When her grandmother’s health began to deteriorate in the
fall of 1994, Mary would make the drive from Washington, DC to Winchester every
few days.
She hated highway driving, finding it ugly and monotonous. She
preferred to take meandering back roads to her grandmother’s hospital. When she
drove through the rocky town of Harpers Ferry, the beauty of the rough waters
churning at the intersection of the Shenandoah and Potomac rivers always
captivated her.
Toward the end of her journey, Mary had to get on highway
81. It was here that she discovered a surprising bit of beauty during one of
her trips. Along the median of the highway, there was a long stretch of
wildflowers. They were thin and delicate and purple, and swayed in the wind as
if whispering poems to each other.
The first time she saw the flowers, Mary was seized by an uncontrollable
urge to pull over on the highway and yank a bunch from the soil. She carried
them into her grandmother’s room when she arrived at the hospital and placed
them in a water pitcher by her bed. For a moment her grandmother seemed more
lucid than usual. She thanked Mary for the flowers, commented on their beauty
and asked where she had gotten them. Mary was overjoyed by the ability of the
flowers to wake something up inside her ailing grandmother.
Afterwards, Mary began carrying scissors in the car during
her trips to visit her grandmother. She would quickly glide onto the shoulder,
jump out of the car, and clip a bunch of flowers. Each time Mary placed the
flowers in the pitcher, her grandmother’s eyes would light up and they would
have a splendid conversation.
One morning in late October, Mary got a call that her
grandmother had taken a turn for the worse. Mary was in such a hurry to get to
her grandmother that she sped past her flower spot. She decided to turn around
head several miles back, and cut a bunch. Mary arrived at the hospital to find her
grandmother very weak and unresponsive. She placed flowers in the pitcher and
sat down. She felt a squeeze on her fingers. It was the last conversation they
had.
Which of the following accurately describe Mary’s
personality?
I Impatient
II Drawn towards beauty
III Loving
I am writing in response to response
to the article “Protecting our public spaces” in issue 14, published this
spring in it, the author claims that “all graffiti is public spaces.” I would
like to point out that many people believe that graffiti is an art from that
can benefit our public spaces just as much as sculpture, fountains, or other,
more accepted art forms.
People who object to graffiti
usually do so more because of where it is, not what it is. They argue, as your
author does, that posting graffiti in public places constitutes an illegal act
of property damage. But the location of such graffiti should not prevent the
images themselves from being considered genuine art.
I would argue that graffiti is the
ultimate public art form. Spray paint is a medium unlike any other. Though
graffiti, the entire world has become a canvas. No one has to pay admission or
travel to a museum to see this kind of art. The artists usually do not receive
payment for their efforts. These works of art dotting the urban landscape are
available, free of charge, to everyone who passes by.
To be clear, I do not consider
random words or names sprayed on stop signs to be art. Plenty of graffiti is
just vandalism, pure and simple. However, there is also graffiti that is
breathtaking in its intricate detail, its realism, or its creativity. It takes
great talent to create such involved designs with spray paint.
Are these creators not artists
just because they use a can of spray paint instead of a paintbrush, or because they
cover the side of a building rather than a canvas?
To declare that all graffiti is
vandalism, and nothing more, is an overly simplistic statement that I find out
of place in such a thoughtful publication as your magazine. Furthermore,
graffiti is not going anywhere, so might as well find a way to live with it and
enjoy its benefits. One option could be to make a percentage of public space,
such as walls or benches in parks, open to graffiti artists. By doing this, the
public might feel like part owners of these works of art, rather than just the
victims of a crime.
In paragraph 4, the writer states,
“Plenty of graffiti is just vandalism, pure and simple.” He most likely makes
this statement in order to