After she begins to make connections with how other people write because again making connections is a crucial part to close reading. She speaks about how the author could have used a first name, last name, an Mrs. That he had a lot of different choices he could of made but decided to merely “reducing her to her role in the family as does the fact that her daughter in law is never called anything but the children’s mother.” (356). Prose then generates another idea from reading the first sentence which is the fact that “the first sentence is a refusal which in very simplicity, emphasizes the force with which the old woman is digging in her
Success—the goal of one’s work. People can reach towards a certain limit before it comes to a stop. As shown in The Miracle Worker by William Gibson, determination can lead one on the road to success. Annie Sullivan is a girl from Tewksbury—an asylum for the mentally ill and poor—who is hired by the Keller family to teach their child, Helen Keller. Throughout Sullivan’s journey to create a miracle for the blind-and-deaf Helen Keller; Annie had to keep her head high through the challenges.
Throughout the City of One Cournos clearly illustrates how her history of having her attachment figures disappear or seemingly abandoned her made future relationships difficult. In rich and painful description Cournos describes the emotional walls she had built around herself and the anxiety she faced in new relationships. For instance, she describes the detachment and numbness she felt during her first marriage that ended in divorce which is summed up in the following quote, “By the time medical school ended we’d agreed to call it quits. I guess I should have married a man instead of a role, but I was too detached to know the difference” (Counous, 2006, p. 165). When she married her second husband, which turned into a healthy relationship, she describes her intense intermixing of both happiness but also fears.
What is Unintentional Becomes Valuable The novel The Immortal Life of Henrietta Lacks, written almost sixty years after the death of Henrietta Lacks, was produced by Rebecca Skloot who, while researching, personally interacted with the family and educated them on the topic. After Henrietta’s death, her family is left with a great amount of confusion and dissatisfaction. Not only can Deborah Lacks, daughter of Henrietta, and her siblings not comprehend what happens to Henrietta and her cells, but an underlying pit of anger and fear within them deepens from not knowing. Until Skloot makes an appearance in their life, the Lackses trust no white person and live in oblivion to the world around them which Henrietta impacted. No previous reporter
My mother always warned me that crying is an admission of weakness. With her thick skin and hunched back she trudged and taught me coping mechanisms that she embraced as survival skills. At a young age, I learned to cry silently, to be skeptical, and to always look to the future for happiness. However, as I have grown older and experienced my own challenges I have learned to ignore the lessons of my mother; something that I consider to be a sign of socioeconomic progress for our small immigrant family. The catalysis was that throughout my college years, I had to deal with the prosecution of a family member who sexually abused me when I was a child.
That is, until he encounters three important individuals that seem to influence a change in Montag and ultimately change his world. His contact with a 17 year old girl named Clarisse McClellan, an elderly woman who was willing to die for her books, and an old professor named Faber, help Montag start to question things and begin a transformation that takes him from the rule following, book burner; to an idea challenging, book reader
Montag and Mildred have been married for years, but Montag still feels as if he doesn’t know the woman he’s married to. In the text, Bradbury states, “And [Montag] [remembers] thinking then that if [Mildred] dies, he [is] certain he wouldn’t cry. For it would be dying of an unknown, a street face, a newspaper image, and it [is] suddenly so very wrong that he [has] begun to cry, not at death but at the thought of not crying at death, a silly empty man near a silly empty woman,
Molly, suffered serious trauma after Tilly was removed from her care and taken away, when Tilly returned, Molly could not remember her daughter, or didn’t want to. That part of her life affected her personality in a way to make her cold and distant until she starts remembering what happened, another great part that the audiences can use to connect with the characters. In “Jasper Jones” the traumatic experience was Jasper finding out that Mad Jack Lionel was his grandfather and that left him wondering and full of questions. Overall the producers of these texts have design all the characters in a way that everyone had a problem or a flaw. One of the main plots in both texts is revenge because Tilly Dunnage wants revenge on the townspeople for sending her away for something she didn’t do and jasper Jones wanted revenge for whoever killed
In Their Eyes Were Watching God, Zora Neale Hurston uses speech as a tool to show the progression of the story. Janie Crawford, the main character of the novel, finds her true identity and ability to control her voice through many hardships. When Janie’s grandmother dies she is married off, to be taken care of. In each marriage that follows, she learns what it is to be a woman with a will and a voice. Throughout the book, Janie finds herself struggling against intimidating men who attempt to victimize her into a powerless role.
All throughout the poem, Shapiro refers to himself as “you”, which creates for a relatable experience. An example is Shapiro’s retelling of his mother’s agoraphobia, an anxiety disorder that countless individuals suffered from, but were not able to receive treatment due to the lack of knowledge regarding the disorder during the 1970’s. Shapiro writes: “Before there was a name for your mother’s agoraphobia, she blamed / it on chocolate.” He continues by expressing how he learned to deal with his mother’s anxiety in a period when few people understood this disorder. Along with his distinctive use of imagery in the final stanza, Shapiro’s storytelling makes “’71” one of my favorite poems read in class. In “How to Flirt”, Shapiro touches on the subject of relationships by writing about an individual he is interested in.