Racial Preferences and the Constitution Essay -- Supreme Court Race Es

Racial Preferences and the Constitution The Constitution has survived two World Wars, a Civil War, and even slavery. This piece of paper was written to limit government in our lives and proclaim our rights as individuals. Through the course of time, Amendments have been added to aid in current events that were not foreseen when the Constitution was originally written. Sixteen presidents after the Constitution was written, slavery was abolished and the Thirteenth Amendment was passed.. Three years later came the Equal Protection clause in the Fourteenth Amendment and two years after that, the Supreme Court addressed voting rights in the Fifteenth Amendment.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The decisions in Plessy and Brown are similar because of how the decisions affect the group instead of the individuals. The Court is continually ruling in regard to race instead of the individual. If the Constitution is truly color blind, then we would not have these distinctions between classes when the rulings are made. Each ruling by the Court should be done on an individual basis and by the merits of that particular individual instead of the color of ones skin. The only reason the court rules in favor of Brown is because the implications go beyond just the individual affected, the ruling will affect the entire black race. The effects of the Brown case go a lot further than the immediate case.   Ã‚  Ã‚  Ã‚  Ã‚  After the states had failed to integrate blacks and whites in society, the Federal Government stepped up to end this atrocity. For years and years citizens in each state have attempted to forgo the three Amendments mentioned previously. In each case the Courts have attempted to use Harlan's dissenting opinion in Plessy as their guide to uphold this "color blind Constitution."   Ã‚  Ã‚  Ã‚  Ã‚  In recent cases concerning racial preferences, the Supreme Court, largely under the leadership of Justice O'Connor, has articulated a new doctrine concerning the constitutionality of governmental racial classifications under the equal protection clause of the Fourteenth Amendment. The Court has determined, after twenty five years of debate, that the most stringent standard of review applies to all such classifications, even those intended to benefit rather than to burden historically disadvantaged minorities. This standard has been applied to racial preference programs in employment, state and federal ... ... Bakke v. Regents of the University of California also previously mentioned. In each case we are dealing with issues that supposedly were put to a halt with the 13th, 14th, and 15th Amendments. The Constitution continues to help some people and hinder others. Still over a hundred years later, we are still having conflicting results and are still referring to Harlan's dissenting opinion about a color blind Constitution.   Ã‚  Ã‚  Ã‚  Ã‚  Every time the Supreme Court rules in favor of one thing the equal protection pendulum swings the other way just enough to inflict color on this color blind Constitution. Will the Constitution ever be color blind? One day when every race is mixed together and no one can claim that they are solely of one particular ethnic origin is when this color blind Constitution will occur. There are too many prejudice groups in society to say that the Constitution will soon be clearly color blind. I think the Supreme Court has an intent to make color blind decisions without understanding the inevitable outcome. The pendulum has to be in the middle for a color blind decision to be made. Any time you make an exception for one group, there is another group being affected.

The Best in Style :: Writing Writers Essays

The Best in Style ‘Style’ is an idea that can mean different things to different people. Some like to define it in terms of ‘being one's self’ and going against the norm. But after reading two prominent style guides, "Style Towards Clarity and Grace," and "The Elements of Style," I began to form a different view on the subject as it pertains to writing. When attempting ‘good style’ and ‘good writing,’ writers should try to be original and not follow every rule religiously, but still follow some common writing elements. Many can increase usability for readers. A writer could make something completely unique and the only one who'd ‘get it’ might be himself. In "Style," John M. Williams says it this way: "But however well a writer understands principles, it is not enough for those who also want to articulate that understanding to others"(2). Unless we're writing in a diary, we write to ‘talk’ to other people and the style rules aid in this. That is where the style manuals come. They both outline many useful elements, but at the same time contain some that aren't needed by everyone. The first of these manuals is "The Elements of Style." Of the two manuals read in the class, this one had the least information yet the highest usability. It outlines grammar, usage, and style elements into simple paragraphs lead by headers. The approach sacrifices the depth that's offered in "Style," but allows for quicker referencing. The first section of "Elements" outlines most of the common usage and grammar rules. Some examples are "Use proper case of proper noun," and "Use a colon after an independent clause to introduce a list†¦"(Struck and White 7-9). Some would find these rules obvious or tedious. They don't guarantee great writing or style, but its less likely that you'll make useable writings without them. Seamless grammar alone aids the flow of reading. Multiple errors might slow the reader down and divert focus to the errors rather than the main point. Even after years of college, its not uncommon to find usage and grammar mistakes in some of my own papers; therefo re, I could use much of what's in here. The next section of "Elements" talks about principles of composition. It's similar to the usage section in that nothing alone listed will create great writing, but following some rules will make better writing more likely to happen.

Economic History of Europe from Early 100s to Medieval :: essays papers

Economic History of Europe from Early 100s to Medieval In the tenth century, Europe was coming out of a torment of invasion, plunder, and rapine, by enemies’ form all sides. They were from Scandinavia, the Norsemen or Vikings that pillaged and harassed everyone almost to Constantinople. They were also plagued by the Saracens from across the Mediterranean and from the Magyars from the east overland. But no one will submit to this kind of abuse forever. Europeans began to retaliate and counter the thrusts of their attackers, raising the price of aggression. Over the years the northern tribes and Hungarian invaders gave up, settled down and domesticated. This end form danger launched Europe on the path for development and growth. Western Aristocracy, however, did not foster the idea of a successful, efficient economy. The Aristocratic empires squeezed al they could out of what they had instead of looking for new ways to make more. They pressed and oppressed harder. These societies had no initiative and could not operate in terms of productivity. The medieval period that followed was considered a transitional society. These nomadic communities kept in constant motion mad nothing so special or valuable as to cause issues of ownership or other ambitions to power. In the centuries that followed authority began to weaken. The tradition of election passed on to hereditary rule, but the old customs and appearances also faded away and the ruler, even when designated at birth was formally elected. His power was weakening and some seeked to restore the empire that had once been. At this point the basis of economy in Europe was private property what could be held, defended, and conquered. As communication and transportation came into people’s lives the contest for power in European societies gave rise to semi-autonomous city, or an organized commune. But nothing like the commune appeared outside Western Europe. The commune had a primary economic function to be a government of the merchants, by the merchants, and for the merchants. Also it functioned in its ability to grant social status and political rights on its residents, rights that are crucial to the conduct of business and to freedom from outside interference. These cities became gateways to freedom. Migration to cities improved the income and status of the migrants. Self emancipation in Western Europe was directly linked to the franchised villages and urban communes. Economic History of Europe from Early 100s to Medieval :: essays papers Economic History of Europe from Early 100s to Medieval In the tenth century, Europe was coming out of a torment of invasion, plunder, and rapine, by enemies’ form all sides. They were from Scandinavia, the Norsemen or Vikings that pillaged and harassed everyone almost to Constantinople. They were also plagued by the Saracens from across the Mediterranean and from the Magyars from the east overland. But no one will submit to this kind of abuse forever. Europeans began to retaliate and counter the thrusts of their attackers, raising the price of aggression. Over the years the northern tribes and Hungarian invaders gave up, settled down and domesticated. This end form danger launched Europe on the path for development and growth. Western Aristocracy, however, did not foster the idea of a successful, efficient economy. The Aristocratic empires squeezed al they could out of what they had instead of looking for new ways to make more. They pressed and oppressed harder. These societies had no initiative and could not operate in terms of productivity. The medieval period that followed was considered a transitional society. These nomadic communities kept in constant motion mad nothing so special or valuable as to cause issues of ownership or other ambitions to power. In the centuries that followed authority began to weaken. The tradition of election passed on to hereditary rule, but the old customs and appearances also faded away and the ruler, even when designated at birth was formally elected. His power was weakening and some seeked to restore the empire that had once been. At this point the basis of economy in Europe was private property what could be held, defended, and conquered. As communication and transportation came into people’s lives the contest for power in European societies gave rise to semi-autonomous city, or an organized commune. But nothing like the commune appeared outside Western Europe. The commune had a primary economic function to be a government of the merchants, by the merchants, and for the merchants. Also it functioned in its ability to grant social status and political rights on its residents, rights that are crucial to the conduct of business and to freedom from outside interference. These cities became gateways to freedom. Migration to cities improved the income and status of the migrants. Self emancipation in Western Europe was directly linked to the franchised villages and urban communes.

Good and Evil and Poem Essay

â€Å"Chicago† by Carl Sandburg goes further into detail with what could be seen through a person’s eyes. The poem describes Chicago and everything that’s happening in the surroundings. A person’s eyes see more than some people think. â€Å"They tell me you are wicked and I believed them, for I have seen your fainted women under the gas lamps the farm boys,† states imagery in the poem. Meaning the people of the town are bad, and how people are afraid. â€Å"Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness†, states a simile in the poem. The simile is comparing the city to the dog. â€Å"Chicago† by Carl Sandburg luring has a theme that there can be more seen in a person’s eye than what meets the eye. The bad side of some people sees, but even evil people can have some good in them. The significance of the poem included social realism. Carl Sandburg lead to the knowing of the city’s trading’s and railroads. New Poetry: â€Å"Chicago† â€Å"Chicago† by Carl Sandburg goes further into detail with what could be seen through a person’s eyes. The poem describes Chicago and everything that’s happening in the surroundings. A person’s eyes see more than some people think. â€Å"They tell me you are wicked and I believed them, for I have seen your fainted women under the gas lamps luring the farm boys,† states imagery in the poem. Meaning the people of the town are bad, and how people are afraid. â€Å"Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness†, states a simile in the poem. The simile is comparing the city to the dog. â€Å"Chicago† by Carl Sandburg has a theme that there can be more seen in a person’s eye than what meets the eye. The bad side of some people sees, but even evil people can have some good in them. The significance of the poem included social realism. Carl Sandburg lead to the knowing of the city’s trading’s and railroads.

Emma/Clueless Essay

Emma Essay How has the changing contexts influenced the representations of main issues from Emma to Clueless? Amy Heckerling’s Clueless is a cinematic reconstruction of Jane Austen’s 19th century classic Emma and perfectly encapsulates the idea that the issues of a time, change and adapt with the changing of context. The contemporary text Clueless takes the rustic values placed on courtship, dating and ultimately marriage as well as the social/class distinctions in Regency England and successfully transforms them to better suite the new context of a contemporary audience and less rigid society.In the 19th century, marriage was the sole occupation of women and was the only way for women to rise in social status and to ‘support themselves’. Marriage was a fundamental aspect of Austen’s world and the importance of marriage is highlighted as Emma states that she is â€Å"not going to be married† and Harriet exclaims in a shocked tone â€Å"it is so odd to hear a woman talk so! †. For Harriet, and most women in the 19th century, marriage was an economic necessity to provide a stable financial future.This is reiterated by Emma’s use of short phrases in â€Å"a single woman, with a very narrow income, must be a ridiculous, disagreeable old maid† which expresses her disdain for those women who do not possess fortunes to match hers and reinforces the value of wealth in relation to marriage. Marriage was therefor, not for love but for wealth, as is demonstrated in Mr. Elton’s arrogant proclamation that he â€Å"need not so totally despair of an equal alliance as to be addressing myself to Ms. Smith! † The use of the word ‘alliance’ emphasizes the fact that matrimony was for financial benefits.Marriage in Austen’s time was valued unconditionally and was seen as a means to achieve financial and social stability. While Emma focuses on the importance of marriage in the rigid Regen cy period, in the contemporary American setting of Clueless, although marriage is still featured, the focus has shifted to more contemporary themes relating to the sexuality and fluidity of relationships. Cher’s dialogue when explaining her indecisiveness over who to lose her virginity to: â€Å"You know how picky I a with my shoes, and they only go on my feet! shows how sexual relationships have replaced marriage in the new context, as Cher’s dilemma becomes a question of whom to lose her virginity to and not whom to marry. The role of women in courtship has also changed dramatically as is demonstrated by the zoom in on Cher’s feet rubbing Christians, indicating her desire to have sex with him. This active role in the relationship contrasts starkly with the subservient role women played in the 19th century. Marriage still plays a role in the 21st century and this is shown the last scene; the marriage of Mr.Hall and Ms. Geist. Heckerling does however, employ sa tire through Cher’s voice-over of â€Å"As if! I’m only 16! This is California, not Kentucky. † when audiences presume that she is marrying to gently mock the 19th century necessity to marry early, once again highlighting the shift away from the importance of marriage. In the 21tst century, marriage has been pushed to the side and values in relationships focus more on sexuality. The social hierarchy of Regency England was rigid and dependent on wealth, property and heritage of the individuals and families.The extreme importance of class is demonstrated through the exaggerated caricature of Mrs. Elton, a woman who is quite obnoxious, but still thought to be a better â€Å"catch† than the kind-hearted Harriet, simply because of her â€Å"genteel heritage† and â€Å"wealth†. The rigidity of social standings is further accentuated by Emma’s pretentious and condescending tone in â€Å"the yeomanry are precisely the people with which I fee l I can have nothing to do with† where her disdain for Robert Martin, a farmer in love with Harriet, reflect her disdain for those with a lower social standing than herself.Austen however, challenges the prerequisites of her society through her character Mr. Knightley, who shows generosity towards the lower class despite his own high social standing, even describing Robert Martins as â€Å"respectable, intelligent, gentle†. His use of positive adjectives accentuates Austen’s view that kindness and charity are more important that social superiority; an idea that many in her time did not share. Heckerling appropriates 19th century class snobbery and transforms them to better suite the growing multicultural and democratic setting in Clueless.Although class distinction no longer exists, Clueless depicts a social structure based on popularity, appearance and acquaintance in a high school environment. The importance of popularity mirrors the importance of class in Emma and is established through Cher’s use of dialogue in â€Å"The fact that you hang with Dionne and I, speaks very highly of you. † Close up shots of Cher and Dionne’s disgusted expressions as they scorn Trevor (the Clueless equivalent of Robert Martin) again echoes the class snobbery and disdain shown by the genteel in Emma towards those of lesser standing.Heckerling does however; emphasize the fluidity and flexibility of 21st century class structure, which is the principal difference between the contexts of Emma and Clueless. Tai’s gradual change of costume is in direct correlation to her gradual rise in popularity from â€Å"adorably clueless† outcast to the centre of attention; highlighting the superficial and shallow ‘social’ structure present in the 21st century. Amy Heckerling has taken into consideration the changed context of Clueless and appropriately caused the adapted the Regency England views on social structure to better r eflect the class values of the high school setting.

I Am Mirror: A Historical Critique Essay

Claribel Alegr? a in Nicaragua in 1924 and a year later her family was exiled to El Salvador because of her father’s support of Nicaraguan guerrilla leader Augusto Cesar Sandino, Alegria’s family was forced into exile by Anastasio Somoza, a Nicaraguan politician who later became commander-in-chief of the Nicaraguan army and eventually the nation’s president. Her poem I am Mirror was translated in 1978. And is the topic for this critique. In 1978 Alegr? a would be in the United States she left El Salvador in 1943 to study at George Washington University. From 1924 to her departure to the United States there was much violence in her home country in 1932 there was a massacre in which over a period of eight days thirty thousand peasants were estimated to be slaughtered by the vastly superiorly armed El Salvador army. The country also has vast disparity of wealth with one half to one percent controlling ninety percent of the nation’s wealth. The poem states: Water sparkles on my skin and I don’t feel it water streams down my back I don’t feel it I rub myself with a towel  I pinch myself in the arm I don’t feel frightened I look at myself in the mirror she also pricks herself I begin to get dressed This is identifying that wealthy portion of the population that controls 90 percent of the country’s wealth. It is describing their lack of humanity to allow the rest of the population to suffer in great poverty. The author uses this lack of feeling to question if their humanity has been lost. Given that Claribel was able to afford an American education like many of the wealthy amilies did it stands to wonder how much she associated herself with the wealthy. Perhaps it’s contributed by her support for non-violence and the poor given that she did come from some resemblance of wealth herself. In the following stanza it gives evidence that the character of the poem was wealthy: I wander through the streets: children with dirty faces ask me for charity The children could be desperate enough to be asking anyone but the character given that they were doing better than most at the time. But then again it does say paint a pretty desperate picture with â€Å"child prostitution† and â€Å"shouts like lightning bolts† Military enforced oppression was the times. The use of a mirror as a metaphor could also be alluding to the killing of one and wounding of five students protesting the government spending of one million dollars to bring the Miss Universe pageant to El Salvador. Of course during the program all that was shown were the beautiful sandy beaches and failed to show the massive poverty or military security around the contest. This is a portion from the poem: â€Å"I am a blank mirror that nothing penetrates my surface is hard is brilliant is polished I became a mirror and I am fleshless scarcely preserving a vague memory of pain. † This demonstrates how the government oppression and the atrocities resulting from the oppressive military rule were covered up by the government. Going back to the massacre of 1932 the government swiftly removed all accounts of the event from the libraries and replaced them with more favorable accounts. It was the way of life in El Salvador. The poor see much of the same everywhere they go poor. While rich control so much of the wealth they can afford to shield themselves from it. And the atrocities they never happened because the government says they didn’t. As it says in the poem: I simply reflect what happens at my side the tanks are not tanks nor are the shouts shouts The above demonstrates the denial that the people have even goes as far to describe them as â€Å"phantoms† with how they do nothing to change. Which leads me to one of my favorite lines â€Å"I hurt, therefore I exist† which is likely an adaptation of Descartes’s â€Å"I think therefore I am. † In this situation she is saying that the lack of humanity of those who are the oppressors have stripped them from their existence. Furthermore as you read the poem it seems as if the character is coming to an epiphany but then recedes back right after the stanza â€Å"I think, therefore I exist. † This is probably used to show how permanent the stories last in the media how quickly something like the killing of the student protester outside of the Mrs.  Universe can become a national headline and then slip from the attention of any news outlet. The symbolism of a mirror is also further represented with how a mirror project a current image but does not contain any of its past. In 1979 a year after this poem was translated and Alegr? a was awarded the Casa de las Americas poetry prize for Sobrevivo. It is also the same year that the National Liberation overthrew the Somoza government. She continues to write about El Salvador and Nicaragua politics and resides in El Salvador, Spain and Nicaragua.

The Hunters: Phantom Chapter 9

Bonnie winced at the nasty metalic taste in her mouth and blinked several times, until the room around her came back into focus. â€Å"Ugh,† she said. â€Å"I hate doing that.† Everyone was staring at her, their faces white and shocked. â€Å"What?† she said uneasily. â€Å"What'd I say?† Elena was sitting very stil . â€Å"You said it was my fault,† she said slowly. â€Å"Whatever is coming after us, I brought it here.† Stefan reached out to cover her hand with his own. Unbidden, the meanest, narrowest part of Bonnie's mind thought wearily, Of course. It's always about Elena, isn't it? Meredith and Matt fil ed Bonnie in on the rest of what she'd said in her trance, but their eyes kept returning to Elena's stricken face, and as soon as they finished tel ing her what she'd missed, they turned away from Bonnie, back to Elena. â€Å"We need to make a plan,† Meredith said to her softly. â€Å"We'l al want some refreshment,† Mrs. Flowers said, rising to her feet, and Bonnie fol owed her into the kitchen, eager to escape the tension of the room. She wasn't real y a plan girl, anyway, she told herself. She'd made her contribution just by being the vision girl. Elena and Meredith were the ones everyone looked to for making the decisions. But it wasn't fair, was it? She wasn't a fool, despite the fact that her friends al treated her like the baby of the group. Everyone thought Elena and Meredith were so clever and so strong, but Bonnie had saved the day again and again – not that anyone ever remembered that. She ran her tongue along the edges of her teeth, trying to scrape off the nasty sour taste stil in her mouth. Mrs. Flowers had decided that what the group needed to soothe them was some of her special elder-flower lemonade. While she fil ed the glasses with ice, poured the drinks, and set them out on a tray, Bonnie watched her restlessly. There was a rough, empty feeling inside Bonnie, like something was missing. It wasn't fair, she thought again. None of them appreciated her or realized al she'd done for them. â€Å"Mrs. Flowers,† she said suddenly. â€Å"How do you talk to your mother?† Mrs. Flowers turned to her, surprised. â€Å"Why, my dear,† she said, â€Å"it's very easy to speak to ghosts, if they want to speak to you, or if they are the spirits of someone you loved. Ghosts, you see, have not left our plane but stay close to us.† â€Å"But stil ,† Bonnie pressed on, â€Å"you can do more than that, a lot more.† She pictured Mrs. Flowers, young again, eyes flashing, hair flying, fighting the kitsune's malevolent Power with an equal Power of her own. â€Å"You're a very powerful witch.† Mrs. Flowers's expression was reserved. â€Å"It's kind of you to say so, dear.† Bonnie twirled a ringlet of her hair around one finger anxiously, weighing her next words. â€Å"Wel†¦ if you would, of course – only if you have time – I'd like you to train me. Whatever you'd be wil ing to teach me. I can see things and I've gotten better at that, but I'd like to learn everything, anything else you can show me. Divining, and about herbs. Protection spel s. The works, I guess. I feel like there's so much I don't know, and I think I might have talent, you know? I hope so, anyway.† Mrs. Flowers looked at her appraisingly for one long moment and then nodded once more. â€Å"I wil teach you,† she said. â€Å"With pleasure. You possess great natural talent.† â€Å"Real y?† Bonnie said shyly. A warm bubble of happiness rose inside her, fil ing the emptiness that had engulfed her just moments ago. Then she cleared her throat and added, as casual y as she could manage, â€Å"And I was wondering†¦ can you talk to anyone who's dead? Or just your mother?† Mrs. Flowers didn't answer for a few moments. Bonnie felt like the older woman's sharp blue gaze was looking straight through her and analyzing the mind and heart inside. When Mrs. Flowers did speak, her voice was gentle. â€Å"Who is it you want to contact, dear?† Bonnie flinched. â€Å"No one in particular,† she said quickly, erasing an image of Damon's black-on-black eyes from her mind. â€Å"It just seems like something that would be useful. And interesting, too. Like, I could learn al about Fel ‘s Church's history.† She turned away from Mrs. Flowers and busied herself with the lemonade glasses, leaving the subject behind for now. There would be time to ask again, she thought. Soon. â€Å"The most important thing,† Elena was saying earnestly, â€Å"is to protect Meredith. We've gotten a warning, and we need to take advantage of it, not sit around worrying about where it came from. If something terrible – something I brought somehow – is coming, we'l deal with it when it gets here. Right now, we look out for Meredith.† She was so beautiful, she made Stefan dizzy. Quite literal y: Sometimes he would look at her, catch her at a certain angle, and would see, as if for the first time, the delicate curve of her cheek, the lightest rose-petal blush in her creamy skin, the soft seriousness of her mouth. In those moments, every time, his head and stomach would swoop as if he'd just gotten off a rol er coaster. Elena. He belonged to her; it was as simple as that. As if for hundreds of years he had been journeying toward this one mortal girl, and now that he had found her, his long, long life final y had found its purpose. You don't have her, though, something inside him said. Not all of her. Not really. Stefan shook off the traitorous thought. Elena loved him. She loved him bravely and desperately and passionately and far more than he deserved. And he loved her. That was what mattered. And right now, this sweet mortal girl he loved was efficiently organizing a schedule for guarding Meredith, assigning duties with the calm expectation that she would be obeyed. â€Å"Matt,† she said, â€Å"if you're working tomorrow night, you and Alaric can take the daytime shift. Stefan wil take over at night, and Bonnie and I wil pick up in the morning.† â€Å"You should have been a general,† Stefan murmured to her, earning himself a quick smile. â€Å"I don't need guards,† Meredith said irritably. â€Å"I've been trained in martial arts and I've faced the supernatural before.† It seemed to Stefan that her eye rested speculatively on him for a second, and he forced himself not to bristle under her scrutiny. â€Å"My stave is al the protection I need.† â€Å"A stave like yours couldn't have protected Celia,† Elena argued. â€Å"Without Stefan there to intervene, she would have been kil ed.† On the couch, Celia closed her eyes and rested her head against Alaric's arm. â€Å"Fine, then.† Meredith spoke in a clipped tone, her eyes on Celia. â€Å"It's true, out of al of us, only Stefan could have saved her. And that's the other reason this whole team effort to protect me is ridiculous. Do you have the strength and speed these days to save me from a moving train, Elena? Does Bonnie?† Stefan saw Bonnie, coming in with a tray of lemonade glasses, pause and frown as she heard Meredith's words. He had known, of course, that with Damon dead and Elena's Powers gone, he was the only one left to protect the group. Wel , Mrs. Flowers and Bonnie had some limited magical ability. Then Stefan amended the thought further. Mrs. Flowers was actual y quite powerful, but her powers were stil depleted from fighting the kitsune. It came to the same thing, then: Stefan was the only one who could protect them now. Meredith might talk about her responsibilities as a vampire hunter, but in the end, despite her training and heritage, she was just another mortal. His eyes scanned the group, al the mortals, his mortals. Meredith, serious gray eyes and a steely resolve. Matt, eager and boyish and decent down to the bone. Bonnie, sunny and sweet, and with a core of strength perhaps even she didn't know she had. Mrs. Flowers, a wise matriarch. Alaric and Celia†¦ wel , they weren't his mortals the way the others were, but they fel under his protection while they were here. He had sworn to prote ct humans, when he could. If he could. He remembered Damon saying to him once, laughing in one of his fits of dangerous good humor, his face gleeful, â€Å"They're just so fragile, Stefan! You can break them without even meaning to!† And Elena, his Elena. She was as vulnerable as the rest of them now. He flinched. If anything ever happened to her, Stefan knew beyond a doubt that he would take off the ring that let him walk in the day, lie down in the grass above her grave, and wait for the sun. But the same hol ow voice inside that questioned Elena's love for him whispered darkly in his ear: She would not do the same for you. You are not her everything. As Elena and Meredith, with occasional interjections from Matt and Bonnie, continued to argue about whether Meredith needed the efforts of the group to guard her, Stefan closed his eyes and slipped into his memories of Damon's death. Stefan watched, foolish and uncomprehending and just not fast enough, as Damon, quicker than him till the last, dashed toward the huge tree and flung Bonnie, light as dandelion fluff, out of the reach of the barbed branches already plummeting toward her. As he threw her, a branch caught Damon through his chest, pinning him to the ground. Stefan saw the moment of shock in his brother's eyes before they rolled backward. A single drop of blood ran from his mouth down his chin. â€Å"Damon, open your eyes!† Elena was screaming. There was a rough tone in her voice, an agony Stefan had never heard from her before. Her hands jerked at Damon's shoulders, as if she wanted to shake him hard, and Stefan pulled her away. â€Å"He can't, Elena, he can't,† he said, half sobbing. Couldn't she see that Damon was dying? The branch had stopped his heart and the tree's poison was spreading through his veins and arteries. He was gone. Stefan had gently lowered Damon's head to the ground. He would let his brother go. But Elena wouldn't. Turning to take her in his arms and comfort her, Stefan saw that she had forgotten him. Her eyes were closed and her lips were moving soundlessly. All her muscles were taut, straining toward Damon, and Stefan realized with a dull shock that she and Damon were connected still, that a last conversation was being carried on along some private frequency that excluded him. Her face was wet with tears, and she suddenly fumbled for her knife and with one swift, sure movement, nicked her own jugular vein, starting blood flowing across her neck. â€Å"Drink, Damon,† she said in a desperate, prayerlike voice, prying his mouth open with her hands and angling her neck above it. The smell of Elena's blood was rich and tangy, making Stefan's canines itch with desire even in his horror at her carelessness in cutting her own throat. Damon did not drink. The blood ran out of his mouth and down his neck, soaking his shirt and pooling on his black leather jacket. Elena sobbed and threw herself on top of Damon, kissing his cold lips, her eyes clenched shut. Stefan could tell she was still in communion with Damon's spirit, a telepathic exchange of love and secrets private between them, the two people he loved most. The only people he loved. A cold tendril of envy, the feeling of being the outsider looking in, the one who was left all alone, curled along Stefan's spine even as tears of grief ran down his face. A phone rang, and Stefan snapped back to the present. Elena glanced at her cel and then answered, â€Å"Hi, Aunt Judith.† She paused. â€Å"At the boardinghouse with everybody. We picked up Alaric and his friend from the train.† Another pause and she grimaced. â€Å"I'm sorry, I forgot. Yes, I wil . In just a few minutes, al right? Okay. Bye.† She hung up and got to her feet. â€Å"Apparently at some point I promised Aunt Judith I would be home for dinner tonight. Robert's getting out the fondue set and Margaret wants me to show her how to dip bread in cheese.† She rol ed her eyes, but Stefan wasn't fooled. He could see how delighted Elena was to have her baby sister idolizing her again. Elena went on, frowning, â€Å"I'm not sure I'l be able to get out again tonight, but someone needs to be with Meredith at al times. Can you stay here tonight, Meredith, instead of at home?† Meredith nodded slowly, her long legs drawn up under her on the couch. She looked tired and apprehensive, despite her earlier bravado. Elena touched her hand in farewel , and Meredith smiled at her. â€Å"I'm sure your minions wil take good care of me, Queen Elena,† she said lightly. â€Å"I'd expect nothing less,† Elena answered in the same tone, turning her smile on the rest of the room. Stefan got to his feet. â€Å"I'l walk you home,† he said. Matt rose, too. â€Å"I can drive you,† he offered, and Stefan was surprised to find that he had to suppress the urge to shove Matt back into his seat. Stefan would take care of Elena. She was his responsibility. â€Å"No, stay here, both of you,† Elena said firmly. â€Å"It's only a few blocks, and it's stil broad daylight out. You look after Meredith.† Stefan settled back in his chair, eyeing Matt. With a wave, Elena was gone, and Stefan stretched out his senses to fol ow her as far as he could, pushing his Power to sense whether anything dangerous, anything at al , lurked nearby. His Powers weren't strong enough, though, to reach al the way to Elena's house. He curled his hands into tight, frustrated fists. He had been so much more powerful when he al owed himself to drink human blood. Meredith was watching him, gray eyes sympathetic. â€Å"She'l be okay,† she said. â€Å"You can't watch her al the time.† But I can try, thought Stefan. When Elena strol ed up her walk, Caleb was clipping the glossy green leaves of the flowering camel ia bushes in front of the house. â€Å"Hi,† she said, surprised. â€Å"Have you been here al day?† He stopped trimming and wiped the sweat off his forehead. With his blond hair and healthy tan, he looked like a California surfer transplanted to a Virginia lawn. Elena thought Caleb seemed just right on a perfect summer day like this one, a lawn mower humming in the distance somewhere, the sky blue and high above them. â€Å"Sure,† he said cheerful y. â€Å"Lots to do. It looks good, right?† â€Å"It real y does,† she said. And it did. The grass was mowed, the hedges were perfectly trimmed, and he had set out some daisies in the flower beds near the house. â€Å"What've you been up to today?† Caleb asked. â€Å"Nothing as energetic as this,† Elena said, suppressing the memory of the desperate race to save Celia. â€Å"My friends and I just picked someone up at the train station and hung out inside for the rest of the day. I hope the weather holds, though. We want to take a picnic up to Hot Springs tomorrow.† â€Å"Sounds like fun,† Caleb said agreeably. Elena was tempted for a moment to invite him along. Despite Stefan's reservations, he seemed like a nice guy, and he probably didn't know many people in town. Maybe Bonnie would hit it off with him. He was pretty cute, after al . And Bonnie hadn't real y been interested in anyone for a while. Anyone other than Damon, a secret little voice said in the back of her mind. But of course she couldn't invite Caleb. What was she thinking? She and her friends couldn't have outsiders around while they talked about what supernatural entity had it in for them now. A little pang of longing hit her. Would she ever be a girl who could have a picnic and swim and flirt and be able to talk to anyone she liked, because she had no dark secrets to conceal? â€Å"Aren't you exhausted?† she asked, quickly changing the subject. She thought she saw a flicker of disappointment in his eyes. Had he realized she was thinking of inviting him along on the picnic and then changed her mind? But he answered readily enough. â€Å"Oh, your aunt ran me out a couple of glasses of lemonade, and I had a sandwich with your sister at lunchtime.† He grinned. â€Å"She's a cutie. And an excel ent conversationalist. She told me al about tigers.† â€Å"She talked to you?† Elena said with surprise. â€Å"She's usual y real y shy around new people. She wouldn't talk to my boyfriend, Stefan, until he'd been around for months.† â€Å"Oh, wel ,† he said, and shrugged. â€Å"Once I showed her a couple of magic tricks, she was so fascinated she forgot to be shy. She's going to be a master magician by the time she starts first grade. She's a natural.† â€Å"Real y?† said Elena. She felt a sharp shift in her stomach, a sense of loss. She had missed so much of her little sister's life. She'd noticed at breakfast that she looked and sounded older. It was like Margaret had grown into a different person without her. Elena gave herself a mental shake: She needed to stop being such a whiner. She was unbelievably lucky just to be here now. â€Å"Oh, yeah,† he said. â€Å"Look, I taught her this.† He held out a tanned fist, turned it over, and opened his hand to reveal a camel ia blossom, waxy and white, closed his hand, then opened it again to reveal a tightly furled bud. â€Å"Wow,† said Elena, intrigued. â€Å"Do it again.† She watched intently as he opened and closed his hand several times, revealing flower then bud, flower then bud. â€Å"I showed Margaret how to do it with coins, switching between a quarter and a penny,† he said, â€Å"but it's the same principle.† â€Å"I've seen tricks like that before,† she said, â€Å"but I can't figure out where you're hiding the one that isn't showing. How do you do it?† â€Å"Magic, of course,† he said, smiling, and opened his hand to let the camel ia blossom fal at Elena's feet. â€Å"Do you believe in magic?† she said, looking up into his warm blue eyes. He was flirting with her, she knew – guys always flirted with Elena if she let them. â€Å"Wel , I ought to,† he said softly. â€Å"I'm from New Orleans, you know, the home of voodoo.† â€Å"Voodoo?† she said, a cold shiver going down her spine. Caleb laughed. â€Å"I'm just playing with you,† he said. â€Å"Voodoo. Jeez, what a load of crap.† â€Å"Oh, right. Total y,† Elena said, forcing a giggle. â€Å"One time, though,† Caleb continued, â€Å"back before my parents died, Tyler was visiting, and the two of us went to the French Quarter to get our fortunes told by this old voudon priestess.† â€Å"Your parents died?† Elena asked, surprised. Caleb lowered his head for a moment, and Elena reached out to touch him, her hand lingering on his. â€Å"Mine did, too,† she said. Caleb was very stil . â€Å"I know,† he said. Their eyes met, and Elena winced in sympathy. There was such pain in Caleb's warm blue eyes when she looked for it, despite his easy smile. â€Å"It was years ago,† he said softly. â€Å"I stil miss them sometimes, though, you know.† She squeezed his hand. â€Å"I know,† she said quietly. Then Caleb smiled and shook his head a little, and the moment between them was over. â€Å"This was before that, though,† he said. â€Å"We were maybe twelve years old when Tyler visited.† Caleb's slight Southern accent got stronger as he went on, his tone lazy and rich. â€Å"I didn't believe in that stuff back then, either, and I don't think Tyler did, but we thought it might be kind of fun. You know how it's fun to scare yourself a little sometimes.† He paused. â€Å"It was pretty creepy, actual y. She had al these black candles burning and weird charms everywhere, stuff made of bones and hair. She threw some powder on the floor around us and looked at the different patterns. She told Tyler she saw a big change coming for him and that he needed to think careful y before he put himself in someone else's power.† Elena flinched involuntarily. A big change had certainly come for Tyler, and he had put himself in the vampire Klaus's power. Wherever Tyler was now, things hadn't turned out the way he'd planned. â€Å"And what did she tel you?† she asked. â€Å"Nothing much, real y,† he answered. â€Å"Mostly just to be good. Stay out of trouble, look out for my family. That kind of thing. Stuff I try to do. My aunt and uncle need me here now, with Tyler missing.† He looked down at her again, shrugged, and smiled. â€Å"Like I said, though, it was mostly just a load of crap. Magic and al that nutty stuff.† â€Å"Yeah,† Elena said hol owly. â€Å"Al that nutty stuff.† The sun went behind a cloud and Elena shivered once more. Caleb moved closer to her. â€Å"Are you cold?† he said, and reached a hand out toward her shoulder. At that moment a raucous caw burst from the trees by the house, and a big black crow flew toward them, low and fast. Caleb dropped his hand and ducked, covering his face, but the crow angled up at the last minute, flapping furiously, and soared away over their heads. â€Å"Did you see that?† Caleb cried. â€Å"It almost hit us.† â€Å"I did,† Elena answered, watching as the graceful winged silhouette disappeared into the sky. â€Å"I did.†