TOW #13 - Distracted Walking

     "Distracted walking" is a phenomenon that almost all of us have witnessed or may even be guilty of ourselves. Jane Brody, New York Times writer of various topics under the "Personal Health" category, describes the danger and blatant ignorance attributed to the action of walking with eyes glued to smartphones, a parallel to "distracted driving." With the help of humor and appropriate statistics, Brody builds an argument to discourage the continuation of this terrible habit.
     Brody narrates, "people looking down to text, tweet, read or play games on their smartphones crash into us, typically as we walk in a straight line and they don’t." The concrete imagery allows the reader to visualize a scene, which has a humorously relatable ending. It is amusing and also plainly calls out those guilty of distracted walking, setting up the very blunt but friendly tone used throughout the article. Her use of humor also transitions into one of her main ideas - many people thought of "distracted walking [as] 'embarrassing — in a funny way,' which suggests they don’t really think it’s all that serious."
     She admits the idea is amusing at times, but argues that it is still a serious concern, supporting this position with appropriate facts and statistics. She describes data that shows an increase in hospitalization for distracted-walking-related incidents and references various surveys on the topic. This appeal to logos allows her to reach out to all the people who do not think it is a serious problem. She shows that she is not speaking out simply from frustration or irrational worry, but through  logic. Also, she concludes the article with a list of suggestions on how to personally avoid issues related to distracted walking, which provides readers with a concrete take-away and makes them less likely to just brush off the article as many might do otherwise.
     Brody addresses this issue appropriately, keeping a lighthearted tone (and avoiding criticism that she is overreacting), but also substantiating her ideas with statistics to show that there is some weight to the situation. It is ultimately a well-written article and very relevant. As for myself, I am clumsy enough without "distracted walking," so this is definitely something to take into consideration.

TOW #12 - Recreational Map of New Mexico

     The above image, titled "Recreational Map of New Mexico: The Land of Enchantment," was distributed in the 1940s by the New Mexico State Tourist Bureau to encourage people to vacation in New Mexico. It followed a time in which the tourism sector was flourishing due to dramatic advancements in transportation. The distributor was likely motivated by schemes of money and growing business, but it is recorded that the artist, Wilfred Stedman, was truly fascinated by Southwestern culture and nature and showed that in his projects. The map displays major points of interest, including various recreational areas, sightseeing locations, and historical landmarks. Dotted with colorful illustrations of cowboys, farmers, animals, and vacationers, it projects a feeling of liveliness, directly appealing to its audience of vacation- and adventure-seekers.

     In addition to the main title at the top, the map features a text bubble in the lower right corner. I found several different versions of the subtitle, the most common two reading "Make YOUR VACATION a Real Adventure" and "We’re Calling You to FUN Again!" The description below it promotes the area's cultural history, from the "prehistoric peoples" to the Spanish conquistadores to the Native Americans to the cowboys of the "Old West." The short text bubble provides a certain credibility to the entire map, acting as a finishing touch that connects all of the crazy illustrations and landmarks.

     Also fitting with the overall feeling of livelihood and adventure is the map's border of miniature plants, animals, and geometric patterns. Yet despite the boldness in color and line, the map remains professional-looking and not garish. This is partially due to attention to detail in topography, portraying major mountain ranges, forests, desert areas, and rivers.

     Overall, it is those details and the energy breathed into the entire illustration that makes me want to examine each point individually, out of both admiration for the artist's skills and curiosity about what really is in New Mexico. So I would say both the artist and distributor accomplished their goals.

TOW #11 - A Whole New Mind (Part One)

(Above: A Right-Brain Translation of the Historical Eras)
"L-Directed Thinking remains indispensable. It's just no longer sufficient.
In the Conceptual Age, what we need instead is a whole new mind."

     A Whole New Mind is a response to the developing Conceptual Age, founded on transcending the analytical, sequential left-brain and investigating the synthesizing, holistic right-brain. Daniel Pink, an experienced author on the dynamics of the workplace and business, uses a combination of statistics, real-world examples, and a humorous writing style to build his case for "Why Right-Brainers Will Rule the Future" (and why readers struggling through college or employment should really jump on that train).

     Pink organizes the book very logically and makes it easy to understand. Part One is constructed to emphasize the importance of a whole mind, to break down beliefs that the right-brain is either inferior or superior to the left-brain. Part Two explains Pink's philosophy of the "Six Senses." The first two are Design and Story: the first has recently flourished in corporate settings and the second is the basis of interpretation and memory. Each section is concluded with a "Portfolio" containing creative exercises to improve the sense, from fun project ideas to information on design seminars and storytelling festivals. I am definitely inspired to try some of the things in those sections.

     Pink's writing style is also very effective and engaging. He skillfully simplifies important concepts, often through humorous analogies and examples. There are many jokes but the main point is always clear. Consider his explanation of the necessity of both hemispheres: "Logic without emotion is a chilly, Spock-like existence. Emotion without logic is a weepy, hysterical world where the clocks are never right and the buses always late... The two sides work in concert--two sections of an orchestra that sounds awful if one sides packs up its instruments and goes home." His writing voice is balanced between silly and rational - perfect for this topic.

     This book is definitely right for me. It has introduced me to cool things like narrative medicine (the importance of a patient's Story) and the Rainbow Project (a very creative alternative to the SAT). It also gives me ideas about things like college and career.  I am absolutely looking forward to reading the rest of it.

TOW #10 - Attitude

"What you are being ejected into today is a world that is both half empty and half full."

     In June of 1983, award-winning writer Margaret Atwood was invited to be the commencement speaker at the University of Toronto. In her speech, she discusses the false helpfulness of college courses, the un-usefulness of a liberal arts degree, and the ultimate struggle of finding employment. All the while, she builds up to the idea that, despite so much difficulty to make it in the real world, there is hope: change can be made simply by one's attitude. She delivers this classic message in a way that makes it seem actually helpful and possible. Her speech effectively gets and keeps the attention of a hall full of fidgeting students and families, through an eccentric sense of humor and clever organizational choices.

     She begins by candidly narrating her struggle to prepare an encouraging speech for the "graduating class in 1983, year of the Ph.D. taxi driver, when young people have unemployment the way they used to have ugly blackheads." The use of real-world examples in an amusing way prods readers to envision the scene, and truly digest her words. She continues, "As for your university degree, there are definitely going to be days when you will feel that you’ve been given a refrigerator and sent to the middle of a jungle, where there are no three-pronged grounded plugholes." This analogy is rather ridiculous but it definitely makes the reader think a bit and invites a round of chuckles.

     She does spend much of her time discussing the bleakness of life, but near the end links a comment on stress-induced hair loss to a quote reference and life lesson: "I offer the following: 'God only made a few perfect heads, and the rest lie covered with hair…' Which illustrates the following point: when faced with the inevitable, you always have a choice." She structures it so cleverly that what seems like the oddest tangent leads straight into her main point about letting attitude determine one's life.

     Her chosen message and delivery is not dramatic, but structured in hopes that one or more of her simple quirks or jokes will stick in listeners' brains, for those times when they are face-to-face with the troubles of life that Margaret Atwood has already experienced and hopes to help them get through.

TOW #9 - The Exploitation of Paris

"Paris wasn't just a massacre. It was a megaphone to be used for whatever you yearned to shout."

     Frank Bruni's article "The Exploitation of Paris" is meant to put things in perspective, as a criticism of "the automatic, indiscriminate politicization of tragedy" (24). Bruni denounces news stations' blatant manipulation of this most recent tragedy to further their own agendas on virtually unrelated topics. As an experienced writer on a wide range of topics, he understands how to create a piece that is more than a news report, that honestly expresses the thoughts of a larger population. His writing skill ultimately justifies his criticism and shaming of all those guilty of the "politicization of tragedy."

     The article begins, "Can’t we wait until we’ve resolved the body count? Until the identities of all of the victims have been determined and their families informed? Until the sirens stop wailing? Until the blood is dry?" (1). Bruni immediately jumps on the topic's emotional appeal. He begins bluntly and in a way relentlessly (through anaphora), even including imagery of the "body count" and "blood," meant to convince the reader of the gravity of the issue.

     He later states, "I’d like to focus on the pain of Parisians and how that magnificent city reclaims any sense of order, any semblance of safety. I’d like not to wonder if Hillary Clinton’s odds of election just ticked upward or downward or if Donald Trump’s chest-­thumping bluster suddenly became more seductive" (23). By calling Paris "that magnificent city," he gives it the honor he is demanding others give. "Order" and "safety,"  two concepts with heavy emotional impact, are juxtaposed against the "chest-thumping bluster" of a politician to highlight the plainly ridiculous priorities of the media. He specifically uses names of American politicians because the article, from the New York Times, is aimed towards American public figures and news stations.

     Bruni understands that most of his audience will be ordinary citizens, and writes an article that speaks emotionally to them. He compellingly condemns those guilty of "politicization of tragedy" and also makes his audience more careful to not fall into that category. In this way, Bruni's argument is made effectively and successfully. 

IRB Intro Post #2

The Six Senses: Design. Story. Symphony. Empathy. Play. Meaning.

A Whole New Mind: Why Right-Brainers Will Rule the Future, written by Daniel Pink, delves into the necessity of creativity for success in a changing world. It seems our computer-structured, left-brain culture is giving way to an innovation-driven, right-brain future. I was given this recommendation due to my artistic and creative interests, and therefore I am absolutely looking forward to learning just how these abilities can help me out.

TOW #8 - Just Kids (Part Two)

"When I look at it now, I never see me. I see us."

     Patti Smith concludes Just Kids, “This is the story… he wished me to tell and I have kept my promise.” This is absolutely true: she writes an impressively detailed account of her time with Robert Mapplethorpe, living and loving and working ceaselessly as artists. Her work contains points of potential greatness, but they are buried within three-hundred pages of jagged anecdotes and unnecessary details.

     There is a definite appeal for her fans: they get a sneak peek into the early inspirations of some of her greatest hits. However, to those less practiced in 1970s music lingo, half a dozen name-drops in one paragraph is more overkill than incredible. Still, her tone is not pretentious in any way – it’s terribly honest and even innocent at times, such as in this anecdote: “Someone at Max’s asked me if I was androgynous… I thought the word meant both beautiful and ugly at the same time. Whatever it meant, with just a haircut, I miraculously turned androgynous overnight.” She has no qualms about revealing the blindness with which she fell into her rock ‘n’ roll life, and that bluntly truthful tone adds to her credibility.

     Smith also shows off her skill with syntax, as expected from a poet and songwriter of her caliber: “Robert dying: creating silence. Myself, destined to live, listening closely to a silence that would take a lifetime to express.” In these simple statements, she is able to portray the unbreakable bond between Mapplethorpe and herself, the foundation of the story.

     Despite these positives to her writing, the plot began to drag early on as a result of Smith's straight retelling of events. Perhaps it seemed impossible to make the story a beautiful one, with a well-scripted plot and enrapturing characters, and still have honestly told their story. Smith's straightforward approach is what some readers fall in love with. However, I cannot say this is a top book of mine – I certainly fail to connect with it in many ways, and I simply do not believe it appeals to a great enough audience with a great enough impact to be considered so.

TOW #7 - The Death of the Moth

      "The Death of the Moth" is essentially a metaphor of Virginia Woolf herself. She writes of a moth that is lively and energetic until it is forced to face the ultimate enemy, death, and slowly gives in. The essay was published just one year after Woolf's suicide in 1941, after she wrote to her husband, "I don't think two people could have been happier till this terrible disease came. I can't fight any longer." Through her recognizable stream-of-consciousness style, Woolf shares some insights with the world, and lets family members and admirers know what was going on in her head during her final days. Woolf's essay is clear enough for readers to realize there is a deeper meaning, and complex enough to require that readers actually think in order to truly understand.

      Woolf crafts the essay so that each statement reveals a new idea about herself or about life and death. She writes, "to have only a moth’s part in life, and a day moth’s at that, appeared a hard fate… What he could do he did" (par. 2). This parallels her struggle as a female writer and intellectual in a male-dominated environment, and her efforts to challenge that issue - she may not have been satisfied with those efforts, as hinted by the narrator's later view of the moth as pitiful. She also observes, "there was nobody to care or to know, this gigantic effort on the part of an insignificant little moth, against a power of such magnitude" (par. 5). The contrast between the size of the creature, its effort, and its opponent highlights the seeming impossibility to overcome certain barriers. Despite Woolf's greatest efforts, she struggled in society, failed to battle her demons and gradually broke down in the grip of mental illness.

     Even so, there is a glimmer of hope in the statement, "The moth having righted himself now lay most decently and uncomplainingly composed" (par. 5). Perhaps Woolf wrote this essay as a final "righting," as a way of revealing herself without worry of the public's reception. If so, she did it well.

"He was little or nothing but life." | "O yes, he seemed to say, death is stronger than I am."

TOW #6 - Back to the Future: 3D Printing

     This Huffington Post article examines the use of 3D-printed tools and puzzles in math education, a result of MIND Research Institute's innovative efforts to help young students learn math by "experiencing" it. Written by Ki Karou, a designer at MIND, the article reflects on the recent Math Fair and other company projects. There is an endearingly honest tone, but also a noticeable issue with writing skill and organization.

     The article describes several 3D-printed learning devices, each accompanied by a visual. Though the abundance of examples helps concretize the idea of 3D printing for the reader, it gets a bit cluttered. Also, photos and videos generally help brighten up an article, but there are so many that they interrupt the flow of the article.

     Another aspect that both adds and subtracts to the article's effectiveness is the casual, personal tone with which Karou writes. It adds genuineness, such as in this quote: "there is a buzz-worthy new technology… that when I tell my grandma about it, she tells me I'm speaking to her in another language" (1). His use of plural personal pronouns such as "we" when discussing MIND's work appeals to his ethos by reminding readers of his direct experience with the subject. However, the article also ends up more like a casual blog post than a serious review of the Math Fair and related projects. Karou sounds less like a reporter and more like a Math Fair visitor who wrote the article for fun.

     The article's structure as an informative, rather than argumentative, piece is appropriate. Perhaps Karou aims to inspire teachers and curriculum designers, or advertise his organization and its projects, or simply give information to the general public about a new technology. Regardless, it is an interesting read, but its effectiveness is inhibited by disorganization, a few too many examples and visuals, and some small grammar mistakes.

"Our goal is to bring math to life in new ways for a new generation of students. So that they can develop necessary STEM and problem-solving skills to create a brilliant future." - Ki Karou

TOW #5 - Weathered Chromes

"The minute I saw those two photographs, I said, 'Oh, my lord, that's fabulous. How can I make that happen?'" - Lucinda Bunnen

     The above image, originally a perfectly normal photograph of an adorable toddler on Christmas morning, is now a nature-beaten, time-distorted work of art. It is part of an Atlanta display titled "Lucinda's World Part III: Weathered Chromes." Lucinda Bunnen, the toddler's mother and an experienced art collector and photographer, was looking through 60-year-old photos when she came across two damaged slides, including the one above. Instead of being distraught over 'ruined' memories, Bunnen saw it as a fantastic creative opportunity. She pursued the possibilities and was able to alter the composition, color, and texture of photographs by elements of water, heat, and time. The slides were transformed from good photography to stunning art.

     The photo of her infant son reaching for a Christmas stocking now displays a real-life version of the "plastic wrap" photo filter. Its distortion introduces an intrigue and supernatural tone that the original photo lacked. It has been labeled an investigation into the relationship between reality and memory (Hansell par. 5). The bubble-like effect changed the central composition to a more interesting asymmetrical composition. The light wood background, mahogany mantel and candy-cane stripes emphasize the holiday setting. The abundance of blue instead of the usual Christmas-green gives a colder tone, almost ghostly, reinforcing the supernatural concept of the whole gallery. The glare reflected on the wall frame reminds the viewer of the reality of the photo by appealing to the relatable idea of dealing with flash photography. The new washed-out areas add contrast and the illusion of a third dimension.

     Though some of the work is done by nature, Bunnen is the original photographer and the controlling artist. She may not have directly manipulated each photograph to build a specific argument, but she compiled the display using photos hand-picked to teach or inspire viewers. The gallery is a result of Bunnen's ability to find inspiration anywhere: "'I don't go looking for specific things… Things just drop out of the sky...maybe if you're open enough to see it, to feel it, to hear it, to know that's what you're looking for, you get it'" (Hansell par. 17). Her words remind listeners of the relationship between art, inspiration, and unexpected events.

SOURCE: "Nature Adds a Psychedelic Spin to Lucinda Bunnen's Photography", Huffington Post

TOW #4 - Just Kids (Part One)

"To be an artist was to see what others could not."

     Just Kids, a memoir by poet-rocker Patti Smith, revisits her life as a young adult on the streets of Brooklyn, specifically her time with artist and photographer Robert Mapplethorpe. Published in 2010, the book is said to fulfill a promise Smith made to Mapplethorpe, who passed away in 1989. Through its honest storytelling and stylistic approach, I can imagine how some people would fall in love with this book, but I can just as easily see how it will fail to connect with others.

     Both artists rejected a family environment described as "a safe existence but not a fairy-tale one" (17). The word choice immediately establishes ideas of rock 'n' roll and hunger - they didn't dream of safety and comfort, but of challenge and inspiration. Instead of hoping for a fairy godmother, Smith was "Wendy entertaining the lost children of Neverland. We were a crew of misfits" (57-58). An allusion that perfectly describes their roles in society, it also reveals their innate innocence. Though holding down jobs and digging for rent, they were "just kids." They did as they liked and went after what they wanted, often leaning on the possibility that everything would work itself out. 

     One analogy captures the off-beat emotions of the book: "I imagined myself as Frida to Diego, both muse and maker" (12). Though the statement appears innocently romantic to some, a reader who knows the insanity contained within Kahlo and Rivera's story views it differently. It foreshadows Smith and Mapplethorpe's relationship, passionate but restless. This ongoing off-beat tone fits the book well, but it also cuts off a large potential audience. I chose this book expecting its style, but there are just a few too many names I don't recognize, metaphors that frustrate me, anecdotes whose purpose I don't understand. The abstract style fails to meld well with the methodical way in which each period of time is described.

     I do understand that this is a memoir, and not an earth-shaking argument. I also still have 142 pages left to read. Perhaps the end will reveal the philosophical ponderings I was expecting, or perhaps the book is  written like this to let readers form their own conclusions. I look forward to discovering which it will be.

TOW #3 - Why I Let My 8-Year-Old Use Swear Words

     This article's uncensored title (in contrast to the one on TIME.com) was "I Let My 8-Year-Old Drop F-Bombs - And So Should Every Other Parent." It gives a pretty clear picture of the ideas to follow: the author has written this article to convince other parents that his controversial decision is a good one.

     Published late this summer, Tom Burns wrote the article after struggling with his daughter through some tough times. Burns is a respectable author, considering his writing has been featured by names such as TIME and the Huffington Post, and still the best ethos for this article comes from his experience as a parent. So he establishes ethos with vivid storytelling that also appeals to pathos.

     The article starts, "My 8-year-old kid has had a rough year. She's struggled with anxiety, school, friend drama, and her first experiences with orthodontia. Third grade has been much, much crueler than expected" (1). Immediately, the reader feels sympathy for both the parent and child. Then Burns juxtaposes that gloomy introduction with a shocking statement: "to instantly cheer her mood… I let her say "f---" occasionally" (2). Burns knows this isn't the norm of parenting; he knows that the whole article is rather provocative, so he goes full steam ahead and bluntly states the main point. His directness is effective because each point cuts straight to the reader.

     He also addresses the obvious counterarguments to letting a child swear: "I’m not giving her license to use those words to hurt other people. I’m letting her use those funny little taboo curses to express hurt, fear, and frustration in a way that hurts no one, in a way that makes her feel special" (29-30). His logic works well. Though I still don't completely agree with him, but I certainly respect his thoughtfulness in being a parent.

     Although the article's simplest purpose was to convince parents that letting kids swear is a way of "commiserating," it goes beyond that. Burns challenges parents to think deeper into the intentions and effects of each action by a parent or child. He turns what could have been a superficial, touchy topic into a thought-provoking investigation into parenting.

TOW #2 - Unmatched

     A few days into the 2015 U.S. Open, a set of Gatorade commercials were released featuring star tennis player Serena Williams. The lead video, titled "Unmatched," is based around a short clip of Williams as a young girl. At the start of the commercial, a young Serena is asked, "If you were a tennis player, who would you want to be like?" The video then transitions into her professional career, featuring clips of major victories and struggles, portraying her as a history-maker. The video concludes with Serena's response, "Well, I'd like other people to be like me," before fading to a black screen with the Gatorade logo and the tagline "Win from Within."

     The ad, timed with the media attention of the U.S. Open, gives publicity to both parties. Gatorade gets support from the best women's singles player in the nation (and at times in the world), and Williams gets some nice airtime with another crucial tournament. Most simply, the ad promotes Gatorade's sales and Williams' name - with that, the audience is athletes and athletics-admirers everywhere.

     However, it goes further into the promotion of a mindset built for success, an idea of self-driven perseverance. The main clip implies that Williams' ambition and determination, even as a young child, is what ultimately got her to where she is now. Showing Williams as grounded - with struggles, hopes, and victories - appeals to an unlimited audience. Perhaps, it's most aimed towards the younger ages, encouraging a fearlessness to go after what they want. In doing so, both parties build their reputations: Williams as a role model and Gatorade as a company that cares about its athletes.

     Ethos is immediately established by the fame of both Williams and Gatorade, logos by the use of Serena Williams' expertise to bring viewers to support Gatorade. An appeal to pathos is created by dynamic storytelling. We see Williams go through the best and worst of emotions. We see her as a confident young girl who isn't afraid to dream big. We see her as a successful professional athlete, passing on the wisdom she has gained over the years. The commercial is one minute of drama and realism that effectively fulfills both parties' purposes.

IRB Intro Post #1

My first book will be "Just Kids," a memoir by Patti Smith. I was initially drawn to this book because of its subject - romantic, dreamy, and edgy all at the same time. After I flipped through a few options, I chose "Just Kids" because it seemed the most appropriate - written well and fairly challenging, but less daunting than the brain-busting scientific jargon of option B and the textbook-sized option C. I'm excited to go on this journey with intriguing main characters and an unfamiliar backdrop.

TOW #1 - The Great Unease

     Roger Cohen is currently a writer for the New York Times, though he spent many years working and travelling through Europe and the Middle East. His real-life experiences in conflict zones - and his works on war and conflict - likely helped build the perspective he shares in this article.

     Cohen explains how society's obsessive materialism leads to a general "unease" and unhappiness that should not be in our lives. In making his argument, the main analogy used is that of the airport, which he compares to a "jewelry [store]. After the Sapphire members boarded came the Ruby members and then the Diamond folk followed by the Platinum people" (3). Cohen uses polysyndeton to emphasize the utter ridiculousness that comes from a concept of material "success."

     Cohen also uses antithesis to show the confusion created by such a world. He writes, "They have access to everything and certainty about nothing" (1). Cohen emphasizes how with so many options, people no longer know what is supposed to be the best. He describes a scene in which people ran "helter-skelter between 'fast-track' and ordinary track, seemingly unable to establish which was moving faster, tormented by the thought that they might somehow be losing out" (6). The imagery concretizes the idea of unease, shown by Cohen to stem from a fear of losing one's status and material wealth.

     From there, he develops the counterargument: material gain isn't nearly as fulfulling as emotional and spiritual growth. Once you stop worrying so much about losing a few spare minutes or dollars, you suddenly have more time and resources for others - "for acts of spontaneous generosity, for surprise visits, for being sidetracked, for idle conversation, for the gestures that forge community" (8). He lists these actions (enumeratio) to emphasize their importance, so often overlooked.

     The article is aimed towards everyone, though most simply the usual readers of the NY Times Op-Ed column. From those who guiltily recognize themselves as the airport-dashers to those who pride themselves on rejecting all things materialistic, the author manages to provide each reader with a take-away. The author accomplished his purpose, even if not to convince a reader of a life transformation but just to consider stepping back to think.

Aria: A Memoir of A Bilingual Childhood | Richard Rodriguez

     Richard Rodriguez was born into a Spanish-speaking family. Though that may have acted as a handicap at the start of his schooling, he graduated from Stanford, Columbia, and UC Berkeley; his writing can now be found in well-respected magazines around the world. This essay is a memoir that focuses on the role of heritage and family language in the development of individuality. The essay is a protest against bilingual education (cited as a way to preserve heritage and identity) - Rodriguez writes, "while one suffers a diminished sense of private individuality by being assimilated into public society, such assimilation makes possible the achievement of public individuality" (par. 38). His basic argument is that simply isolating one's heritage is not enough to create a unique identity, but rather children need to feel comfortable in public society before they can build their own identities.
      Rodriguez also describes how his assimilation into public society naturally led to a separation from his family life. He explains, "As we children learned more and more English, we shared fewer and fewer words with our parents" (par. 32). This use of antithesis highlights the idea that leaving behind one's private identity is necessary to build one's public identity, and therefore grow up. This message is hinted at in the beginning: "I turned to see my mother's face dissolve in a watery blur behind the pebbled-glass door" (par. 3). The use of imagery makes the statement stand out, and foreshadows his separation from his parents.

     Rodriguez successfully argues his position without forcing a straightforward persuasive essay, instead using pathos and narrative to support his argument. I personally connected with the essay because I am bilingual and do have a "home" and "school" language. Although I do not remember quite as much of a struggle between the two, I can empathize with the resulting separation from parents and the preference to keep the two languages separate. I agree with Rodriguez's argument that making the student feel comfortable in society is necessary to build a respectable identity. And one of the best  ways to do this is, of course, to make them learn the public language.

The essay discussed above was taken from Richard Rodriguez's autobiography, "Hunger of Memory." The book reflects upon his simultaneous acceptance into the intellectual community and separation from his family culture. (Source: Amazon)



Bop | Langston Hughes

     Langston Hughes was an American poet, novelist, playwright, and social activist. Of African-American and mixed descent, he strongly encouraged pride in heritage and race. The essay was written from the point of view of a white man having a conversation with a colored man named "Simple." At the start, they were discussing Be-bop music, a style of jazz known for a quick tempo, musical complexity, and impressive improvisation. Beyond that, Simple explained the division between races as a consequence of different histories and experiences. Simple observed that white musicians failed to mimic the soulful rhythms of Be-bop, purportedly because they lacked the same history of struggle and suffering. Simple explained, "That's where Be-bop comes from, beaten right out of some Negro's head into them horns and saxophones and piano keys that plays it" (Hughes par. 24). When the narrator reacted with surprise, Simple added, "That's why real Bop is mad, wild, frantic, crazy - and not to be dug up unless you've seen dark days too" (Hughes par. 30). The first example, which used a polysyndeton, concretized the idea that music is pulled from one's life experiences, in this case the suffering of an entire people group. The second example, which used an asyndeton, explained why Be-bop music was so special - "white folks do not get their heads beat just for being white" (Hughes par. 26).
     Hughes was able to provide insight to "white folks" on the daily struggles that stemmed simply from being born a colored person, and to present a different angle on the issue. The whole essay was written very well, working through subtext and colloquialisms to convey a greater meaning. Hughes concluded the essay with this clever use of parallelism: "’Your explanation depresses me,’ I said. ‘Your nonsense depresses me,’ said Simple" (Hughes par. 31-32). Yet again, the very storyline itself - the narrator's troubled reaction to Simple's ideas - wholly exemplified Simple's argument.

The photo shows Dizzy Gillespie, a famous Be-Bop trumpeter. (Source)

The Bloodiest Battle of All | William Manchester

     William Manchester was an American author and historian. Following in his father's footsteps, he served in the U.S. military as a Marine during the Pacific War. The essay was part-memoir and part-tribute, published in response to a memorial for the soldiers lost in the Battle of Okinawa. He reflected on the difference between how war is viewed by front-line soldiers versus everyone else. He wrote, "I could not reconcile the romanticized view of war that runs like a red streak through our literature... with the wet, green hell from which I had barely escaped" (Manchester par. 5). This initial horror slowly developed into an understanding - he realized he could never feel anything but hate towards war itself, but could still honor the friends he fought with.
     The essay vividly described his experience in the battle of Okinawa. One paragraph of imagery was almost too graphic: "The mud beneath our feet was deeply veined with blood. Blood is very slippery. So you skidded around... fighting and sleeping in one vast cesspool. Mingled with that stench was another - the corrupt and corrupting odor of rotting human flesh" (par. 29-30). This quote barely even discussed the actual fighting, only the surrounding circumstances, yet it was able to hit me right in the gut. It made me feel just a little bit of what he and the other soldiers must have felt. So he did his job of both admonishing and educating the general public that war is far from glorious, as well as providing fellow soldiers with statement to reflect upon.

     Although the essay was a bit confusing at first, with an organization that was almost chronological but not quite, it made an impact. One sentence effectively used an antithesis: "they sacrificed their futures that you might have yours" (par. 38). This quote struck me as the exact reason why we honor veterans and lost soldiers, whether by building a monument or writing an essay.

The "Cornerstone of Peace" is a monument dedicated to the remembrance of the Battle of Okinawa and the soldiers lost in the battle. More than 200,000 names are inscribed on the monument. (Source: Flickr)