Author: TASNIM KHAN

1. What was a moment in Rankine’s excerpt that moved or struck you, and why? Quote from the excerpt and support your response with evidence from the text.

A moment that struck me was when Rankine questioned, “What does a victorious or defeated black woman’s body in a historically white space look like?” (JTC 121). This question draws several controversial issues to the surface and makes the reader think about the deeper topic. Serena and Venus both win and lose all while being surrounded by people that are enraged that they are there in the first place. They have experienced firsthand what the answer to that question might be.”Neither her father nor her mother nor her sister nor Jehovah her God nor NIKE camp could shield her ultimately from people who felt her black body didn’t belong on their court, in their world.” One can imagine how difficult that must have been to still make it out with great success and achievements.

1. Identify two moments in Rankine’s excerpt where she applies lenses you recognize from Blankenship, Graves, and Eickmyer’s list on 102-105. Quote from the excerpt and explain how these lenses serve Rankine’s argument.

One moment where the lens can be applied was Rankine’s use of black artists to metabolize real rage. When applying a lens, this shows an instance in which the term “rhetoric” can be seen as negative. This was described in “What is Rhetoric” by stating that “Often when people think of the term they automatically assume something bad, something overtly corrosive and manipulative or something deliberately incendiary and demeaning” (JTC 95).  They also state, however, “it’s about what we interpret the text to be doing, not “what the author wanted” (JTC 98).  If that is the case when applying a lens, Youngman’s ideas are intended to reveal expectations for blackness rather than provoke anger and display rage. Another instance is when Rankine uses pathos in attempting to encourage the audience to empathize with Serena’s conduct. By illustrating how Serena could be stuck in her body, Rankine seeks to have the audience empathize with her acts.

1. Responding to Graves, Corcoran, and Blankenship, describe a specific moment when you communicated effectively and persuasively without using words. Set the scene for the reader and invite us to feel and see what you and those around you felt and saw. 7-8 sentences.

An instance in which I communicated effectively and persuasively without using words was at work. I work at Sephora and oftentimes customers try on foundation shades at the beauty studio. Sometimes the shades that they try on are completely off from their actual skin tones. When my coworkers and I witness a customer doing this, we signal to each other with our eyes, facial expressions, and hand movements to decide which one of us will help the customer out. I find it cool how we can perform a task and communicate with another individual at the same time without speaking. It does not make the communication any less effective than it would with words. This is because expression plays s huge role in communicating with another person.

 

1.     Note an example of ethos, pathos, and logos in your essay: Cite and explain (1-2 sentences each).

An example of ethos in my essay would be through the use of story-telling. “There were many discourse cultural societies within this town…several Bengali functions would be organized weekly to get our community together.” My past experiences display my credibility in writing. An example of pathos in my essay would be being inclusive in my writing to not only Bengali-Americans but to anyone that grew up between two cultures. “Cultural gap assumptions are immediately drawn against ‘westernized Bengalis.’ Frankly, these conventions are haggard alongside any westernized version of a culture.” An example of logos in my writing is shown through using historical terms to describe American culture. “America is known to be a melting pot consisting of many discourse communities mixed into one.”

2.     Write a short summary and analysis of a song, photo, short poem, movie scene, music video scene, or TV show scene you know well. This is a first experiment—a first attempt at using concepts we’ll get much more practice honing. For a written example, see the summary and analysis of Finding Nemo (109-110) or see Blankenship’s many prompt questions from the Black Lives Matter protest photo (106-107). Use at least three recent vocabulary words. 8-9 sentences.

In the song “Money Trees” by Kendrick Lamar, he sings about how money brings purpose, ease, and lavishness into one’s everyday life through the use of pathos. “Money trees is the perfect place for shade and that’s just how I feel.” It also saves you from the daily difficulties people face. However, at the same time, money can also lead to evil things, “but the one in front of the gun lives forever.” This has been seen through individuals highlighted in media, “dreams of living life like rappers do.” Desperate people trying to make money can go to great malicious lengths, “what else is a thug to do when you eatin’ cheese from the government? Gotta provide for my daughter…” The exigence is that Lamar believes this pattern of going to malicious lengths has been especially seen in people that have grown up in poverty-stricken neighborhoods. Neighborhoods where gang activity and violence are prevalent. He gives an insight into his own life in the past through the lyrical choices in this song.

3. What did you notice about doing this summary and analysis activity? What questions, doubts, connections, opposing views, uncertainties, or observations do you have? 4-5 sentences.

By doing this summary I noticed that most, if not all, songs, poems, and speeches utilize the use of ethos, pathos, and logos. In the specific song I analyzed, I have opposing views with the violent culture that was described in efforts to achieve wealth. I agree with the concept that money brings ease into our everyday lives, however, it should never be at the expense of someone else’s life. It is interesting to observe the desperateness and lengths that individuals undergo to achieve wealth and status.

1. Choose one descriptive detail from X’s narrative that especially stands out to you. What do you think compelled you about it? Why did it linger in your mind? What did it suggest to you about X’s discourse community, his changing personal relationship to written literacy, or the widening of his idiolect while incarcerated?

One detail from X’s narrative that especially stood out to me was when he explained how he would stay up late at night reading books and only get 3-4 hours of sleep, however, that was enough for him. I think this compelled me because I put myself in his shoes while reading and was wondering if I would do the same. I feel that I would definitely make use of the library but X took it to another level and read all day if possible. What this suggested to me about X’s discourse community was that he was influenced and surrounded by inmates who were good characters. To pass time in prison, instead of the stereotypical trouble-making behaviors seen in this setting, this community displayed a drive for education and learning. This could be a result of the “heavy emphasis on rehabilitation” X mentioned. An environment plays a huge role in how a community performs. In this case, it led to X’s changing personal relationship to written literacy being a positive one.

1. Look back over the literacy narratives we’ve read so far (X, Tan, Sedaris, Manson, Ku, Anzaldua, Liao in excerpt) and describe one thing you want to imitate from these writers in your own literacy narrative. Is it Anzaldua’s mixing of languages? Sedaris’s strong, funny, weird characters? Manson’s focus on silence and not-quite-readiness? What technique, structure, or style grabs you, and how will you try to use it?

Based on the literacy narratives I’ve read so far, one thing I want to imitate from these writers into my own literacy narrative is the use of descriptive story-telling with sensory details. This style was seen in X and Tan’s writings and these two writers had me the most invested in their stories. I think this is because the imagery used in their writing almost allows readers to visualize the story in their heads and as a result, this captures our attention. I will try to use this technique by describing experiences in my life using sensory details and imagery in the course of my literacy. For instance, I could tell a story about a moment I shared with some new people I’ve met in my journey to growing up as a Bengali-American in two cultures.

1. Summarize Baldwin’s argument in your own words. Then show how Baldwin’s argument relates to Belmihoub and Corcoran’s ideas of either translanguaging or idiolect. Finally, identify another instance of a writer we’ve read so far referring to, or exploring, the ideas and experiences these terms describe. (No other writers we’ve read so far have used these terms, but many have explored the ideas Belmihoub and Corcoran give these names to.) Support your identification with quotations.

Baldwin is attempting to convey the idea that language is simply only a product of desire. Furthermore, language is a dynamic entity that is always changing. As a result, “Black English” was developed as a means of survival for enslaved people. Baldwin’s argument connects to Belmihoub and Corcoran’s views because they bring up the notion of translanguaging being utilized as a method of expression depending on contemporary conditions. Amy Tan of Mother Tongue is another writer who has looked at some of the themes surrounding Belmihoub and Corcoran. “Just last week, I was walking down the street with my mother, and I again found myself conscious of the English I was using, the English I do use with her” (JTC 80). In her story, she exemplifies how language has been modified and she is a product of that result. She uses a different “dialect” of English with her mother as opposed to when she is with fluent speakers.

1. What is a piece of advice on responding to student work in Straub’s essay that is new and helpful to you, and how is it helpful? What is a piece of advice you wish a previous teacher had followed in commenting on your writing in high school, and how would it have been helpful?

A piece of advice in Straub’s essay that is new and helpful to me is that we as editors are there to “Look at your task as a simple one. You’re there to playback to the writer how you read the paper: what you got from it; what you found interesting; where you were confused; where you wanted more” (JTC 35).  I sometimes forget how to properly edit a paper and what kind of helpful advice to give to the writer. However, it is very simple and clear, we are not critiquing and trying to change the writing, rather we are modifying it and suggesting helpful comments to considerably improve their writing. A piece of advice I wish a previous teacher has followed in commenting on my writing in high school is to not use 1-3 word comments such as “add detail” or “sentence unclear.” These comments have never proven to be helpful and instead have put my brain into a haze because I have nothing to work with. More detail and suggestions on what kind of details to add and which parts are unclear would help me go a long way.

1. How have anxiety and aversion been barriers to your writing in the past, and what is one way you plan to adopt Eickmeyer’s skills and strategies in writing your literacy narrative?

Anxiety and aversion have both been barriers to my writing in the past through procrastination, as mentioned in the text. The funny thing is I was just procrastinating on an assignment as I was reading Eickmeyer’s writing and I really needed his words of motivation. I definitely plan on adopting Eickmeyer’s skills and strategies in my literacy narrative. Many of the faults and habits he mentions in the article, I have done in the past and his writing honestly felt like a much needed call-out. However, I plan to implement his advice on breaking my writing down and taking notes when the intrustor explains the assignment. We talk about literacy narrative topics often in class and whenever a key detail or idea is mentioned, I will keep in mind to jot it down for helpful future references.

1. Thinking of Ku’s example literacy narrative (written while a freshman at Baruch), what are two worlds you exist between? Describe a moment where those worlds met, collided, or pulled you in different directions.

Similarily, as an Asian I have also existed in two worlds just as Ku has, except I am Bengali-American. I grew up in central Florida from elementary school up until freshman year of high school. I was the only Bengali kid in my school for about the first 7 years of schooling. Schools in central Florida consists of a majority Hispanic/Latino population. Many kids did not know where or what Bangladesh was and would automatically assume I was Indian due to similar South Asian features we share. However, within my community and family friends, I also had a big separate group of Bengali friends outside of school that were also the only Bengali kids at their school. In a way, I felt as if I had gotten the best of both worlds. Stereotypes are obviously present at all schools and kids normally feel more comfortable approaching other kids that look like them. However, being the only Bengali kid got me out of my comfort zone and more open to learning about new cultures. Once, I arranged for my in-school friends and Bengali friends to both hang out, it felt different and weird at first but it ended being a great collab and we all got along just the same. There does not have to be any evident racial divide between people just because of their cultures. Instead, it allows for individuals to learn more about their surrounding communities.

1. Anzaluda disagrees with this theory of language because her own dialect, Pachuco, consists of the combination of two languages. Therefore, in her case, speakers can most definitely share a common reality within Spanish and English speakers. On page 74, Anzaluda states “Until I am free to write bilingually and to switch codes without having always to translate, while I still have to speak English or Spanish when I would rather speak Spanglish..my tongue will be illegitimate.” She instead takes pride in her ability to share two languages and be bilingual.
2. Anzaludas’s style in her literacy narrative is very direct and filled with experiences of injustice which caused her tone to be determined and portray inequality.  She chose this style because this tone of writing helps support her argument and the readers can almost feel her dilemma and agree with her points.  “I will no longer be made to feel ashamed of existing. I will have my voice: Until I can take pride in my language, I cannot take pride in myself. Indian, Spanish, white. I will have my serpent’s tongue—my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence” (Page 74).  Her tone is confident and draws readers in.
3. The theme of change, which was Liao’s first convention for literacy narratives known as the journey from confusion to fluency, was most evident in Sedaris’ essay. It starts with them learning new languages and ends with them understanding those languages in both literacy stories. By contrast, Sedaris does not seem to implement discourse communities into his essay as much as Liao did. In the article, Sedaris describes how he felt terrified and threatened by his French instructor, a discourse he had with other classmates as well. Sedaris, on the other hand, seemed unconcerned in connecting it to a broader meaning or message.
4. The tone of Manson’s essay was sullen and sad. Although her writing ended in her grandmother’s death, she learns to accept herself with her manner of expressing herself, and she realizes that her quiet is beneficial. She states “Silence helped me cope with the truly unspeakable. It allowed me to connect to myself and to those around me.” At the beginning of the essay, Manson struggled with hiding her emotions and expressing her voice. However, by the end of the essay, she was content with how everything turned out.