Unable to comprehend, or even truly consider death, Novic and her childhood friends interoperate the violence and death all around them into a juvenile game of war which imagines death and killing as temporary. Having told us that “the prospect of… dying was a scarier place than I’d allowed my imagination to go” (22), Novic and her friends are only willing to imagine it as cartoonish. In their game of war, like their “unspoken contest of gore” (12) which develops in their classroom, they reward players who incorporate “slow-motion falls” “postmortem twitching” and “delusional babbling” (50) into their deaths. This exaggeration of death may be seen as a coping mechanism but, it is undoubtedly skirting the implications of death itself. Although they hold the rule that “when you die you have to stay dead” (50) their charade only lasts the length of their match. Further denying the permanency of death, they sometimes allot each player “three lives” (50) (labeled here as lives instead deaths) where after each animated death they rise, play and die again. They use this game to childishly consider death and the consequences of war and to further consider the opposition of
Unable to comprehend, or even truly consider death, Novic and her childhood friends interoperate the violence and death all around them into a juvenile game of war which imagines death and killing as temporary. Having told us that “the prospect of… dying was a scarier place than I’d allowed my imagination to go” (22), Novic and her friends are only willing to imagine it as cartoonish. In their game of war, like their “unspoken contest of gore” (12) which develops in their classroom, they reward players who incorporate “slow-motion falls” “postmortem twitching” and “delusional babbling” (50) into their deaths. This exaggeration of death may be seen as a coping mechanism but, it is undoubtedly skirting the implications of death itself. Although they hold the rule that “when you die you have to stay dead” (50) their charade only lasts the length of their match. Further denying the permanency of death, they sometimes allot each player “three lives” (50) (labeled here as lives instead deaths) where after each animated death they rise, play and die again. They use this game to childishly consider death and the consequences of war and to further consider the opposition of