Archive for the ‘Stories’ Category

old_womanA very poor woman called a Christian radio station asking for help. A bad, evil man who was listening to this radio program decided to make something out of it.
He got her address, called his secretary and ordered her to buy food and take to the woman with the following instruction.,
“when the woman asks who sent the food, tell her that its from the devil.”
When she arrived, the woman was so happy and she started putting the food inside.
The Secretary asked her, ”don’t you want to know who sent the food”??
The woman answered. ”NO , it doesn’t matter, because when GOD orders, even the devil obeys.”

You are a divine project, so shall God accomplish whatever that concerns you.
That thing in your life that seems impossible, shall be possible.
God will take you to a greater height, God is opening your book of Remembrance, because you are next inline to be favoured.



5652069_stdNancy might be the most complicated character of the novel. Despite being a relatively minor character, she has a very important role to play – she’s the source of the information about the plot between Monks and Fagin to ensnare Oliver.

Why does she help Oliver? What’s the turning point for her? Well, that’s what’s so complicated. She seems to be reminded of her own lost innocence when she looks at Oliver. Soon after Oliver is stolen back from Mr. Brownlow’s house, she jumps to his defense for the first time, and yells at Fagin: “I thieved for you when I was a child not half as old as this (pointing to Oliver). I have been in the same trade, and in the same service, for twelve years since; don’t you know it? Speak out! don’t you know it?” (16.82). This passage is the first that tells us Nancy’s age: if Oliver’s around ten or so at this point, and she’s been in Fagin’s employ since she was half that age, she must have started when she was five. And so now, twelve years later, she’s seventeen. Awfully young to be as jaded as she is, don’t you think? She tells Rose later that she’s younger than she looks, though “old in sin.”

Dickens rarely gives us a glimpse of what Nancy’s thinking or feeling – he tells us what she’s doing, but that’s about it. We have to infer the rest. So when she says or does something that looks inconsistent, or hysterical, we have to be almost as befuddled as the rest of the gang. For example, when Sikes is trying to get her to stop taking Oliver’s side, he says:

“Do you know who you are, and what you are?”

“Oh, yes, I know all about it,” replied the girl, laughing hysterically, and shaking her head from side to side with a poor assumption of indifference. (16.75-76)

So here, Nancy’s basically laughing because she can’t do anything else – she hardly finds it funny. But again, Dickens doesn’t actually say what she’s thinking or feeling, or give us what literary critics call a “sympathetic inside view.” He describes only what her actions are as a perceptive observer might view them.

This is the closest he comes, and it’s through Sikes, who asks Nancy if she knows “who” and “what” she is. The implication is pretty obvious – and therefore hardly a moral person to take Oliver under her wing – but Dickens never comes out and says it. Why is that? Dickens doesn’t shy away from showing the grisly murder in all its gory detail, or from describing thefts and frauds and other crimes.  That could be part of it. After all, Dickens wants his audience to feel sympathy for Nancy by the end, and a Victorian reader might object to feeling sympathy.

When Nancy meets with Rose alone, and then with Rose and Mr. Brownlow at the bridge, she has to make a difficult choice. They offer her a safe passage to a foreign country, where she could live in peace and solitude, far from her old life, and secure from Fagin, Sikes, and the others. She’s terrified of Sikes, and loathes Fagin. So why does she say no? Is it pride? Does she not want to take handouts from them? Maybe. Earlier in the novel, before her first conversation with Rose, we’re told that pride is “the vice of the lowest and most debased creature no less than of the high and self-assured” (40.52). So OK – it could be pride.

Or is it love? She tells Rose that it is at the end of their first meeting. She explains:“When such as me, who have no certain roof but the coffin-lid, and no friend in sickness or death but the hospital nurse, set our rotten hearts on any man, and let him fill the place that parents, home, and friends filled once, or that has been a blank through all our wretched lives, who can hope to cure us?” (41.103)

Sounds like a pretty appalling version of love, but OK – that could be it. Or is it Fate with a capital F? Nancy seems to think so at their final meeting – she says, “I am chained to my old life. I loathe and hate it now, but I cannot leave it. I must have gone too far to turn back […]” (46.74). This idea of having “gone too far to turn back” seems pretty much in keeping with the rest of the novel – once you turn down the wrong path, there’s no turning back, even if it means returning to your violent and menacing lover only to be brutally murdered. This novel seems to take a pretty bleak view of forgiveness and redemption, despite the apparent hopefulness of the final lines.

ttwcOnce a wolf killed a lamb and started eating it. Suddenly a piece of bone stuck in its throat. It cried out of pain and called for help. There came a crane. The wolf lured the crane that it will give lot of rewards. The greedy crane immediately agreed and removed the piece of bone with its long nose. The wolf was relieved of its pain. Then the crane asked for the rewards. The wolf laughed at the crane and said, “I have already rewarded you without biting your head. Run away from here, else I will kill you”. The crane was very much disappointed and ran way to save its life.

MORAL: You should help only those who deserve for it.



FAGIN (by Abdul Rafay)

Posted: January 30, 2013 in Stories

FaginAAAAAAAFagin is pretty clearly a bad guy. But the racial prejudice apparent in Dickens’s characterization of Fagin can make readers (very) uncomfortable. Dickens often refers to him only as “the Jew,” and a lot of traditional racial stereotypes against Jewish people are used: he’s miserly, has red hair, and is a corrupter of children. Who knew Dickens was an anti-Semite?

We have to back up for a moment here. For a long time (until very recently, actually), people thought that Fagin was based on a real guy who sold stolen goods (a.k.a. a “fence”) named Ikey Solomon. Ikey Solomon happened to be Jewish, but the stereotype was there before Solomon or Fagin came along – the limited number of careers open to people of Jewish descent did indeed drive some Jewish people to illegal activity – but certainly the majority of criminals in London at Dickens’s time were still Christian. Dickens was really only a casual anti-Semite – no more prejudiced than most of his peers, and actually less so than most. But even knowing this, the level to which he allowed various anti-Jewish prejudices color his portrayal of Fagin still makes readers uncomfortable.

Later in his career, Dickens tried to make up for the racial stereotype in his portrayal of Fagin – his last completed novel, Our Mutual Friend, has a Jewish character named Riah who is as virtuous as Fagin is villainous. As well, the 1867 edition of Oliver Twist changes a lot of the references to “the Jew” to “he” or to “Fagin.” Does this make up for the anti-Semitism? No, but knowing something about where it came from makes it a little more comprehensible.

The final chapter about Fagin (3.14: The Jew’s Last Night Alive) shows how alienated Fagin was from the rest of society. And not just from society, but from the entire human race. He’s in a crowded courtroom, and is surrounded “by a firmament all bright with beaming eyes” (52.1). The crowd of people is reduced to this one feature: their “eyes” (the narrator doesn’t describe any other part of their body in that paragraph). So Fagin is made into a spectacle, and his own sense of individual identity is totally squelched by their “inquisitive and eager eyes.” In this scene, Fagin seems totally numb to what is happening to him, and he ends up watching what goes on in the courtroom “as any idle spectator might have done” (52.7). And later, when he looks into the crowd, “in no one face […] could he read the faintest sympathy with him” (52.3). So Fagin is out of sympathy with the entire mob here – no one can identify with him.

And that’s not at all surprising, given how frequently he’s cast as sub-human, or rat-like, or demon-like. For example, right after he finds out about Nancy’s conversation with Rose and Mr. Brownlow, he “looked less like a man than some hideous phantom” (47.1), or when he’s in prison, when his face looks “more like that of a snared beast than the face of a man” (52.34).

Fagin (pron.: /ˈfɡɪn/) is a fictional character who appears as an antagonist of the Charles Dickens novel Oliver Twist, referred to in the preface of the novel as a “receiver of stolen goods”, but referred to more frequently within the actual story as the “merry old gentleman” or simply the “Jew”.

Born in London, Fagin is described as “grotesque” to look at. He is the leader of a group of children, the Artful Dodger and Charley Bates among them, whom he teaches to make their livings by pickpocketing and other criminal activities in exchange for a roof over their heads. A distinguishing trait is his constant—and thoroughly insincere—use of the phrase “my dear” when addressing others. At the time of the novel, he is said by another character, Monks, to have already made criminals out of “scores” of children who grow up to live—or die—committing the same crimes as adults. Bill Sikes, one of the major villains of the novel, is hinted to be one of Fagin’s old pupils, and Nancy, Sikes’ prostitute, clearly was.

He was portrayed as relatively humorous, he is nonetheless a self-confessed miser who, despite the amount he has acquired over the years from the work of others, does very little to improve the squalid lives of the children he takes in, allowing them to smoke pipes and drink gin “with the air of middle-aged men”. In the second chapter of his appearance, it is shown, albeit when talking to himself, that he cares less about those children who are eventually hanged for their crimes and more about the fact that they do not “peach” on him and the other children. Still darker sides to the character’s nature are shown when he beats the Artful Dodger for not bringing Oliver back, making Charley cry for mercy, in his attempted beating of Oliver for trying to escape after the thieves have kidnapped him, and in his own involvement with various plots and schemes throughout the story. He also indirectly and intentionally causes the death of Nancy by falsely informing the ill-tempered Sikes that she had betrayed him and Fagin, when in reality she had shielded him, loving him despite his violent personality. This results in Sikes beating her to death. Near the end of the book, Fagin is hanged following capture, in a chapter that portrays him as being pitiful in his anguish, waiting for the moment he will be led to the scaffold which is being prepared outside.

Greed is a Curse (by Nazish Malik)

Posted: January 17, 2013 in Stories