Floppy

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Product Description

by Guido Van Genechten
illustrated by Guido Van Genechten
Rabbits ears come in all shapes and sizes. But they are all straight and long. All except Floppy's. Floppy hid his ear under a tea-cosy but the other rabbits laughed. He tied a balloon to it, but the others laughed even more. In this humorous story, Floppy discovers that friends love you for who you are and not for your ears.


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    continued...It is in the political doiman, and in the grit of everyday life that LOST presents violence as an archetypal action throughout history. It suppresses the canonical enactment of violence in the individual response, a truly Romantic shift worthy of Byron or Shelley. Great armies may recreate the maps of the world, but narrative requires the examplar of the individual. The Belgian Congo was an horrific place, but its impress was vividly addressed in Kurtz and Marlow. Even mother's love is challanged in LOST, and for any viewer of LOST it would pay to read Nancy Scheper-Hughes Death Without Weeping:The Violence of Everyday Life in Brazil (warning, this is a work that will challenge your understanding of motherly love). To understand Ms. Hawking's relationship with Daniel and his later death as only a plot point is to misunderstand the contradictions of everyday life. These contradictions convey to us the ordinariness of our lives, that we are not as we think we are, nor that any quality of specialness resides within us. That rude person who brushes past you in the coffee house is the world's indifference to your existence--we are all just simply objects others see (or conmen use to their own ends). So who really did listen to Abel's cries? How sad viewers felt to see Locke buried, to think it undercut his own beliefs in his specialness. Yet, from the first Season, LOST has suggested we are in an economy, one of exchange between the island and ourselves. At times that relationship is unbearable and the cost is huge. When Desmond tells Charlie that if he dies, Claire and Aaron will leave the island, Charlie accepts the cost as the sacrifice that must be made. Such an exchange occurs at the beginning of the Trojan War, where Agememnon must sacrifice Iphianassa to appease the gods (early traditions held he did so). At the heart of this metaphorical notion of sacrifice is our present day outlook of life as sacrifice. The scales in the oil painting in Widmore's office is just one installment of the metaphor throughout LOST. And in a post 9/11 world, the notion of sacrifice has extended once more to encompass the Greecian notion--the chaotic nature of life can be reset, placed in balance through the act of sacrifice. So it should not surprise us to read Thomas Cousineau write: "Throughout To The Lighthouse, Virginia Woolf reminds us of the extent to which the unity and stability of a human community depend upon the willingness of its members to resort to sacrificial rituals." That book which lent its name to an episode has as its theme the notion of the necessity of sacrificial acts in order to bind society. LOST has reconceptualized television drama by repositioning its very rules within the frame of a nameless island. The rootlessness of the island is reflected in the seeming rootlessness of the narrative. In 9/11 literature a central metaphor is rising, but then so too would falling be one. LOST begins with falling and holds out the promise that all things that rise must converge.


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