Heyya my favourite people in the entire world, yes I'm talking about you since my real friends are too shut up in exams to actually read and review here. I'm looking at you Sajal.

" You could write a book on how to ruin someone's day."

"Nan, come on we've got to write two essays."

"Nan!!!" Di whipped her head around to scrunitise her and found her looking out of the window, glaring daggers at a oh- so visible figure talking with Jem.

"Urgh, leave him be Nan!! He's not saying anything to you, now come and help me with this forsaken essay!" Di snapped.

Nan groaned loudly, making her way to the bed and flopped down, not even bothering to look at the essay.

"What is the matter with you, Get. Up.!!" Di fumed.

Arousing no answer, she peeled the pillow off Nan's hands.

"Is it about Jerry?? Why did you two quarrel?? You never tell me?" Di badgered as Nan rolled her eyes.

She travelled in her brain until she had found that specific memory, she had wanted to erase anyway. Closing her eyes, she let herself drown in that day, cursing Jerry with every word she knew.

"Miss Blythe, how about you tell us your views on this one." Professor Krupps looked up from his sheet as Nan stood up, her voice unwavering.

"With all due respect, Tennyson is a misogynistic ratbag."

There were loud gasps all over the classroom, as everyone looked at Nan horrifically.

Professor Krupps merely chuckled.

"And would you care to divulge further?"

"Women are typically objectified in poetry since their voices and their actions in the poems are only described according to their relationship with men."

"Take Tennyson's Mariana for an example.

"The idea that her feelings depend on a man's presence effectively ties her existence to men. She does not have a personality of her own independent of men, but everything that Tennyson has her say and feel is somehow related to a man. Furthermore, since she is not speaking about herself, the reader is given the impression that her words and thoughts would not exist without male presence.

She has no other personality or say in anything except that she is pining for her lover. She cannot survive and she doesn't count for anything without him."

"Now take Tennyson's Lady of Shallot. She too is placed near a window and waits for her love to rescue her from her despondent existence. The reader never learns the fate of Marianna, but it can be assumed that she her happiness is solely dependant on her lover's return. In contrast, there is no speculation about the Lady of Shallot's fates since it her death is explained as a result of her feeling that she is "half sick of shadows," (part 2, stanza 4, line 35).

"The Lady of Shallot does not say anything else in the entire poem and by its end she is dead. She dies an anonymous beauty. It sounds more like Tennyson fit her words into his rhyme scheme and she had no input in what came out of her mouth. Consequently, the voice of the male author is more perceptible than the voice of the woman who is the central focus of the poem."

Saying this, Nan nodded and sat down, as Professor Krupps struggled to say something but was interrupted by someone else.

"May I?" Jerry Meredith turned to Professor Krupps who nodded.

"Tennyson introduces female characters to his works as an attempt on female equality. He shows that Marianna and The Lady of Shallot were in terms brave enough to stand up to what they thought right. The male characters do not make the bonds between them and the reader but they make the bonds between the male characters and us. We would not know who they were if it was not defined to us like that."

Nan stood up, her cheeks crimson and her eyes blazing.

"Do not twist words around to prove your point. Tennyson was a rubbish person who thought that women can't exist if their love doesn't come, that they can have nothing good to do except give their love!"

"Miss Blythe, sit down. I will not allow you to talk to students that way."

"Oiii Nan, get up!! I will not allow you to mourn your lost friendship any longer. Even if he did betray your trust or something like that, being angry is better than being sad anyday. Get up and let's plan on how to torture him to death."

Nan slowly raised her face from the pillow, grinning.

"How about feeding him ditto for the rest of his life?"

They both giggled.

"Now that, seems like the real Nan." Di said as Nan threw a pillow at her.

Spying Walter sitting in their room, Jem quickly strolled in, shutting the door behind them.

Walter looked up from where he was writing something, most likely a poem."What?" he asked, as Jem stared at him.

"I just wanted to spend some quality time with my little brother." he strolled over to where Walter was sitting and ruffled his hair.

Walter scowled, getting up from the bed post.

"Well then, I'll call Shirley and you two can have some quality time."

He bounded towards the door, twisting the knob, until Jem had pulled his arm from the other side, making them both land on the bed.

"What do you want?" Walter asked pointedly.

"Were they bothering you?" Jem counter-questioned.

Answering his confused look he continued.

"The girls who were following you today? Were they bothering you? because if they were I swear I'll..."

"I can take care of myself." Walter's eyes blazed.

"But I don't mean..."

"Jem why are you trying to protect me like I'm Rilla or or Faith?" he shooted an accusing look at him.

"I am able to protect myself. Shirley doesn't need your help does he?"

"But.. but, Shirley is... "

"It's all because you think I'm a sissy because I write poems isn't it?" he interrupted, eyes blazing.

"I am not a coward. I can protect myself well enough and I don't need your help." With a last glare, Walter was gone, banging the door loudly after him and Jem sighed.

What had got into Walter? He rarely quarreled with anyone and loud noise bothered him quite a bit.

Something was in the air, and Jem was going to find out exactly what.