Zvominir’s Transformation

In this section, we see Zvominir transform into the leader of the rebels, which seems to have been triggered by Morgan’s disappearance. Before Morgan’s departure, Zvominir was a bit of a pacifist, against the actions that Morgan and Jane were taking. After he forgives Jane, however, he slowly becomes more and more involved with the rebellion. He becomes unrecognizable, and reminiscent of another character in the book. “Zvominir reversed Jane’s philosophies of battle. She had tried obliterating RedBlack institutions, like banks, offices and military barracks, and had killed only soldiers when possible. Zvominir terrorized civilians, and targeted the very same people whose homes he de-birded, families who had known him for a year, who’d invited him to christenings and birthdays, whose family events he probably still attended. He also blew up grocery stores, knowing his own people had no food” (375). To me, this sounds like the Judge. The Judge and Zvominir have something in common: the both lost a child. Whether or not Charlie’s death caused the Judge to become the monster he is I can’t say, but I do know that it caused some sort of tailspin in him. Both characters have gone through the trauma of losing a child, and both characters became ruthless leaders.

Although I found Zvominir’s transformation to be surprising, it reminded me of another commentary on totalitarianism: Animal Farm. Napoleon becomes the leader of the farm by preaching equality, leads a revolution, and becomes a heartless dictator. Both characters became the thing which they set out to fight.

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One comment on “Zvominir’s Transformation

  1. jaredescobar says:

    I never even thought of Animal Farm although the atmosphere seems to be just as dark. It’s an interesting comparison thinking of the horror and majestic melds that are found in the story. The reflections of the use of power has a different light in this story. An innocent action has a dark connotation with hint of future violence that puts a dark shroud over certain constituent events. One scene that struck me that way was when Morgan was making Katherine Riggs’ face with the birds. “Morgan used ring-billed gulls for Katherine’s face, cardinals for freckles and chiaroscuro hawks, curlews for her hair–their red bending beaks broke the picture-plane, illustrating wind–eyes of green ducks and raven-colored pupils, the shadow of her nose a parallelogram of plovers, nightingales, and parakeets for pigment, every bird a spot within a massive field of color-clusters, which all made Katherine Giggs. We know he selected birds for their brilliance, a repertory company of colors. We would like to show you Katherine’s face, but we can’t see it for ourselves, a madman sought her portraits and destroyed them” (214) There verbiage was destructive and violent but the scene has a full of beautiful action and imagery. With a bit of uncanny ambiguity. I feel this writing style and movement is also comparable to a lot of Animal Farm.

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