Challenge 417

Name That Box

In Ron Van Sweringen’s “The Last Madonna”:
1. What is the story about?
2. Does it help to know that the author is an artist by vocation?
In Chris Castle’s “Left Behind”:
1. Bewildering Stories unofficially frowns upon using personal pronouns as proper names, mainly because it’s often hard to tell who is saying or doing what to whom. However, exceptions do occur. Does the use of pronouns rather than names create such ambiguities this story?
2. What might have been gained by giving the characters even conventional names? How might names affect both the readers’ and the author’s perception of the characters?
In Vivian Rinaldo’s “Name That Tune”:
1. At the end, Frank basically accuses Leddie of callous careerism. His criticism is justified, but is it entirely fair?
2. Frank must have been accumulating doubts about Leddie during their long conversation, or he must had have some experience of his own to justify breaking off with her when he does. Is the ending adequately foreshadowed? What might account for Frank’s reaction?
In Anna Ruiz’ “Angry Hippos”:
1. What mood does the poem express?
2. How might the poem apply — even ironically — to Vivian Rinaldo’s “Name That Tune”?
Thomas L. J. Smith’s “Valkyrie of the Apes” recounts briefly the failed plot to assassinate Adolf Hitler. It portrays all the characters as apes and their activities as a farce. Aside from the witticisms, does the satire succeed? Does it choose an appropriate target?
In Larry Strattner’s “The Bus to 9th and Waldo”:
1. The character names parody those of contributors to philosophy or computer science. What might be the purpose?
2. What is a “have/have-not intelligence quotient”?
3. What are “proto-designers”?
4. At the end, Mr. Newmann’s “amalgam” is due to have its “selfish and greedy markers” removed. What evidence is there that Mr. Newmann is selfish or greedy?

Responses welcome!