cambridge academic writing guidelines a cross cultural reading writing text 2nd edition

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A Cross-Cultural Reading/Writing Text

To Norman, Rebecca, and Jonathan Spack

with love

Editor: Da r c y MeekerManager, publishing services: Emily Berleth "Project editor, publishing services: Kalea C h a p ma n Project management: Julie Sullivan

Production supervisor: Dennis Para Cover design- Rod He r n a nd e zCover photo.- Decoding the Invisible Leopard by Laurence M Gartel © Laurence M Gartel

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Copyright © 1996 by St Mar t i n' s Press, Inc.

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A c k n o w l e dg me nt s a n d c opyrights are cont i n u e d at t he back of the b o o k on pages 3 8 6 - 387, wh i c h c o ns t i t ut e a n ext en s i on o f the copyright page.

S y d n e y J H arris, " \ Vhat True Educat i on Shoul d Do ” Copyright © 1994 Reprinted

witfe t h f pe r mi ss i on o f i h e Chicago Sun-Times, Inc.

Jacob N e u sn e r , " T h e ’C o m m e nc e m e nt Speech You'll Never He ar " from Daily Her­ald (1981) Br own University c a m p u s news paper Reprinted by pe r mi s s i o n o f the a u ­

thor.

Jam es T h o m a s J a ck so n , " W a i t i n g in Line a t the Dr ugs t or e " from Waiting in Line at the Drugstore and Other Writings o f James Thomas Jackson, publ i shed b y the Univer­

sity o f North Texas Press, 1993 Reprinted by permission.

A n zia Y e z ie r sk a , "College." Pages 2 0 9 - 2 2 0 from Bread Givers by Anzi a Yezierska

Copyright © 1925 by Doubleday, renewed 1952 by Anzia Yezierska, transferred to Louise Levitas Henr i ks en 1970 Reprinted by permi ssi on of Persea Books, Inc.

B rief Contents

PART

PART

C o n t e n t s v P r e f a c e x v

c h a p t e r 1 R eadin g S tra te g ie s 2c h a p t e r 2 K eepin g a R eadin g/W ritin g Journal 8

WRITING FROM EXPERIENCE14

c h a p t e r 3 R e a d in g s 15

c h a p t e r ^ D iscussion A c tiv itie s 40

c h a p t e r 5 G uidelin es f o r W ritin g f r o m E xperience 43

WRITING FROM SOURCES: FI EL D RESEARCH 63

c h a p t e r 6 R eadings: F ield R esearch 64

c h a p t e r 7 D iscu ssion A c tiv itie s : F ield R esearch 104

c h a p t e r 8 G u id e lin e sfo r W ritin gfrom Field R esearch 107

WRITING FROM SOURCES: ESSAYS 123

c h a p t e r 9 R eadin gs: E s s a y s 124

c h a p t e r 10 D iscussion A c tiv itie s: E ssa ys 145

c h a p t e r 11 G uidelines f o r W riting a b o u t E ssa y s 148

WRITING FROM SOURCES: FICTION 166

c h a p t e r 12 R e a d in g s: F iction 167

c h a p t e r 1 3 D iscu ssion A c tiv itie s: F iction 200

in

c h a p t e r 1 A G u id e lin e sfo r W riting a b o u t Fiction 204

WRITING FROM SOURCES: P O E T R Y 214

c h a p t e r 15 R eadings: P o e try 215

c h a p t e r 16 D iscussion A c tiv ities: P o e try 222

c h a p t e r 1 7 G u id e lin e sfo r C om piling a P o etry

A n th o lo g y 2 2 6

WRITING FROM SOURCES: L I B R A R Y R E S EA RC H 2 4 0

c h a p t e r 18 G uidelines f o r E xploring a Research Topic

c h a p t e r 19 G uidelines f o r C onducting L ibrary R esearch

c h a p t e r 2 0 G u id e lin e sfo r C om posing a Research E ssa y

c h a p t e r 2 1 S u m m a rizin g 272

c h a p t e r 2 2 P a ra p h ra sin g 279

c h a p t e r 2 3 Q u otin g 2 8 7

c h a p t e r 2 A- C itin g a n d D ocu m en tin g S ou rces 2 9 8

c h a p t e r 2 5 P ro o frea d in g a n d E d itin g312

c h a p t e r 26C auses o f E rror 315

CHAPTER 27 A H an dbook f o r C orrecting E rrors 3 21

c h a p t e r 28 M a n u sc rip t Form f o r F inal Copy373

GLOSSARY 3 7 5

INDEX 3 8 9Iv Brief Contents

2412442 5 7

Defining Unfamiliar Words 4

Guidelines for Usi ng Clues to Guess at Me a n i n g 4

Annotating 5

Guidelines for A n n o t a t i n g 5

Making Double-Entry Notes 5

Guidelines for Ma k i ng Double-Entry Notes 6

chapter 2 K e e p i n g a R e a d i n g /W r i t i n g J o u r n a l 8

M a k i n g a J o u r n a l E nt ry o n a R e a d i n g Selection 8

Gu i del i nes for M a k i n g a Jo u r na l Ent r y on a R e ad i ng Sel ect i on 9□ “The Commencement Speech You 7/ Never Hear,' ’ Jacob Neusner 11

WRITING FROM EXPERIENCE 14

chapter 3 R e a d i n g s 15

The R e a d i n g Se lec tio ns 15

□ “The School Days o f an Indian Girl, " Zitkala-Sa(Gertrude Simmons BonninJ 16

□ " Waiting in Line at the Drugstore, "lam es Thomas Jackson 22

vi Contents

□ “College,” A rzia Yezierska 25□ “Shooting an Elephant, " George Orwell 31□ “The Rewards ojLiving a Solitary Life, ’ ’ May Sarton 3 7

c h a p t e r D iscu ssion A c tiv itie s 40

Write after You Read: M a k i n g a Journa l E n t r y 40 S u m m a r i z i n g 40

Anal yzing 41 Ma k in g Connections 42

c h a p t e r 5 G u id e lin e sfo r W ritin g fro m E xperience

S u g g e s t e d E s s a y A s s i g n m e n t s 43Ex pl or in g a Topic 44

Making a List 44Guidelines for Ma ki ng a List 44

Frewriting 45Guidelines for Freewriting 45

Looping 45Guidelines for Looping 46

Cubing 47Guidelines for Cubing 48

Clustering 49Guidelines for Clustering 50

Gui del i nes for Re vi s i ng 5 7

What Should I Keep? 57

What Should I Add? 57

What Should I Delete? 5 7What Should I Change? 5 8

What Should I Rearrange? 5 8

What Should / Rethink? 58

Compl et ing the E s s a y 59

Gui del i nes for Comp l e t i n g the Es s a y 59 S t ud e n t Essay: “Barriers,''RolandoNiella 59

W RITING F R O M SOURCES: FIELD RESEARCH 63

c h a p t e r 6R eadin gs: F ield R esearch 64

The R e a d i n g Sel ect ions 64

□ “Friends, Good Friends— and Such Good Friends, "Judith Viorsc 65

□ Myth, Reality and Shades o f Gray: Comparing Same-Sex Friendships, " Joel D Block 69

□ “Intercultural Communication Stumbling Blocks, "LaRay M Barna 7b

□ “Social Time: The Heartbeat o f Culture, " Robert Le\ine,with Ellen Wolff 84

□ “Creativity in the Classroom, " Ernest L Boyer 92

c h a p t e r 7D iscu ssion A c tiv itie s: F ield R esearch104

Write aft er You Read: M a k i n g a J our na l E nt ry 104S u m m a r i z i n g 104

Ana lyz ing 105M ak ing Connections 106

c h a p t e r 8 G u id e lin esfo r W riting f r o m Field Research 10 7

S u g g e s t e d E s s a y A s s i g n m e n t s 107G a t h e r i n g M at er ia ls 108

I nterviewing 108Guidelines for Conducting an Interview 109Ob s e r v i n g 109

Gui del i nes for Obs e r v i n g 109

C o n d u c t i n g a S u r v e y 109

Gui del i nes for C on s tr u c ti n g a Q u e s t i o n n a i r e 110

Testing and Revising a Questionnaire 110

Distributing and Collecting a Questionnaire 111

Analyzing the Results 111Ca te gor izi ng R e se a rc h Dat a 111

Gu i del i nes for Cat egor i zi ng Resear ch Dat a 112

S t r u c t u r i n g the Ent ir e E s s a y 115

Developing the Introduction: Purpose and Methods 115

Developing the Body: Presenting Research Data 116

Developing the Conclusion 117Dr af ti ng 117

Giving a n d Receivi ng Fe ed ba ck 117 Re v is in g 117

Co mp l et in g 117S t u d e n t Essay: "The R elationship between International and U.S.-Born

Students: Two P erspectives," A yse Yeyinmen 118

c h a p t e r 10 D iscussion A c tiv itie s: E ssa y s 145

Write after You Read: M a k i n g a j o u r n a l E n t r y 145S u m m a r i z i n g 145

Anal yzing 146Ma king Connections 147

c h a p t e r 11 G uidelines f o r W riting a b o u t E ssa ys 148

S u gg e st ed E s s a y A s s i g n m e n t s 148Selecting a R e a d i n g 149

R e r ea di n g to U n d e r s t a n d the Wri ter 's I deas 149I dent ifyi ng Poi nt s o f A g r e e m e n t a n d D i s a g r e e m e n t 150Selecting Evi dence for Critical An a ly s is o f a R e a d i n g 151F oc u si ng 151

Gui de l ine s for Devel opi ng a Focal Point 151

S t r u c t u r i n g t h e Ent ire E s s a y 152Devel oping t he I n t r o d u c t i o n 153

Gui del i nes for Wr i t i n g a n I nt ro d u c t i o n 153

Devel oping t he Body 154

Gui de l i ne s for De ve l opi ng Body P a r a g r a p h s 155

Structuring the Body 15 5

Starting a New Paragraph 15 7

Synthesizing References to Two or More Readings 159 Gui del i nes for S y n t h e s i z i n g 159

Devel oping t he Conc lus ion 161

Gui del i nes for Wr i t i n g a Concl usi on 161

Drafting 162Giving a n d Re ce ivi ng F e e d b ac k 162 Revising 162

Compl et ing 162S t u d e n t Essay: “Is C reativity Suppressed by Know ledge?”Sophia S k o u fa k i 163

W RITING F R O M SOURCES: ESSAYS 123

W RITING FR O M SOURCES: FICTION 166

The Re a di n g S el ec ti ons 167

□ “The Ingrace, ’' Paul Laurence Dunbar 168□ ' In the Land o f the Free, " Sui Sin Far 174□ ‘ ‘Eveline,'' James Joyce 182

□ " The German Refugee, " Bernard Malamud 186□ “Tito’s Good-bye," Cristina Garcia 196

Write after You Read: M a k i n g a j o u r n a l Ent ry 200S um m a r i z i n g 20 0

Anal yzing 201Interpreting 202Ma ki ng Connections 202Getting Creative 203

S u g ge s t ed E ss ay A s s i g n m e n t s 204Selecting a Story 204

Rereadi ng to U n d e r s t a n d a Story 205Selecting Evidence for Critical Analysis of a Story 206Focusing 20 6

Struct uri ng the Entire Es sa y 206Developing the Introducti on 20 7

Gui del i nes for W r i t i n g a n I n t r o du c t i o n 208

Devel oping the Body 208

Guidelines for De ve l opi ng Body P a r a g r a p h s 208

De ve loping the C o n cl u si on 2 1 0

Gui del i nes for W r i t in g a Concl us i on 2 1 0

Dr aft ing 2 1 0Giving a n d Receivi ng Fe ed ba ck 2 1 0 Re vi sin g 211

C omp let in g 211S t u d e n t Essay: "A L etter to Eveline, ” George M avros 211

□ ‘ ‘Love is not all, " Edna St Vincent Millay 219□ "Still I R ise," Maya Angelou 220

x Contents

c h a p t e r 16 D iscussion A c tiv itie s: P o e try 222

Write aft er You Read: M a k i n g a j o u r n a l E n t ry 222S u m m a r i z i n g 222

Anal yzing 222Interpreting 224Ma kin g Connections 224

c h a p t e r 1 7 G u id e lin e sfo r C om pilin g a P o etry

A n th o lo g y 22 6S u g g e s t e d A s s i g n m e n t 2 2 6Finding Poems 22 6

Using a Computer File to Find Books ojPoetry 227

Using a Poetry Index 2 2 7

Finding Books o f Poetry in the Library 228

Finding Books o j Poetry in a Bookstore 228

Selecting Po em s 22 8

Recording Bibliographic Information 228

Wr it ing a b o u t I nd iv i du a l P o e m s 229Writing a n Es sa y to Introduce the Entire Ant hol ogy 229Preparing a Bibliography 229

St ruct uri ng t he Entire An t ho l og y 2 3 0Drafting 231

Giving a n d Receiving F eedback 231 Revising 231

Completing 231S t ud en t Anthology: "Life and Foets, Poets and Life: A Poetry Project,"

Francisco Javier Rojo-Alique 232

WRITING FROM SOURCES: LIBRARY RESEARCH 240

c h a p t e r 1 8 G uidelines f o r E xploring a Research Topic

S u gg e s te d E s s a y A s s i g n m e n t 241Selecting Potential Research Topics 241 Writing a n Informal Research Proposal 242 Fo rmul ati ng a Research Que st ion 2 43

c h a p t e r 1 9 G uidelin es f o r C on du ctin g L ibrary

R esearch 2 44B ec omi ng Fa mi li ar w i t h t he Li brar y 244Finding Current I nf or ma ti on 24 4

Determining Subject H e ad i n gs 2 4 4Finding Books 245

Gui del i nes for F i n d i n g Book Titles 245

Guidelines for F i n d i n g a n d S e l ect i ng Books 248

F i nd in g Lists o f M a g a z i n e or J o u r n a l Articles 2 48 F i nd ing Lists o f N e w s p a p e r Articles 251

Fi nd ing Articles in the Library 2 53

Gui del i nes for T a k i n g Notes 255

W ri t in g a Pr ogr es s Re por t 255

Cr eati ng a P r e l i m i n a r y Out line 2 5 7

Gui del i nes for Creat i ng a Pr e l imi na r y Ou t li n e 2 57

S t r u c t u r i n g the En ti re E s s a y 2 5 8De ve loping the I n t r o d u c t i o n 258

Gui del i nes for Wr it i ng a n I nt r oduc t ion 259

Devel oping t he Body 2 60

Gui del i nes for Wr i t i ng Body P a r a g r a p h s 2 6 0

De ve loping t he Conc lus ion 262

Gui del i nes for Wr i t i ng a Concl usi on 263

Dr aft ing 26 3Receiving Feedback: Present ing a n Oral Report 263

Gui del i nes for P r e s e n t i n g Re s e a r ch Orally 263

Giving a n d Re ceivi ng Feedback: S h a r i n g a Wri tten Draft 2 64Re vi si ng 2 6 4

Co mp l et in g 2 6 4S t u d e n t R es e a r c h Essay: “The Vietnam War and Public Opinion, ”

Indicating the Author and Title: Introductory Phrases 2 75

Introducing an A uthor's Ideas: Verbs 275

Introducing an Author's Ideas: Verb Tense 2 76

Introducing an Author's Ideas- Author’s Name 2 76Guidelines for S u m m a r i z i n g a Readi ng Selection 2 7 6

c h a p t e r 2 2 P a ra p h ra sin g 279

The P u r p o s e s o f P a r a p h r a s i n g 279The Process o f P a r a p h r a s i n g 28 0

2 5 7

273

xll Contents

Determining Meaning and Tone 2 8 0

Incorporating Paraphrases into Your Own Sentences 281 Guidelines for Incorporating P a r a ph r a se s 281

Changing Direct Speech to Indirect Speech 2 8 3Guidelines for Changi ng Direct to Indirect Speech 2 8 3 Guidelines for P a ra p h r a si n g 284

Using Brackets to Add Words 293

Co m b i n i n g P a r a p h r a s e a n d Q u o t a t i o n 294Av oi d in g P l a gi a r is m 295

Gu id el in e s for Av oi di ng Pl agi ar i sm 295

c h a p t e r 2 A1C itin g a n d D o cu m en tin g S ou rces 29 8

D o c u m e n t i n g w i t h i n Your Text 2 98

Deciding What to Document 298

Formatsfor In-Text Documentation: APA and MLA 299

P r e p a r i n g t he B ib l io g r a p h y 301

Gener al Gui d e l in e s for Creat i ng a Bi bl i ography: APA a n d MLA 3 0 2

Bibliographic Forms fo r Books 303General Guidelines for Books: APA For mat 303 General Guidelines for Books: MLA F o r ma t 303

Bibliographic Forms fo r Articles in Periodicals 306General Guidelines for Articles in Periodicals: APA Format 3 0 6General Guidelines for Articles in Periodicals: MLA Fo r ma t 3 0 6

Bibliographic Forms fo r Personal Communication: APA and MLA 3 0 9

Over generalization 316Reliance o n Incorrect Patterns 3 17Appeal to Authority 3 17

Risk Ta ki ng 318

c h a p t e r 2 7 A H andbook J o r C orrecting Errors

S e n t e n c e B o u n d a r i e s 321

The Basic Sentence 321

The Independent Clause 322

The Dependent Clause 323The R el a t i o n s h i p b e t w e en Cl aus es 3 2 4

Coordinators 324

Transitions 325

Subordinators 327Adver bial Clauses 327

Typical Errors with Adverbial Clauses 330

So T h a t and Such T h a t Clauses o f Result 3 3 0

Adjective Clauses 331

Punctuating Adjective Clauses to Reflect Meaning 332

Typical Errors with Adjective Clauses 333

N o u n Clauses 334S e n t e n c e F r a g m e n t s 335

Turning Sentence Fragments into Sentences 3 36

P u n c t u a t i o n b e t w e en Cl auses 3 3 7Subject-Verb A g r e e m e n t 3 40

Deciding Whether a Verb Should Be Singular or Plural

M o d al Auxi lia rie s 353

Social Functions o f Modals 353

Logical Functions o f Modals 3 5 4

Other Mean ings o f Modals 3 5 6

Articles 3 57

No Article 3 59 A or An 3 60 The 361

P u n c t u a t i o n 362

ThePeriod 363

The Question Mark 363

The Exclamation Point 363

321

340

345

GLOSSARY 3 7 5

373

INDEX 3 8 9

Guidelines: .4 Cross-Cultural R eading/W riting Text, second edition, features a g e n e r o u s selection of t h ou g h t- p r o v o k i n g classic a n d c o n te mp o ra r y readings Uni que to this text is the integr at ion of readings wi t h e ss ay as si gnment s, e m p h a s i z i n g the conne ct ion b et we en r eading a n d writing With its multicultural a n d i nternational scope, the text will have considerable a ppeal to a diverse group o f readers

Guidelines a d d re s se s the a c ade mi c needs of s t u d e n t s w h o can benefit from carefully structured s u p p o r t as t he y u nd e rt a ke i ncreasi ngly complex tasks Building on l a n g u a g e resources a n d knowl edge t h at s t u d e n t s already have, guidelines wi thin the text s h o w s t u d e n t s wa y s to integrate ne w procedures a n d ideas with previously lear ned skills a nd information In the process, s t ud e nt s are chall enged to t h in k critically a b o u t w h a t t hey read a n d to develop analytical a n d a rg u m e n t a t i v e skills t h at e nable t h e m to pr esent a n d s u p p o r t ideas

The Level

Guidelines is de signe d for c ompos it ion courses wi th a cross-cultural e mp ha s is a n d for advanced ESL pr ograms

The S tru ctu re

Guidelines h a s four maj or sections: Part One: Reading, Part Two: Readings a n d Writing As si gnme nt s, Part Three: Academic Re adi ng a n d Wri ting Skills, a n d Part Four: The Editing Process

Part One: Reading

Part One cons is ts o f t wo c ha pt er s t h a t are des igne d to help s tu d en t s develop effective strategies for r e a di n g a n d respondi ng to w h a t t hey read

□ Chapter 1 describes a n d d e m o n s t r a t e s general str ategi es for reading a n d res po nd in g to wr itt en texts: g en er at in g b a c k g r o u n d knowledge, reading, rereading, defining, a n n o t a t i n g , and m a k i n g doubl e- ent ry notes

□ Chapter 2 provides gui del ine s for keeping a readi ng /wri ti ng j ournal to record reactions to the r ea di ng s a n d to discuss writing progress a n d ideas Sample s t u de n t j o u rn a l entries are included

XV

P a rt Two: Readings and Writing Assignments

Part Two consist s of six u n i t s o f r eadi ngs a n d writing a s s i g n m e n t s directly c onne ct ed to the readings Compos ing s trategies— for exploring, focusing, draft­ing, s tr uctur ing, giving a n d receiving feedback, revising, a n d compl eti ng— are d e m o n s t r a t e d w it h s t u d e n t wr ite rs' work; a s a mp le s tu d e n t e s s a y completes each unit T h r ou gh ou t, the text e m p h a s i z e s flexibility; s t u d e n t s are reminded a g a i n a n d a g a i n t hat different r ea di ng a n d wr i ti ng a pp ro ac he s w o r k for different writers

□ The first unit, W ritingjrom Experience, includes five r ea di ng selections in Chapter 3 t h a t d r a w u p o n the w r i t e r s ’ o w n experiences,- di scus sion activities in Chapter 4 t h a t relate to the readings; a n d guidelines in Chapter 5 for fulfilling a n a s s i g n m e n t to write from experience

□ The s econd unit, W ritingjrom Sources: Field Research, includes five reading selections in Chapter 6 t h a t d r a w from the writers' field research; discussion activities in Chapter 7 t h a t relate to the readings; a nd gui del ines in Chapter 8 for fulfilling a n a s s i g n m e n t to write from field research

□ The third unit, W ritingjrom Sources- E ssays, includes five r e a di n g selections in Chapt er 9 in w h ic h the writers a rgue their viewpoints; di sc us si on activities in Chapter 10 t hat relate to the readings; a n d guidelines in Chapter 11 for fulfilling a n a s s i g n m e n t to write a b o ut essays

□ The f ourt h unit, W ritingjrom Sources- Fiction, includes five s h o r t stories in Chapter 12; di scus sion activities in Chapter 13 t hat relate to the stories; and g ui del ines in Chapter 14 for fulfilling a n a s s i g n m e n t to write a b o u t fiction.□ The fifth uni t, W ritingjrom Sources: Poetry, includes five p o e ms in Chapter

15; d i sc us si on activities in Chapter 16 t h a t relate to the poems; a n d g u i d e ­lines in C h ap t er 17 for fulfilling a n a s s i g n m e n t to c ompi le a poetry a n t h o l o g y

□ The s ixth uni t, W ritingjrom Sources: Library Research, includes three c h a p ­ters Chapter 18 provides g ui del ine s for exploring a research topic; Chapter 19 provides gui del ines for c o n du c ti n g library research; a n d Chapter 20 pro­vides gui del ines for c o m p o s i n g a research essay

Part Three: Academic Writing Conventions

Part Three consist s o f four c ha p te rs t h a t d e m o ns t ra t e skills t h a t can help s t u d e n t s write a b o u t w h a t t hey read

□ Chapter 21, Sum m arizing, provides general gui del ines for s u m m a r i z i n g both nonfiction a n d fiction works

□ Chapter 2 2 , Paraphrasing, e xpl ai ns the p ur po se a n d process o f p a r a p h r a s i n g a n o t h e r w r i t e r ’s words

□ Chapter 23, Quoting, offers s u g g es t i on s for selecting a n d inco rp or at in g q u o ­t at ions from the reading

□ Chapter 24, Citing and D ocum enting Sources, focuses on v a r i o u s w a y s to cite a n d d o c u m e n t sources

Part Four: The Editing Process

Part Four consists of three c ha pt ers t h a t explain the e diting process.□ Chapter 25, Proofreading and Editing, provides guidelines for p roofr eadi ng

a n d editing a n essay.□ Chapter 26, Causes o f Error, provides a uni que a p p r oa c h to editing, a s k i n g

s t u d e n t s to e x a mi ne a n d categorize the logic o f their errors.□ Chapter 27, A H andbookJor Correcting Errors, provides guidelines for u n ­

d e r s t a n d i n g the str uctur e o f s en te n ce s a n d for correcting errors Wh erever possible, e xampl es are d r a w n from the readings in G uidelines, to s h o w h o w l a n g u a g e wor ks in context

□ Chapter 28, M anuscript Form J o r Final Copy, e xplai ns wa ys to pr epar e a h a n dwr it t en , typewritten, or co mp ut er -g en er at ed paper

The Readings

The r eadi ngs offer a wide r ange of choices in terms o f subject, genre, culture, gender, point of view, length, style, a n d theme, yet lend themselves well to c omp a ri so n, both wi thin a n d across genres Together, the readings deal wi th t h o u g ht - pr ov o ki n g a n d culturally diverse topics s uc h as social a n d c ult ur al a d ju s t m e n t , school a n d college life, friendship a n d cross-cultural c o m m u n i c a ­tion, tea ching a n d l earning, opp res si on a n d freedom, a n d moral d i le m m a s a n d life choices The a u t ho r s r epresent several fields, i ncl uding literature, a n t h r o ­pology, c o mmuni ca ti ons , education, biology, psychology, a nd business

The readi ngs h ave the addit ional a d v a n t a g e of providing a social history, r a n g i n g as t hey do from wo rk s published in the 19th c e n tu r y to works pu bl is he d in 1993 The readi ngs cover events s uc h a s t he dislocation of Native Ameri cans, the Civil War, discrimination a g a i n s t African Americans, the exclusion o f Chi­nese i mmi gr ant s, the struggle of Jewish i mmigr ants , the c h a n gi n g roles o f w o m e n a n d men, World Wa r II, a n d the plight of refugees a n d illegal aliens

Before ea ch readi ng selection, b a c k g r o u n d i nfo rma ti on a b o u t the a u t h o r a n d text includes e x pl an a ti o ns o f culture-specific items, technical terms, a n d h i s t o r ­ical references Expl anat ory material wi t h i n the rea di ng selections is k ep t to a m i n i m u m so t h a t s tu de n ts c a n interact freely wi th the text

The Content and Flexibility of the Second Edition _

In the process of wri ti ng the first edition o f Guidelines, I c aptur ed a m o m e n t o f time in two decades o f t eaching Because I a m a l w a ys e xperi ment ing in the classroom, exploring wi th s t u d e n t s n e w r eadi ngs a n d a pp ro ac he s to wri ti ng,

Guidelines h a s h a d to c h an ge w i th me In wr iti ng this second edition, g u i d e d by r evi ewe rs ’ requests, I tried to sa ve the best o f the p a st a n d to enrich it w i t h the best o f the present

W h a t r e ma i ns is a c ompr eh en si ve t ext book t h a t includes clear, purposeful, a n d s equen ti al guidelines for reading, writing, a n d editing As in the first edition,

xviil Preface

rea di ng a n d wr i ti n g are treated as i nterconnected processes The readings are t ho se t h a t h a v e consist ent ly appe al ed to a n d challenged s t u d e n t s a n d to which t h ey h a v e r e sp on d ed in m ea n in gf ul ways The wr iti ng a s s i g n m e n t s are designed so t h a t s t u d e n t s ca n build o n w h a t they h av e learned Ex amp le s of s tudent writers' w o r k m a k e it possible to view wr iti ng processes from inception to compl eti on o f a n a s s ig n me nt Chapters on s u mm ar iz in g, p a ra p hr a si n g, quoting, a n d citing a n d d o c u m e n t i n g sources promote s t u d e n t s ’ acquisition of academic w a y s o f a n a l y z i n g texts

The se cond edition of Guidelines provides g rea ter flexibility This edition has m a n y more r ea di ngs a n d wr iti ng a s s i g n m e n t s t h a n the first edition, allowing gr ea ter choice Depe ndi ng on the level a n d goals o f a course, i nstructors can a s si g n five or fewer readi ng selections wi thi n each unit Re adi ng a s si g n m e n t s ca n also be m a d e across units, a s m a n y c o m m o n t h eme s reverberate t h r ou gh ou t the readings The n u m b e r o f selections also all ows i nstructors variety from course to course; w h a t is a ss ig ne d in one class m a y not be a s s i g n e d in the next semester

The maj or revisions in the s econd edition include the following:

Readings

Eighteen n e w r eadi ng selections, including five short stories a n d five poems More r ea di ngs t h a t reflect the multiple cult ur es that c omp os e the United States, i ncl uding s elections by a n d a b o ut Native Ameri cans a n d Americans o f African, Asian, Hispanic, a n d Jewish descent

New sets o f rea di ngs t h a t reflect o pp os in g viewpoint s Readi ngs by British writers

D iscussion A ctivities

Se pa ra te c h a p te rs o f di scus sion activities to a c c o m p a n y each u n i t of reading selections, w h i c h provide gui del ines for r e s po nd in g to, s u m m a r i z i n g , a n a ­lyzing, interpreting, a n d m a k i n g connect ions a m o n g the r eadi ngs

W riting A ssignm ents

More wr iti ng a s s i g n m e n t s wi thi n each uni t Ne w a s s i g n m e n t s to c onduc t field research New a s s i g n m e n t s to write a b o u t fiction A n e w a s s i g n m e n t to compile a poetry an th ol og y

Acknow ledgm ents

As m u s t be obvi ous to a n y o n e w h o reads this book, I rely on t he s t u d e n t s to w h o m I teach w r iti ng to s h o w me h o w to teach a n d h o w to write I t h a n k all of t h em for their wi llingness to test o u t mat eri als for Guidelines a n d for t he useful feedback they provided

I have been f ort unate to ha ve colleagues wi th w h o m 1 can d isc us s issues related to t eaching a n d learning, all of w h o m u n d e r s t a n d ho w i mp or ta n t the process of t al king is to the process o f writing A mo n g t hose w h o h av e mo st influenced my w o r k are Gay Brookes, An n Raimes, Catherine S ad ow, Roberta Steinberg, Vivian Zamel, a n d the t ea ching a s s i s ta n ts at Tufts University wi th w h o m I work

M a n y instructors ha v e been g e n e r o u s in their s up po rt of this book In p a r ­ticular, 1 woul d like to t h a n k Catherine Sadow, w i t h o u t w h o m I could not ha ve developed the un it on library research, a n d Helen Fragiadakis, w h o h a s s h ar ed the material she wrot e to s u p p l e m e n t the first edition of Guidelines, s ome o f wh ic h a pp ear s in this s econd edition

1 will a lways be grateful to the following reviewers of the s econd edition of

Guidelines for their insightful c o m m e n t s a n d a tt en ti on to detail: Melissa AJlen, George Mason University; Helen Fragiadakis, Contra Costa College; Margaret Grant, San Francisco State University; Victoria Holder, San Francisco State University; Franklin E Horowitz, Teachers College, Columbia University; Wen dy Levison, Sa n Fr an ci sc o St ate University; Jill A M a k eg o n , K ap i' ol an i C o m m u ­ni ty College; Beatrice Mikulecky, Be nt le y College; a n d Holly Za itc hik, Bos ton University

St M a rt i n ’s editor Naomi Si lverman told me t h at it wo u ld be e a s y to write a s econd edition She w a s w r o n g a b o u t that But she w a s a lw a ys support i ve of my met icul ous a p pr o a c h to writing, a n d I a lw ay s appreciated her patience, good h u m o r , a n d friendship Associate editor Carl W h i t h a u s gui ded me wisely t h r o u g h the last st ag es o f c ompos ing, a n d I t h a n k him I a m i ndebt ed to project m a n a g e r Julie Sullivan for the role she played in the final design a n d editing of t he book Finally, I w o ul d like to t h a n k Emily Berleth, m a n a g e r o f p ubl is hi ng services, a n d S a n d y Schechter, p er mi ss io ns associate, for their dedication

R u t h Spack

P a r t O n e c o n s i s t s o f t w o c h a p t e r s t h a t a r e d e s i g n e d to h e l p y o u i n t e r a c t w i t h w h a t y o u r e a d

C h a p t e r 1 d e s c r i b e s a n d d e m o n s t r a t e s s o m e g e n e r a l s t r a t e g i e s for r e a d i n g a n d r e s p o n d i n g to w r i t t e n t e x t s : g e n e r a t i n g b a c k g r o u n d k n o w l e d g e , r e a d i n g , r e r e a d i n g , d e f i n i n g , a n n o t a t i n g , a n d m a k i n g d o u b l e - e n t r y n o t e s

C h a p t e r 2 p r o v i d e s g u i d e l i n e s f o r k e e p i n g a r e a d i n g / w r i t i n g j o u r n a l to r e c o r d y o u r r e a c t i o n s t o w h a t y o u r e a d a n d to d i s c u s s y o u r w r i t i n g p r o g r e s s a n d i d e a s S a m p l e s t u d e n t j o u r n a l e n t r i e s a r e i n c l u d e d

r r e r e r e i 1

Reading StrategiesCHAPTER

The gui del ines in Chapter 1 are designed to help you develop effective a p ­pr oaches to reading You m a y not need to a pply every suggest ed strategy to every selection y o u read or to follow the order in w h i ch they are presented Your inst ruct or m a y a s si gn certain t as ks for s o me or all of the reading, or y ou may discover o t he r s trategies t h a t wo r k best for you

Generating Background Knowledge

You m a y b e able to achieve a deeper u n d e r s t a n d i n g of w h a t you r ead if y ou have s o me b a c k g r o u n d knowl edge before y o u begin rea di ng a selection The following s u gge st i ons m a y provide clues to the context of a r eadi ng a n d ma y help y o u plan readi ng strategies

Note-. Not every s u gge st i on will apply to every r eading selection

GUIDELINES

For Generating Background Knowledge

1 Read the Write btfore You Read activity that precedes a reading selection.2 Read the title of the reading selection

3 Read the background information that precedes each reading.4 Look at the length of the reading

5 Look at headings and subheadings, if they are provided.6 Look for words in boldface (darker print) or in italics.

7 Look at charts a n d illustrations, if they are provided

A First Reading _

The first time y o u read, y o u do not need to u n d e r s t a n d every wor d or detail Try to g r as p the essence o f the selection

2

For a First Reading

1 Preview the reading to help predict its content and purpose, adapting the preceding guidelines for generating background knowledge

2 Read through the selection once, without stopping to use a dictionary

W h e n most people think of the word “education,” they think of a pupil as a sort of anim ate sausage casing Into this empty casing, the teachers are supposed to stuff “ education.”

But genuine education, as Socrates knew more th an two thousand

years ago, is not inserting the stuffings of information into a person, but ra th e r eliciting knowledge from him; it is the drawing out of what is in the

mind.

“The most im portant part of education,” once wrote William E r­nest Hocking, the distinguished H arvard philosopher, “ is this instruction of a m an in w hat he has inside of him ”

And, as Edith Hamilton has reminded us, Socrates never said, “ I know, learn from m e.” He said, rather, “ Look into your own selves and find the spark of tru th th a t God has put into every heart, and th a t only you can kindle to a flame.”

In the dialogue called the “Meno,” Socrates takes an ignorant slave boy, without a day of schooling, and proves to the amazed observers th at the boy really “ knows” geometry—because the principles and axioms of geometry are already in his mind, waiting to be called out.

So many of the discussions and controversies about the content of education are futile and inconclusive because they are concerned with w hat should “ go into” the student rath er than with what should be taken out, and how this can best be done.

4 Reading

The college stu d en t who once said to me, after a lecture, “ I spend so much time studying th a t I don’t have a chance to learn anything,” was succinctly expressing his dissatisfaction with the sausage-casing view of education.

He was being so stuffed with miscellaneous facts, with such an indigestible mass of m aterial, th a t he had no time (and was given no encouragement) to draw on his own resources, to use his own mind for analyzing and synthesizing and evaluating this material.

Education, to have any meaning beyond the purpose of creating well-informed dunces, m ust elicit from the pupil w hat is latent in every hum an being—the rules of reason, the inner knowledge of what is proper for men to be and do, the ability to sift evidence and come to conclusions th at can generally be assented to by all open minds and warm hearts.

Pupils are more like oysters than sausages The job of teaching is not to stuff them and th en seal them up, but to help them open and reveal the riches within There are pearls in each of us, if only we knew how to

Subsequent Readings _

You m a y achieve a fuller u n d e r s t a n d i n g o f a r ea di ng simply by r ea d in g it m o r e

t h a n once But y o u m a y be able to g en e ra te m e a n i n g by ma ki n g n o t at i o n s as y o u

reread

Defining Unfamiliar Words

As y o u reread, u n de rl i n e or in s o m e w a y m a k e note of u nf ami li ar wo r d s that s eem to hol d a k e y to achi evi ng a general u n d e r s t a n d i n g of the p a ss a g e s in whi ch t hey occur

One w a y to a p p r o a c h u nf a m i l i a r v o c ab ul ar y is to g ue ss a t the general m e a n i n g s of wor ds , u s i n g c on te xt ual clues Context will not a lw a y s give you precise m ea n in g, b u t it m a y give y ou e n o u g h clues to u n d er st a nd a passage

GUIDELINES

For Using Clues to Guess a t Meaning

1 Look at w h a t precedes an d follows the word or expression (for example, grammatical forms within the s ame sentence, other key words or expressions, important ideas, significant scenes, and so on)

2 Try to determine whet her the word h as a positive or negative connotation.3 Consider how the word fits into the whole reading

Guessing Meaning from Context/

/W o r k i n g in pairs or a small group, read " W h a t Tr ue Ed ucati on Shoul d Do” by Sydney I Ha r ri s (p 3)

1 Identify one or two wo rd s or e xp re s si on s w h o s e di ctionary definition(s) y ou m a y n o t k n o w precisely

2 A d a p t i n g the guidelines for u s i n g c onte xt clues to g ue s s at m e an i n g (p 4), di s c u s s each wor d to infer its m e a n i n g in t he sentence in whi ch it occurs.3 Co ns ul t a dictionary or the Glossary (pp 3 7 5 - 3 8 5 ) to compa re the m ea ni ng s y o u

h a v e arrived at with the di ctionary definitions / ■

Annotating _j

A n n o ta tin g involves recording y o u r reacti ons w h a t you read You c an m a k e notes in the m ar gi ns of the text, w i t hi n the tearc itself, or on a separate s he et o f paper This process m a y help you interact \ ^ n the r eadi ng an d also clarify y o u r u n d e rs t an di ng

Making Double-Entry Notes

A n ot h er w a y to m a ke n o t at io ns is to write brief double-entry notes to reveal a doubl e perspective o n the reading: (1) s u m m a r y a n d (2) reaction In ot her wor ds , s epar ate w h a t y o u perceive the a u t h o r is sa yi ng (summary) from w h a t yo u t h in k (reaction)

6 Reading

GUIDELINES

For Making Double-Entry Notes

To write double-entiy notes, you can write (1) in the left and right margins of the reading selection, (2) on the left and right sides of a sheet of paper folded in two lengthwise, or (3) on two separate sheets of paper

1 On t he left side or sheet, write notes that summarize the essay you are reading, to help you understand and focus on w ha t the author is saying This can be done paragraph by paragraph or in larger chunks

2 On t he right side or sheet, write notes that record your reactions to wha t you have j ust read This can be done paragraph by paragraph or in larger chunks For example, you can express pleasure, surprise, disagreement, or anger at w ha t y o u ’ve just read; recall personal associations; make connections with somet hing else y o u ’ve read or seen; or ask questions

Making Double-Entry Notes

Ada pt in g the gui del in es above, m ak e doubl e- entr y not es on " W h a t True Education Shoul d Do” by Sy d ne y J Harris (p 3) ■

A Student Reader at Work

Reprint ed below is a n e xa mp l e of h o w on e s t u d e n t a n n o t a t e d ‘‘Wh at True E du ca ti on Shou ld Do ” Usi ng t h e doubl e-entry format, she s u m m a r i z e d sets of p a r a g r a p h s in the left m ar g in a n d recorded her reactions in the right margin

Re ad this a n n o t a t e d versi on o f the essay, pa ying a tt ent ion to the mar gi nal c o m m e n t s Compare h e r i mpr ess ion o f the e s s a y with y o u r own, a n d discuss y o u r r e s p o ns e s w i t h the class

Student Double-Entry Notes

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W hat True Education Should Do

S y d n e y ) H a r r i sW h e n most people think of the word “ education,” they think of a pupil as a sort of anim ate sausage casing Into this empty casing, the teachers are supposed to stuff “ education.”

But genuine education, as Socrates knew more than two thousand years ago, is not inserting the stuffings of information

into a person, but rath e r eliciting knowledge from him; it is the

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“The most im portant part of education,” once wrote William Ernest Hocking, the distinguished Harvard philoso­pher, “ is this instruction of a m an in w hat he has inside of him.”

And, as Edith Hamilton has reminded us, Socrates never said, “ I know, learn from m e.” He said, rather, “Look into your own selves and find the spark of tru th th at God has put into every heart, and th at only you can kindle to a flame.”

In the dialogue called the “Meno,” Socrates takes an ignorant slave boy, without a day of schooling, and proves to the amazed observers th at the boy really “knows” geometry—be­cause the principles and axioms of geometry are already in his mind, waiting to be called out.

So many of the discussions and controversies about the content of education are futile and inconclusive because they are concerned with what should “ go into” the student rather than with what should be taken out, and how this can best be done.

The college student who once said to me, after a lecture, “ I spend so much time studying th at I don’t have a chance to learn anything,” was succinctly expressing his dissatisfaction with the sausage-casing view of education.

He was being so stuffed with miscellaneous facts, with such an indigestible mass of material, th a t he had no time (and was given no encouragement) to draw on his own resources, to use his own mind for analyzing and synthesizing and evaluat­ing this material.

Education, to have any meaning beyond the purpose of creating well-informed dunces, m ust elicit from the pupil what is latent in every hum an being—the rules of reason, the inner knowledge of what is proper for men to be and do, the ability to sift evidence and come to conclusions th a t can generally be assented to by all open minds and warm hearts.

Pupils are more like oysters th an sausages The job of teaching is not to stuff them and then seal them up, but to help them open and reveal the riches within There are pearls in each of us, if only we knew how to cultivate them with ardor and persistence.

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Keeping a Reading/Writing Journal

One w a y to explore a n d record y o u r t h o u g h t s a bo u t w h a t y ou read a n d write is to m a k e regul ar entries in a j ournal

De pe ndi ng on w h a t y o u r i nst ruct or a ssi gns , y o ur j ou rn a l m a y include all or s o me of the following:

□ Responses to the Write before You Read activities. You m a y follow s ome or all of the Write before You Read s u gge st i ons t h a t precede m o s t of the reading selections in this book

□ D iscussions o f yo u r w riting plans and progress. You m a y write entries in whi ch y o u describe y o u r e s s a y topic a n d the progress y o u are m a k i n g on the essay

□ Reactions to w hatyou read. You m a y explore w h a t y o u feel a n d t h in k as you read, or j u s t a f t e r y o u read, a particular selection The gui del ine s t h a t follow m a y help y o u wi t h t hose entries

Making a Journal Entry on a Reading Selection

There are no set rules for w h a t a j ourn al en tr y sh ou ld look like H o w y o u respond to w h a t y o u read d e p e n d s on h o w the r eadi ng selection is wr itt en, its content, its length, its m e a n i n g or purpose Your res po ns e also d e p e n d s o n w h o y ou are: y o u r backgrou nd , culture, beliefs, prejudices, a n d experiences And, of course, y o u r response is a lso related to h o w carefully y ou h ave read a n d h o w fully you u n d e r s t a n d the reading You m a y ha v e a lot to say, or y o u m a y h a v e very little to say

Keeping a Reading/Writing Journal 9

GUIDELINES

For Making a Journal Entry on a Reading Selection

The possibilities for responses to a reading selection are numerous You may write whatever you want or choose a mo ng the following suggestions

1 Describe what you think or feel as you read.2 Explore wha t you like or w ha t interests you most.3 Explore w ha t you do n' t like or find confusing.4 Explore wha t you agree or disagree with.5 Relate your own experiences or background knowledge to the reading.6 Raise questions if you don' t underst and all or part of the reading

To identify exactly w ha t you are referring to, quote relevant passages from the reading— either a few words or one or more sentences (see Chapter 23)

Student Readers at Work

The following j o u rn a l entries s h o w t wo s t u d e n t s ’ initial, b ut different, reactions to Sy dn ey ] Harris's “ W h a t True Ed ucati on Should Do’’ (p 3) Read one or both of the entries, a n d c omp a re w h a t the s tu d e n t s have wr it te n wi t h y ou r o w n reactions Discuss the possible r ea s o n s for the different responses

Note: The s t u d e n t s ' j ou rn al entries are reprinted as t he y were written, with errors a n d cros sed-out words, so t ha t y o u can see t hat a j o ur na l e ntry does not need to be a polished work

Student Journal Entry on “ W h a t True Education Should D o ”

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S tud en t Journal Entry on “ W h a t True Education Should D o ”

10 Reading

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Reading, Annotating, and Writing a Journal Entry

1 Pr eview the e s s ay entitled “ The C o m m e n c e m e n t Speech You'll Never H e a r ” by Jacob Ne u s n e r (p 11) by r ea d in g the mat eri al t h a t precedes the essay

2 Re ad t h r o u g h the e ssay, w i t h o u t u s i n g a dictionary.3 Re r ea d the essay, m a k i n g n o t a t i o n s (see pp 4- 6 )

A Write a j ourn al e ntry in w h i c h y o u explore y o u r reactions to the r ea di ng (see pp

8 - 9 ) 5 W o r k i n g in pairs, in a s mal l group, or wi t h the wh ol e class, s h a r e y o u r j ournal

r es pon se s

Keeping a Reading/Writing Journal 11

Write before You Read

The following r ea di ng selection is entitled " Th e C o m m e n c e m e n t Speech* You'll Never Hear." Before reading, t h in k or write for s ever al m i n u t e s a b o u t the fol­l owi ng topic:

When you attend your own college graduation, w h a t do you expect the commencement speaker to say?

Sh ar e w h a t y o u t h i n k wi th c las smat es

The Commencement Speech

You’ll Never Hear

J a c o b N e u s n e r

About the Author Jacob Ne u s n e r w a s a professor in t he Religious Studies D e p a r t ­m e nt at Brown University in Providence, Rhode Island, w h e n he wrot e the following^ oessay He is the a u t h o r of n u m e r o u s scholarly books in his field.

The Context of the Reading As the title suggests, t he c o m m e n c e m e n t speech w a s not delivered at the college g r a d u a t i o n, but it w a s p ubl i s hed a s a n e s s a y in the Brown University c a m p u s news paper , t ht Daily Herald, in 1981.

w e the faculty take no pride in our educational achievements with you We have prepared you for a world th a t does not exist, indeed, that cannot exist You have spent four years supposing th a t failure leaves no record You have learned at Brown th at when your work goes poorly, the painless solution is to drop out But starting now, in the world to which you go, failure m arks you Confronting difficulty by qu ittin g leaves you changed Outside Brown, quitters are no heroes.

W ith us you could argue about why your errors were not errors, why mediocre work really was excellent, why you could take pride in routine and slipshod presentation Most of you, after all, can look back on honor grades for most of what you have done So, here grades can have m eant little in distinguishing the excellent from the ordinary B ut tomorrow, in the world to which you go, you had best not defend errors b u t learn from them You will be ill-advised to demand praise for what does n ot deserve it, and abuse those who do not give it.

For years we created an altogether forgiving world, in which w hat­ever slight effort you gave was all th a t was demanded W hen you did not keep appointments, we made new ones When your work came in beyond the deadline, we pretended not to care.

'commencement speech: talk given to graduates by an invited speaker

Worse still, when you were boring, we acted as if you were saying something im portant When you were garrulous and talked to hear your­selves talk, we listened as if it m attered When you tossed on our desks writing upon which you had not labored, we read it and even responded, as though you earned a response When you were dull, we pretended you were smart When you were predictable, unimaginative and routine, we listened as if to new and wonderful things When you demanded free lunch, we served it And all this why?

Despite your fantasies, it was not even th at we wanted to be liked by you It was th a t we did not want to be bothered, and the easy way out was pretense: smiles and easy Bs.

It is conventional to quote in addresses such as these Let me quote someone you’ve never heard of: Prof C arter A Daniel, Rutgers University

0Chronicle o f H igher Education, May 7, 1979):

College has spoiled you by reading papers that don’t deserve to be read, listening to comments that don’t deserve a hearing, paying attention even to the lazy, ill-informed and rude We had to do it, for the sake of education But nobody will ever do it again College has deprived you of adequate preparation for the last 50 years It has failed you by being easy, free, forgiving, attentive, comfortable, interesting, unchallenging fun Good luck tomorrow.

T hat is why, on this commencement day, we have nothing in which to take much pride.

Oh, yes, there is one more thing Try not to act toward your cowork­ers and bosses as you have acted toward us I mean, when they give you what you w ant but have not earned, don’t abuse them, insult them, act out with them your parlous relationships with your parents This too we have tolerated It was, as I said, not to be liked Few professors actually care whether or not they are liked by peer-paralyzed adolescents, fools so shal­low as to imagine professors care not about education but about popular­ity It was, again, to be rid of you So go, unlearn the lies we taught you To

Readings and Writing

Assignments

P a r t 2 c o n s i s t s o f s i x u n i t s o f r e a d i n g s a n d w r i t i n g a s s i g n m e n t s

E a c h o f t h e f i r st f ive u n i t s b e g i n s w i t h a c h a p t e r o f r e a d i n g s e l e c t i o n s t h a t m a y a c t a s s t i m u l i o r s o u r c e s for w r i t i n g T h e n e x t c h a p t e r in e a c h o f t h e s e u n i t s p r o v i d e s d i s c u s s i o n a c t i v i t i e s c o n n e c t e d to t h e r e a d i n g s T h e f i n a l c h a p t e r p r o v i d e s g u i d e l i n e s f o r f u l f i l l i n g a n e s s a y

a s s i g n m e n t C o m p o s i n g s t r a t e g i e s , w i t h e x a m p l e s o f s t u d e n t w r i t e r s a t w o r k , a r e d e m o n s t r a t e d , a n d a s a m p l e s t u d e n t e s s a y c o m p l e t e s e a c h u n i t

T h e s i x t h u n i t i n c l u d e s t h r e e c h a p t e r s t h a t d e m o n s t r a t e a w a y t o c o n d u c t l i b r a r y r e s e a r c h T h i s u n i t f o l l o w s a s t u d e n t w r i t e r a t w o r k to s h o w t h e p r o c e s s s h e w e n t t h r o u g h to p r o d u c e a r e s e a r c h e s s a y H e r e s s a y c o m p l e t e s t h e u n i t

WRI TING FROM EXPERIENCE

Th is u n i t , W r i t i n g f r o m Exper ience, c o n s i s t s o f t hree c h a p t e r s t h a t c a n help y o u fulfill a n a s s i g n m e n t to wr i te a n e s s a y d r a w n f ro m e xp eri ence By r e a d i n g a n d e x a m i n i n g y o u r r e a c t i o n s to t h e r e a d i n g s in C h a p t e r 3, g u i d e d by t h e d i s c u s s i o n a c ti v it ie s in C h a p t e r 4, y o u m a y develop a s e n s e of h o w a w r i t e r c a n c a p t u r e a n d h o l d a r e a d e r ’s i n te res t In Cha pt er 5, y o u c a n o bs e rv e a s t u d e n t wr i te r a t w o r k , expl or ing, f o cu si ng , d r af t in g , o r g a n i z i n g , receiving f eedback, revi sing, a n d c o m p l e t i n g a n e s s a y b a s e d o n his o w n experi ence

m r n m ZReadingsCHAPTER

Chapter 3 provides five reading selections d r a w n from the a u t h o r ' s experiences As y o u read a n d reread each selection, y ou c an a im to accomplish the following:□ Enter the world of the writer

□ Reflect on w h a t the writer t hi nk s a n d feels□ Exa mine y o u r o w n experience a n d views

The Reading Selections

The r eadi ng selections in this c h a p t e r focus on personal experiences, whi ch the writers m a y ha v e e xagger ated or fictionalized for d rama ti c effect or for ot her reasons Together, the readings cover life experiences from chil dhood t h ro u g h a d u l t ho od a n d deal wi th personal, philosophical, a n d political topics

15

16 Readings and W riting Assignments

Write before You Read

The following r e adi ng selection is entitled “ The School Days of a n Indian Girl." Before reading, t h i n k or write for several m i n u t e s a b out the following topic:

Describe your first memories of school.S h a r e y o u r memor ie s wi th classmates

The School Days of an Indian Girl

Z i t k a l a - S a ( G e r t r u d e S i m m o n s B o n n i n )

About the Author Zitkala-Sa ( 1 8 7 6 - 1 9 3 8 ) , al so k no wn by the n a me Gertrude S i m m o n s Bonnin, w a s born on a reservation in S ou t h Dakota to a Sioux mot her and wh i t e father Na me d Gertrude S i m m o n s at birth, she later gave herself the Lakota Sioux n a m e Zitkala-Sa, wh ic h m e a n s Red Bird Pressured b y missionaries, she chose to s tudy at a Qu a k e r m i s s i on a r y school in Indi ana, not k n o w i n g t hat she woul d not be allowed to ret ur n h om e for three years She l ater a tt e n d e d E a r l h a m College a n d the Boston Conser­v a t o r y o f Music One of the earliest Native Amer i can writers to record the traditions of their people in English, she published most o f her w o r k in t wo books: Old Indian Legends (1901) a n d American Indian Stories (1921) In addi t i on to being a writer, she wa s a

teacher, violinist, a n d a n activist for Native Amer i can rights.

The Context o f the Reading Before the a d v e n t o f Euro-Americans, the Sioux (also k n o w n as Dakota or Lakota) were h u n t e r s w h o r o a me d the western plains o f w h a t is now the United States Because o f the federal g o v e r n m e n t ’s growi ng d e m a n d for land in the 19th century, the Si o u x (like all ot her Native Ame r i c a n groups) were deprived o f their l a n d s t h r o u g h wars, b r oke n treaties, cheap deals, and congressional acts By the end of the century, Congress h a d passed l aws to confine Native American peoples to reservations a n d to prevent t h e m from following their c u s t o ms a n d religious beliefs In a n at t e mpt to assi mi l at e Native Amer i cans into whi t e society, g ov e r n m e n t a uthorities often t ook chil­dren from their p ar en t s a n d sent t h e m to school s in di st ant states, wh e r e they were required to sp e a k o n l y English and to ignore their o w n heritage Likewise, missionaries, w h o vi ewed Native Ame r i c a ns ' cultures a n d beliefs to be inferior and barbaric, at tempted to convert t hem to Christianity.

Zitkala-Sa m a k e s several references to t er ms u s e d by her people:□ bra\'es: warri ors (males w h o were old e n o u g h to h a v e been initiated into m a n h o o d ’!

□ iron horse-, train

□ palefaces: whi t e people

□ mother tongue: the a u t h o r ' s first l angua ge , N ak o t a Sioux

“ The School Days o f a n Indian Girl” w a s first published in 1900 in the Atlantic Monthly maga z i ne Reprinted here are the first t hree sections of t ha t selection.

The L a n d o f R e d A p p les

T h e re were eight in our party of bronzed children who were going East with the missionaries Among us were three young braves, two tall girls, and we three little ones, Judewin, Thowin, and I.

ReadingsW e h a d b e e n very impatient to sta rt on our journey to the R e d Ap pl e Country, which, we were told, lay a little beyond the great circular horizon of th e W estern prairie Under a sky of rosy apples we dream t of roaming as freely and happily as we had chased the cloud shadows on the Dakota plains We had anticipated much pleasure from a ride on the iron horse, b u t the throngs of staring palefaces disturbed and troubled us.

On the train, fair women with tottering babies on each arm , stopped th eir haste and scrutinized the children of absent mothers Large men, w ith heavy bundles in their hands, halted near by, and riveted their glassy blue eyes upon us.

I sank deep into the corner of my seat, for I resented being watched Directly in front of me, children who were no larger than I hung them­selves upon the backs of their seats, with their bold white faces toward me Sometimes they took their forefingers out of their m ouths and pointed at my moccasined feet Their mothers, instead of reproving such rude curi­osity, looked closely at me, and attracted their children’s further notice to my blanket This embarrassed me, and kept me constantly on the verge of tears.

I sat perfectly still, with my eyes downcast, daring only now and th en to shoot long glances around me Chancing to tu rn to the window at my side, I was quite breathless upon seeing one familiar object It was the telegraph pole which strode by at short paces Very near my m other’s dwelling, along the edge of a road thickly bordered with wild sunflowers, some poles like these had been planted by white men Often I had stopped, on my way down the road, to hold my ear against the pole, and, hearing its low moaning, I used to wonder what the paleface had done to h u rt it Now I sat watching for each pole th at glided by to be the last one.

In this way I had forgotten my uncomfortable surroundings, when I heard one of my comrades call out my name I saw the missionary standing very near, tossing candies and gums into our midst This amused us all, and we tried to see who could catch the most of the sweet-meats The m issionary’s generous distribution of candies was impressed upon my memory by a disastrous result which followed I had caught more than my share of candies and gums, and soon after our arrival a t the school I had a chance to disgrace myself, which, I am ashamed to say, I did.

Though we rode several days inside of the iron horse, I do not recall a single th in g about our luncheons.

It was night when we reached the school grounds The lights from the windows of the large buildings fell upon some of the icicled trees that stood beneath them We were led toward an open door, where the bright­ness of th e lights within flooded out over the heads of the excited palefaces who blocked the way My body trembled more from fear th a n from the snow I trod upon.

E ntering the house, I stood close against the wall The strong glar­ing light in the large whitewashed room dazzled my eyes The noisy h u r­rying of hard shoes upon a bare wooden floor increased the w hirring in my ears My only safety seemed to be in keeping next to the wall As I was w ondering in which direction to escape from all this confusion, two warmhands grasped~me4««alyr &»€l4»-th©_sain&:mQment I was tossed high in

TRUONG DAI HOb NGQAI NGlf ■ 0HQGHN

T R U N G TAM HOC U E U

_ - m i - I , - * '

t AO v W

18 Readings and W riting Assignmentsmidair A rosy-cheeked paleface woman caught me in her arms I was both frightened and insulted by such trifling I stared into her eyes, wishing her to let me stand on my own feet, but she jumped me up and down with increasing enthusiasm My mother had never made a plaything of her wee daughter Remembering this I began to cry aloud.

They m isunderstood the cause of my tears, and placed me at a white table loaded with food There our party were united again As I did not hush my crying, one of the older ones whispered to me, ‘ ‘Wait until you are alone in th e night.”

It was very little I could swallow besides my sobs, th at evening.“ Oh, I want my m other and my brother Dawee! I w ant to go to my au n t!” I pleaded; but the ears of the palefaces could not hear me.

From th e table we were taken along an upward incline of wooden boxes, which I learned afterward to call a stairway At the top was a quiet hall, dimly lighted Many narrow beds were in one straight line down the entire length of the wail In them lay sleeping brown faces, which peeped ju s t out of the coverings I was tucked into bed with one of the tall girls, because she talked to me in my m other tongue and seemed to soothe me.

I had arrived in the wonderful land of rosy skies, but I was not happy, as I had thought I should be My long travel and the bewildering sights had exhausted me I fell asleep, heaving deep, tired sobs My tears were left to dry themselves in streaks, because neither my au n t nor my m other was near to wipe them away.

The C u ttin g o f M y L ong H a ir

The first day in the land of apples was a bitter-cold one; for the s n o w still covered th e ground, and the trees were bare A large bell rang for breakfast, its loud metallic voice crashing through the belfry overhead and into our sensitive ears The annoying clatter of shoes on bare floors gave us no peace T he constant clash of harsh noises, with an undercurrent of many voices m urm uring an unknown tongue, made a bedlam within which I was securely tied And though my spirit tore itself in struggling for its lost freedom, all was useless.

A paleface woman, with white hair, came up after us We were placed in a line of girls who were marching into the dining room These were Indian girls, in stiff shoes and closely clinging dresses The small girls wore sleeved aprons and shingled hair As I walked noiselessly in my soft moccasins, I felt like sinking to the floor, for my blanket had been stripped from my shoulders I looked hard at the Indian girls, who seemed not to care th a t they were even more immodestly dressed th an I, in their tightly fitting clothes While we m arched in, the boys entered at an opposite door I watched for the three young braves who came in our party I spied them in the rear ranks, looking as uncomfortable as I felt.

A small bell was tapped, and each of the pupils drew a chair from under the table Supposing this act m eant they were to be seated, I pulled out mine and a t once slipped into it from one side But when I turned my head, I saw th a t I was the only one seated, and all the rest at our table rem ained standing J u s t as I began to rise, looking shyly around to see how

i

Readingschairs were to be used, a second bell was sounded All were seated at last, and I had to crawl back into my chair again I heard a m an ’s voice at one end of the hall, and I looked around to see him But all the others hung their heads over their plates As I glanced at the long chain of tables, I caught the eyes of a paleface woman upon me Immediately I dropped my eyes, wondering why I was so keenly watched by the strange woman The man ceased his m utterings, and then a third bell was tapped Every one picked up his knife and fork and began eating I began crying instead, for by this time I was afraid to venture anything more.

But this eating by formula was not the hardest trial in th at first day Late in the morning, my friend Judew in gave me a terrible warning Judew in knew a few words of English; and she had overheard the paleface woman talk about cutting our long, heavy hair Our m others had taught us th a t only unskilled warriors who were captured had their hair shingled by the enemy Among our people, short hair was worn by m ourners, and shingled hair by cowards!

We discussed our fate some moments, and when Judew in said, ‘‘We have to submit, because they are strong,” I rebelled.

“ No, I will not submit! I will struggle first!” I answered.I watched my chance, and when no one noticed I disappeared I crept up the stairs as quietly as I could in my squeaking shoes—my moc­casins had been exchanged for shoes Along the hall I passed, without knowing whither I was going T urning aside to an open door, I found a large room with three white beds in it The windows were covered with d ark green c ur t a i n s , which made the r o o m very dim Thankful th at no one was there, I directed my steps toward the corner farthest from the door On my hands and knees I crawled under the bed, and cuddled myself in the d ark corner.

From my hiding place I peered out, shuddering with fear whenever I heard footsteps near by Though in the hall loud voices were calling my name, and I knew th at even Judewin was searching for me, I did not open my m outh to answer Then the steps were quickened and the voices be­came excited The sounds came nearer and nearer Women and girls en­tered the room I held my breath, and watched them open closet doors and peep behind large trunks Some one threw up the curtains, and the room was filled with sudden light W hat caused them to stoop and look under the bed I do not know I rem em ber being dragged out, though I resisted by kicking and scratching wildly In spite of myself, I was carried downstairs and tied fast in a chair.

I cried aloud, shaking my head all the while u n til I felt the cold blades of the scissors against my neck, and heard them gnaw off one of my thick braids Then I lost my spirit Since the day I was tak en from my m other I had suffered extreme indignities People had stared at me I had been tossed about in the air like a wooden puppet And now my long hair was shingled like a coward’s! In my anguish I moaned for my m other, but no one came to comfort me Not a soul reasoned quietly wdth me, as my own m other used to do: for now I was only one of many little anim als driven by a herder.

Readings and W ritin g Assignments

The S n o w E p iso d e

A sh o rt time after our arrival we three Dakotas were playing in the snowdrifts We were all still deaf to the English language, excep tin g

Judewin, who always heard such puzzling things One morning we learnec

through h er ears th at we were forbidden to fall lengthwise in the snow, as

we had been doing, to see our own impressions However, before mam hours we had forgotten th e order, and were having great sport in the snow when a shrill voice called us Looking up, we saw an imperative hanc beckoning us into the house We shook the snow off ourselves, and startec toward th e woman as slowly as we dared.

Judew in said: “Now the paleface is angry with us She is going tc punish us for falling into the snow If she looks straight into your eyes anc talks loudly, you m ust wait until she stops Then, after a tiny pause, say ‘No.’ ” The rest of the way we practiced upon the little word “ no.”

As it happened, Thowin was summoned to judgm ent first The door sh u t behind her with a click.

Judew in and I stood silently listening at the keyhole The paleface woman talked in very severe tones Her words fell from her lips like crackling embers, and her inflection ran up like the small end of a switch I understood her voice better than the things she was saying I was certain we had made her very im patient with us Judewin heard enough of the words to realize all too late th at she had taught us the wrong reply.

“ Oh, poor Thowin!” she gasped, as she put both hands over he:ears.

J u s t then I heard Thowin’s trem ulous answer, “No.”W ith an angry exclamation, the woman gave her a hard spanking Then she stopped to say something Judewin said it was this: “Are you going to obey my word the next tim e?”

Thowdn answered again with the only word at her command, “No ’ T his time the woman m eant her blows to sm art, for the poor fright­ened girl shrieked at the top of her voice In the midst of the whipping the blows ceased abruptly, and the woman asked another question: “Are you going to fall in the snow again?”

Thowin gave her bad password another trial We heard her say feebly, “ No! No!”

W ith this the woman hid away her half-worn slipper, and led the child out, stroking her black shorn head Perhaps it occurred to her that brute force is not the solution for such a problem She did nothing to Judew in nor to me She only returned to us our unhappy comrade, and left us alone in the room.

D uring the first two or three seasons misunderstandings as ridicu­lous as this one of the snow episode frequently took place, bringing unjus­tifiable frights and punishm ents into our little lives.

W ithin a year I was able to express myself somewhat in broken English As soon as I comprehended a part of w hat was said and done, a mischievous spirit of revenge possessed me One day I was called in from my play for some misconduct I had disregarded a rule which seemed to me