishes the practitioner’s ability to remain objective, exercise good judgement and avoid bias is deemed inappropriate (Helsel, 2012). This is addressed in the organisational context (m. 7), with implications for the supervisee-client (m. 3) and supervisee-supervisor (m. 5) relationships. Axten (2012) portrays these relationships as covenantal which implies a fundamental pursuit of respectful and trusting beneficence. The obligation to ensure quality care has several implications. Firstly, practitioners should offer services within the boundaries of their competence (m. 4 6). If enhanced understanding of factors including cultural or socio-economic (m. 7) is required, additional training or supervision should be sought (m. 4 6) or appropriate referrals made (Nichols, 2011). If professional duties are impacted by personal issues, professional assistance may facilitate resolution or termination of services maybe necessary. This model explicitly and comprehensively highlights the ethical considerations of supervision. These can all be addressed within process-oriented supervision (PS) but the definitive guide that the 7-eyed model provides is absent. Essentially, PS focuses on raising the supervisee’s awareness of their experiences and conceptualisations of the client and their issues, which are used to promote new personal insights, which enhance therapeutic skills (Richardson Hands, 2012). A number of skills are used in this process. Initially, the supervisee’s awareness of the client’s process is raised to encourage exploration of identities and roles played by each and the skills involved. Richardson, 2012) Strategies, including role-playing the absent client, allow replication of a parallel process, which facilitates emergence of client-supervisee dynamics, which can be subsequently explored. The individual’s acknowledged identity, the primary process, is explored for both client and supervisee. Identifying which channels the supervisee predominantly uses provides additional clues, as stuckness is generally resolved in under-utilised channels (Goodbread, 1997). The identity distanced from the individual’s awareness is the secondary process and is separated from the primary by an edge (Diamond Jones, 2004). This interrupts the flow of therapy due to the tension between release and change and manifests as atypical reactions. Exploration of all these will enhance the supervisee’s awareness, allowing new insights to emerge, which can be utilised to inform therapeutic skill, with possible replication and flow-on effects for the client. The supervisor’s role is to establish a positive feedback loop, connecting and reinforcing these elements. Richardson and Hands (2012) summarise this as: â€Å"The use of process-oriented supervision skills highlights a holographic meta-analysis where the sum of the parts is not only greater than the whole, but the parts and the totality of the whole contribute to further replication in other levels and systems†. (P 179) In the PS session witnessed, from within the supervisee’s story, a parallel process emerged. The client’s softer, nicer and more vulnerable process contrasted with a secondary process of strength and dominance and was mirrored in the supervisee. The tension and discomfort that existed between these, the edge, constituted the focus that was brought to supervision. Replicating the parallel process, enabled clarification as the supervisee had initially struggled to define her issue. The raising of the supervisee’s awareness enabled new insights to be generated which were used to inform her future approach. The feedback loop with new found skills was established. The overall approach was highly valued by the supervisee. Additional resources and strengths were revealed despite the non-attendance to goaling, exceptions, and coping strategies. Freshly acquired insights were relevant to the supervisee, both personally and professionally which enhanced their integration. This denotes another key feature of PS, a departure from other models, as the boundary between professional supervision and personal therapy is considered impossible to define (Richardson Hands, 2002). The attraction of the seven-eyed model is its applicability across many psychotherapeutic traditions. Social constructionist approaches integrate easily as many of these skills were utilised in the observed session. These included externalising, identifying exceptions and resources, preferred future descriptions and outside witness. Goaling identified the impact of the supervisee’s workplace anxiety as the focus. Questions exploring the supervisee’s current experience and identity (m. 4) were used. As a domestic violence worker, she regularly works with severely distressed individuals and a possible parallel process with transference of emotions onto the supervisee may have occurred. The supervisee’s unconscious reactions, her counter-transference, were explored with the intention to enhance her ability to respond, instead of merely reacting. Landscapes of action and meaning questions were utilised here and throughout the session. The focus then shifted to the supervisee’s experience and conceptualisation of the client (m. 1). The therapeutic relationship between supervisee and client (m. 3) was investigated using various techniques including outside witness’ perspective. Approaches and strategies utilised (m. 2) and the client’s responses were explored. These were placed within the wider context of the supervisee’s work (m. 7), using preferred future questions. Mode 5, the supervisory relationship and the supervisor’s own process (m. ), weren’t’ definitively explored, which is understandable as this was an isolated session for academic purposes. The adaptability of the model was evident as the strength-based approach evoked the supervisee’s exceptions and resources. Flexibility allowed unequal attention across modes, which enhanced responsiveness to the superviseeâ €™s needs and collaboration. The opportunity to observe various supervision models has highlighted the importance of remaining open-minded and willing to experiment with alternative techniques and approaches. To best meet client needs through the supervisee, having a choice of strategies and flexibility in application, will enhance my ability to remain effective and responsive. The seven-eyed model, with its inherent emphasis on relational and systemic aspects, provides a valuable, adaptable scaffold, upon which my approach to supervision will be based. Techniques from many orientations can be incorporated to accommodate supervisee strengths and needs, to ensure supervision is not done to but with the supervisee, which benefits their professional development. Also, understanding of new information is enhanced when integrated with existing familiar competencies and knowledge (Friedman, 1997). The seven modes provide a broad range of issues, enabling their identification and subsequent address to enhance supervisee development. Modelling multiple-perspective approaches may encourage the supervisee to mirror this in therapy, which may transfer to the client. Viewing issues from alternative perspectives often delivers therapeutic benefits as stuckness may transform into resolution with an accompanying transfer of skills. This would be conducive to development of the supervisee’s capabilities of reflection and thereby enhance their practice. The seven-eyed model, incorporating narrative and solution-oriented approaches of social constructionism, will be central to my approach. However, despite identification of exceptions, strengths, resources and coping strategies, issue resolution on a deeper, perhaps more personal level may sometimes be sought by the supervisee. PS skills will be utilised for these interventions, for when supervisees struggle to delineate the problem’s essence and may also prove useful in divising complementary solutions. The approaches of other models encourage alternative conceptualisations of issues and may be utilised to generate the supervisee’s news of difference required and promote flexible cognition. The world’s leading athletes require commitment, flexibility and strength. To become a skilled supervisor, having an extensive, strong theoretical base and grasp of technique, combined with flexibility in applying both and remaining open-minded to alternative approaches, may facilitate this continuous process. Modelling this as supervisor, will hopefully transfer to the supervisee and also inform their practice.

Death in William Shakespeare’s Hamlet Essay -- William Shakespeare Ham

â€Å"So shall you hear of carnal, bloody, and unnatural acts, of accidental judgments, casual slaughters, of deaths put on by cunning and forced cause,† (Hamlet, Act V, Scene 2, Lines 381-384). So says Horatio, best friend of Prince Hamlet in the final few lines of the play. He speaks these words after the deaths of Hamlet, Claudius, King of Denmark, Gertrude, Queen of Denmark, and Laertes, son of Polonius. Also dead are Hamlet, King of Denmark, Rosencrantz and Guildenstern, former friends of Hamlet, Polonius, councilor to the King, and Ophelia, daughter of Polonius. Death is an extremely prevalent theme in William Shakespeare’s Hamlet. However, each death is unique in circumstances, causes, and effects. Three important deaths in Hamlet were the deaths of King Hamlet, Ophelia, and Prince Hamlet. The first, and probably most important death in Hamlet, is the death of Prince Hamlet’s father, Hamlet, King of Denmark. Even though this death is not portrayed in the play, it sets off a chain of events that comprise the plot of Hamlet. Hamlet, King of Denmark died recently before the play begins. Claudius, King Hamlet’s brother, succeeded him. This upset Prince Hamlet, who thought he should be the successor. Then, in the very first scene of the play, King Hamlet’s ghost appears to some soldiers and Hamlet’s friend Horatio. The ghost does not speak to them. Horatio tells Hamlet about the ghost, and eventually the ghost appears to Hamlet and speaks with him. The ghost surprises Hamlet...

Night World : Secret Vampire Chapter 14

â€Å"YOU see,I like James,† Ash said. â€Å"I think he'sa little soft on vermin, but I don't want to seehim in trouble. I certainly don't want to see him dead.† Poppy felt the way she had last night when herbody was starving for air. She was frozen, too stillto breathe. â€Å"I mean, do youwant him dead?† Ash asked, as ifit were the most reasonable question in the world.Poppy shook her head. â€Å"Well, then,† Ash said. Poppy got a breath at last. â€Å"What are you saying?†Then, without waiting for him to answer, she said, â€Å"You're saying that they're going to kill him if theyfind out about me. But they don't haveto find out about me. Unless you tell them.† Ash glanced at his fingernails thoughtfully.. Hemade a face to show that this was as painful for himas it was for her. â€Å"Let's go over the facts,† he said. â€Å"You are, in fact,a former human.† â€Å"Oh, yeah, I was a vermin, all right.† He gave her a droll look. â€Å"Don't take that so seriously. It's what you are now that counts. But Jamesdid, in fact, change you without clearing it with anybody.Right? And he did, in fact, break cover and tellyou about the Night World before you werechanged. Right?† â€Å"How do you know? Maybe he just changed mewithout telling me a thing.† He shook a finger. â€Å"Ah, but James wouldn't dothat. He's got these radical permissive ideas abouthumans having free will.† â€Å"If you know all about it, why ask me?† Poppysaid tensely. â€Å"And if you've got a point-â€Å" â€Å"The point is that he's committed at least two capital offenses. Three, I bet.† He flashed the wild, handsome smile again. â€Å"He must have been in love withyou to have done the rest.† Something swelled in Poppy like a bird trapped inher rib cage and trying to get out. She blurted, â€Å"I don't see how you people can make laws about not falling in love! It's insane.† â€Å"But don't you see why? You're the perfect example. Because of love, James told you and then hechanged you. If he'd had the sense to squash hisfeelings for you in the beginning, the whole thingwould have been nipped in the bud.† â€Å"But what if you can'tsquash it? You can't forcepeople to stop feeling.† â€Å"Of course not,† Ash said, and Poppy stoppeddead. She stared at him. His lips curved and he beckoned to her. â€Å"I'll tellyou a secret. The Elders know they can't really legis late how you feel. What they can do is terrorize youso that you don't dare show your feelings-ideally, so you can't even admit them to yourself.† Poppy settled back. She'd seldom felt so at a loss.Talking to Ash made her head whirl, made her feel as if she were too young and stupid to. be sure of anything. She made a forlorn and helpless gesture. â€Å"Butwhat do I do now? I can't change thepast†¦.† â€Å"No, but you can act in the present.† He jumpedto his feet in a lovely, graceful motion and beganpacing. â€Å"Now. We have to think fast. Presumably everyone here thinks you're dead.† â€Å"Yes, but-â€Å" â€Å"So the answer is simple. You have to get out of jthe area and stay out. Go someplace where youwon't be recognized, where nobody will care ifyou're new or illegal. Witches. That's it! I've got some cross-cousins in Las Vegas that will put you up. Themain thing is to leave now.† Poppy's head wasn't just whirling, it was reeling.She felt dizzy and physically sick, as if she'd juststepped off Space Mountain at Disneyland. â€Å"What? Idon't even understand what you're talking about,†she said feebly. â€Å"‘I'll explain on the way. Come on, hurry! Do youhave some clothes you want to take?† poppy planted her feet solidly on the floor. Sheshook her head to try and dear it. â€Å"Look, I don'tknow what you're saying, but I can't go anywhereright now. I have to wait for James.† â€Å"But don't you see?† Ash stopped his whirlwindpacing and rounded on her. His eyes were green andhypnotically brilliant. â€Å"That's just what you can't do. James can't even know where you're going.† , what?† â€Å"Don't you see?†Ash said again. He spread hishands and spoke almost pityingly. â€Å"You'rethe only thing putting James in danger. As long as you're here, anybody can look at you and put the piecestogether. You're circumstantial evidence that he's committed a crime.† Poppy understood that. â€Å"But I can just wait and James can go away with me. He would wantthat.† â€Å"But it wouldn't work,† Ash said softly. â€Å"It doesn'tmatter where you go; whenever you're together,you're a danger to him. One look at you and anydecent vampire can sense the truth.† Poppy's knees felt weak. Ash spoke soberly. â€Å"I'm not saying that you'll bemuch safer yourself if you leave. You bring your owndanger with you, because of what you are. But aslong as you're away from James, nobody can connect you with him. It's the only way to keep him safe. Do you see?† â€Å"Yes. Yes, I see that now.† The ground seemed tohave disappeared beneath Poppy. She wasfalling,not into music, but into an icy dark void. There wasnothing to hold on to. â€Å"But, of course, it's a lot to expect, to ask you togive him up. You may not want to make that kindof sacrifice-â€Å" Poppy's chin came up. She was blind and empty and giddy, but she spoke to Ash with utter contempt,spitting out the words. â€Å"After everything he sacrificedfor me? What do you think I am?† Ash bowed his head. â€Å"You're a brave one, littledreamer. I can't believe you were ever human.† Then he looked up and spoke briskly. â€Å"So do youwant to pack?† â€Å"I don't have much,† Poppy said, slowly, becausemoving and speaking hurt her. She walked towardthe bedroom as if the floor was covered with broken glass. â€Å"Hardly anything. But I have to write a notefor James.† â€Å"No, no,† Ash said. â€Å"That's the last thing you wantto do. Well, after all,† he added as she swiveledslowly to look at him, â€Å"James being so noble andlovestruck and everything-if you let him knowwhere you're going, he'll come right after you. Andthen where will you be?† Poppy shook her head. â€Å"I†¦ okay.† Still shakingher head, she stumbled into the bedroom.She wasn't going to argue with him anymore, but she wasn't going to take his advice, either. She shut the bedroom door and tried as hard as she could toshield her mind. She visualized a stone wall around her thoughts. Stuffing her sweat pants and T-shirt and whitedress into the duffel bag took thirty seconds. Thenshe found a book under the nightstand and a felt-tippen in the drawer. She tore the flyleaf out of thebook and scribbled rapidly. Dear James, I'm so sorry, but if I stay to explain this to you, I know you'll try to stop me. Ash has made me understand the truth-that as long as I stick around I'mputting your life in danger. And I just can't do that.If something happened to you because of me, I woulddie. I really would. I'm going away now. Ash is taking me somewherefar away where you won't findme. Where they won'tcare what I am. I'll be safe there. You'll be safe here.And even if we're not together, we'll never really beapart. I love you. I'll love you forever. But I have to dothis. Please tell Phil goodbye. Your soulmate, Poppy. She was dripping tears onto the paper as shesigned it.She put the flyleaf on the pillow and went outto Ash. â€Å"Oh, there, there,† he said. â€Å"Don't cry. You'redoing the right thing.† He put an arm around hershoulders. Poppy was too miserable to shrug it off. She looked at him. â€Å"One thing. Won't I be putting youin danger if I go with you? I mean, somebodymight think youwere the one who made me an ille gal vampire.† He looked at her with wide, earnest eyes. They happened to be blue-violet at the moment. â€Å"I'm willing to take that risk,† he said. â€Å"I have alot of respect for you.† James took the stairs two at a time, sending probing thoughts ahead of him and then refusing to believe what his own senses told him. She had to be there. She hadto be†¦. He pounded on the door at the same time as hewas thrusting the key into' the lock. At the same timeas he was shouting mentally. Poppy! Poppy, answer me! Poppy! And then, even with the door flung open and hisown thoughts ricocheting off the emptiness in theapartment, he stilldidn't want to believe. He ran around, looking in every room, his heart thudding louder and louder in his chest. Her duffel bag was gone. Her clothes were gone. She was gone. He ended up leaning against the glass of the livingroom window. He could see the street below, andthere was no sign of Poppy. No sign of Ash, either. It was James's fault. He'd been following his mother's trail all afternoon, from decorating job to decorating job, trying to catch up with her. Only to find,once he did catch up, that Ash was already in Elcamino, and had, in fact, been sent over to James'sapartment hours ago. With a key. putting him alone with Poppy. James had called the apartment immediately. Noanswer. He'd broken all speed limits getting backhere. But he was too late. Ash, you snake, he thought. If you hurt her, if youput one finger on her †¦ He found himself roving over the apartment again,looking for clues as to what had happened. Then, in the bedroom, he noticed something pale against the light brown of the pillowcase. A note. He snatched it up and read it. And gotcolder and colder with every line. By the time he reached the end, he was made of ice and ready tokill. There were little round splashes where the felt-tippen had run. Tears. He was going to break one of Ash's bones for each one. He folded the note carefully and put it in hispocket. Then he took a few things from his closetand made a call on his cellular phone as he was walking down the stairs of the apartment building. â€Å"Mom, it's me,† he said at the beep of an answering machine. â€Å"I'm going to be gone for a few days. Something's come up. If you see Ash, leave me amessage. I want to talk with him.† He didn't say please. He knew his voice was clippedand sharp. And he didn't care. He hoped his tone would scare her. Just at the moment he felt ready to take on hismother and father and all the vampire Elders in theNight World. One stake for all of them. He wasn't a child anymore. In the last week he'dbeen through the crucible. He'd faced death andfound love. He was an adult. And filled with a quiet fury that would destroyeverything in its path. Everything necessary to getto Poppy. He made other phone calls as he guided the Integraswiftly and expertly through the streets of El Camino.He called the Black Iris and made sure that Ashhadn't turned up there. He called several other blackflower dubs, even though he didn't expect to find anything. Poppy had said Ash was going to take her far away. But where? Damn you, Ash, he thought. Where? Phil was staring at the TV without really seeing it.How could he be interested in talk shows or infomercialswhen all he couldthinkabout was his sister?His sister who was maybe watching the same showsand maybe out biting people? He heard the car screech to a stop outside and wason his feet before he knew it. Weird how he wasabsolutely certain of who it was. He must have cometo recognize the Integra's engine. He opened the door as James reached the porch.†What's up?† â€Å"Come on.† James was already heading for the car.There wasa deadly energy in his movements, abarely controlled power, that Phil had never seen before. White-hot fury, leashed but straining. â€Å"What's wrong?† James turned at the driver's side door. â€Å"Poppy'smissing!† Phil threw a wild glance around. There was nobodyon the street, but the door to the house was open.And James was shouting as if he didn't care whoheard. Then the words sank in. â€Å"What do you mean,she's-† Phil broke off and jerked the door to thehouse shut. Then he went to the Integra. James already had the passenger door open. â€Å"What do you mean, she's missing?† Phil said assoon as he was in the car. James gunned the engine. â€Å"My cousin Ash has taken her someplace.† â€Å"Who's Ash?† â€Å"He's dead,† James said, and somehow Phillip knew he didn't mean Ash was one of the walkingdead. He meant Ash was going to bedead, completelydead, at some point very soon. â€Å"Well, where's he taken her?† â€Å"I don't know,† James said through his teeth. â€Å"Ihave no idea.† Phil stared a moment, then said, â€Å"Okay. Okay.† He didn't understand what was going on, but hecould see one thing. James was too angry and toointent on revenge to think logically. He might seem rational, but it was stupid to drive around at fifty five miles an hour through a residential zone with no idea of where to go. It was strange that Phil felt comparatively calmit seemed as if he'd spent the last week being wacko while James played the cool part. But having someone else be hysterical always made Phil golevelheaded. â€Å"Okay, look,† he said. â€Å"Let's take this one step ata time. Slow down, okay? We might be going in exactly the wrong direction.† At that, James eased up on the gas pedal slightly. â€Å"Okay, now tell me about Ash. Why's he taking Poppy somewhere? Did he kidnap her?† â€Å"No. He talked her into it. He convinced her thatit was dangerous for me if she stuck around here. Itwas the one thing guaranteed to make her go withhim.† One hand on the wheel, James fished in his pocket and handed a folded piece of paper to Phil. It was a page torn out of a book. Phillip read thenote and swallowed. He glanced at James, who wasstaring straight ahead at the road. Phil shifted, embarrassed at having intruded on private territory, embarrassed at the sting in his eyes. Your soulmate, Poppy?Well. Well. â€Å"She loves you a lot,† he said finally, awkwardly.†And I'm glad she said goodbye to me.† He folded the note carefully and tucked it under the emergency brake handle. James picked it up and put it in hispocket again. â€Å"Ash used her feelings to get her away. Nobodycan push buttons and pull strings like he can.† â€Å"But why would he want to?† â€Å"First because he likes girls. He's a realDon Juan.†James glanced at Phil caustically. â€Å"And now he's gother alone. And second because he likes to play withthings. Like a cat with a mouse. He'll fool around with her for a while, and then when he gets tired ofher, he'll hand her over.† Phillip went still. â€Å"Who to?† â€Å"The Elders. Somebody in charge somewherewho'll realize she's a renegade vampire.† â€Å"And then what?† â€Å"And then they kill her.† Phil grabbed the dashboard. â€Å"Wait a minute.You're telling me that a cousin of yours is going tohand Poppy over to be killed?† â€Å"It's the law. Any good vampire would do thesame. My own mother would do it, without a second thought.† His voice was bitter. â€Å"And he's a vampire. Ash,† Phil said stupidly. James gave him a look. â€Å"Allmy cousins are vampires,† he said with a short laugh. Then his expression changed, and he took his foot off the gas. â€Å"What's the-hey, that was a stop sign!† Philyelped. James slammed on the brakes and swung into aU-turn in the middle of the street. He ran over somebody's lawn. â€Å"What is it?† Phil said tightly, still braced againstthe dashboard. James was looking almost dreamy. â€Å"I've just realized where they've gone. Where he'd take her. Hetold her someplace safe, where people wouldn't carewhat she was. But vampires wouldcare.† â€Å"So they're with humans?† â€Å"No. Ash hates humans. He'd want to take hersomeplace in the Night World, someplace where he'sa big man. And the nearest city that's controlled bythe Night World is Las Vegas.† Phil felt his jaw drop. Las Vegas? Controlled by theNight World? He had the sudden impulse to laugh. Sure, of course it would be. â€Å"And I always thoughtit was the Mafia,† he said. â€Å"It is,† James said seriously, swerving onto a freeway on-ramp. â€Å"Just a different mafia.† â€Å"But, look, wait. Las Vegas is a big city.† â€Å"It's not, actually. But it doesn't matter anyway. Iknow where they are. Because all my cousins aren'tvampires. Some of them are witches.† Phil's forehead puckered. â€Å"Oh, yeah? And how didyou arrange that?† â€Å"I didn't. My great-grandparents did, about fourhundred years ago. They did a blood-tie ceremonywith a witchfamily. The witches aren't my realcous ins; they're not related. They're cross-cousins.Adopted family. It probably won't even occur tothem that Poppy might not be legal. And that'swhere Ash would go.† â€Å"They're cross-kin,† Ash told Poppy. They weredriving in the Rasmussen's gold Mercedes, which Ashinsisted his aunt Maddy would want him to take.†They won't be suspicious of you. And witches don'tknow the signs of being a new vampire the way vampires do.† Poppy just stared at the far horizon. It was evening now, and a lowering red sun was setting behind them. All around them was a weird alien landscape: not as brown as Poppy would have expected a desertto be. More gray-green, with clumps of green-gray. The Joshua trees were strangely beautiful, but alsothe closest thing to a plant made up of tentacles as she'd ever seen. Most everything growing had spikes. It was oddly fitting as a place to go into exile. Poppy felt as if she were leaving behind not only herold life, but everything she'd ever foundfamiliarabout the earth. â€Å"I'll take care of you,† Ash said caressingly. Poppy didn't even blink. Phillip first saw Nevada as a line of lights in thedarkness ahead. As they got closer to the state line,the lights resolved into signs with blinking, swarming, flashing neon messages. Whiskey Pete's, they an nounced. Buffalo Bill's. The Prima Donna. Some guy with a reputation for being a Don Juanwas taking Poppy in thisdirection? â€Å"Go faster,† he told James as they left the lightsbehind and entered a dark and featureless desert.†Come on. This car can do ninety.† â€Å"Here we are. Las Vegas,† Ash said as if makingPoppy a present of the whole city. But Poppy didn'tsee a city, only a light in the clouds ahead like the rising moon. Then, as the freeway curved, she sawthat it wasn't the moon, it was the reflection of city lights. Las Vegas was a glittering pool in a flat basinbetween the mountains. Something stirred in Poppy despite herself. She'dalways wanted to see the world. Faraway places. Ex otic lands. And this would have been perfect-if onlyJames had been with her. Up close, though, the city wasn't quite the gem itlooked from a distance. Ash got off the freeway, and Poppy was thrown into a world of color and lightand movement-and of tawdry cheapness. â€Å"The Strip,† Ash announced. â€Å"You know, whereall the casinos are. There's no place like it.† â€Å"I bet,† Poppy said, staring. On one side of her wasa towering black pyramid hotel with a huge sphinxin front. Lasers were flashing out of the sphinx'seyes. On the other side was a sleazy motor inn with a sign saying â€Å"Rooms $18.† â€Å"So this is the Night World,† she said, with a twingeof cynical amusement that made her feel very adult. â€Å"Nah, this is for the tourists,† Ash said. â€Å"But it'sgood business and you can do some fairly seriouspartying. I'll show you the real Night World, though.First, I want to check in with my cousins.† Poppy considered telling him that she didn't reallycare to have himshow her the Night World.Something about Ash's manner was beginning to bother her. He was acting more as if they were out on adate than as if he were escorting her into exile. But he's the only person I know here, she realizedwith a dismayed sinking in her stomach. And it's notas if I have any money or anything–not even eighteen dollars for that crummy motel. There was something worse. She'd been hungry for some time now, and now she was starting to feel breathless. But she wasn't the dazed, unthinking animal she'd been last night. She didn't want to attacksome human on the street. â€Å"This is the place,† Ash said. It was a side street,dark and not crowded like the Strip. He pulled intoan alley. â€Å"Okay, just let me see if they're in.† On either side of them were high buildings withcinder-block walls. Above, tiers of power lines obscuredthe sky. Ash knocked at a door set in the cinder blocka door with no knob on the outside. There was no signon the door, either, just some crudely spray-paintedgraffiti. It was a picture of a black dahlia. Poppy stared at a Dumpster and tried to controlher breathing. In, out. Slow and deep. It's okay,there's air. It may not feel like it, but there's air. The door opened and Ash beckoned to her. â€Å"This is Poppy,† Ash said, putting an arm aroundher as Poppy stumbled inside. The place looked likea shop–a shop with herbs and candles and crystals. And lots of other weird things that Poppy didn't recognize. Witchy-looking supplies. â€Å"And these are my cousins. That's Blaise, andthat's Thea.† Blaise was a striking girl with masses ofdark hair and lots of curves. Thea was slimmer and blond. They both kept going out of focus as Poppy's vision blurred. â€Å"Hi,†she said, the longest greeting she couldmanage. â€Å"Ash, what's wrong with you? She's sick. What have you been doing to her?† Thea was looking atPoppy with sympathetic brown eyes. â€Å"Huh? Nothing,† Ash said, looking surprised, as ifnoticing Poppy's state for the first time. Poppyguessed he wasn't the type to worry about other peo ple's discomfort. â€Å"She's hungry, I guess. We'll haveto run out and feed-â€Å" â€Å"Oh, no, you don't. Not around here. Besides,she's not going to make it,† Thea said. â€Å"Come on,Poppy, I'll be a donor this once.† She took Poppy by the arm and led her through abead curtain into another room. Poppy let herself betowed. She couldn't think anymore-and her wholeupper jaw was aching. Even the word feedsharpenedher teeth. I need†¦I have to †¦ But she didn't know how. She had. a vision of her own face in the mirror, silvery eyes and savage canines. She didn't wantto be an animal again ,and jump on Thea andripher throat. And she couldn'task how-that would give her away as a new vampire for sure. She stood, trembling, unable to move.

Computer Curse or a Boon - Free Essay Example

Sample details Pages: 2 Words: 476 Downloads: 8 Date added: 2017/09/13 Category Advertising Essay Did you like this example? Computer considered as Machinery God , is an electronic device that reduces human laborious effort. In this 21st century,computer can be known by the name of next human brain. The invention of computer made human life much easier,faster and comfortable. Computer is regarded as one of the greatest achievements made by Scientist till now. Computer ,an electronic device, which has made life easier and comfortable is today surrounded with many questions of threats . Whether Computers are helping us or creating problem to us is matter of discussion. This is a topic to be put forward in the mass discussion. No doubt,the use of computer has lowered human labor lots and lots The work which required much time before can now be done simply within fraction of seconds. This is one of the main cons of computers. Sitting in a room and controlling world has now become possible due to discovery of computers. Communication has become possible due to internet. Information can be easily gained through internet. Globalization has become possible due to computers. Computers are used in each and every sector. Don’t waste time! Our writers will create an original "Computer Curse or a Boon" essay for you Create order From offices to school,from colleges to houses everywhere it is used. Even in defense system it is used. In hospitals to keep record of patients,to find symptoms of various diseases its been used. Similarly,it is been used for entertainment by teenagers. Likewise,it is been used as source of education. Distance education has become possible. So, these are the advantages of invention of computers which might make us think that they are very useful. But one thing that must be kept in mind is its negative aspect too. Computer hackers are the main cause for its negativity. Online robbery has become possible. Hackers are actively involved in cyber crime. Piracy has become so frequent that business organization has to face heavy loss. Important file and datas can be easily stolen which might be foundation of a country. Porn sites are been viewed by people which is promoting rapes and many other violent crimes. Similarly,it is making students mind dull. To do simple mathematical calculation they prefer use of computers. People have become sluggish. Their is no physical work,only mental work is performed. Despite of its negative aspect,the invention of computer can be considered as boon to us as its advantages outcomes disadvantages. Also,if used properly then computer are boon or else it is curse for entire mankind. Boon or curse depends on the hand of person using it. Nothing is perfect but the use of computer and the works performed by it is no doubt a perfect . It has proven to the fact that nothing is impossible. Even in the word impossible there is I m possible. Thats why computer is greatest present of the present and also will be gift to the future by us