CHAPTER

2
Writing about Literature: From Idea to Essay
WHY WRITE ARGUMENTS ABOUT LITERATURE?
If you have ever put exclamation points or questions marks or brief annotations (this is ridiculous, or great!) in the margins of your books, you are aware of the pleasure one gets from putting responses into writing. But people also write about literaturenot only in margins of books but, lets say, in notebooks or journals and ultimately in essaysin order to clarify and account for their responses to works that interest or excite or frustrate them. In putting words on paper you will have to take a second and a third look at what is in front of you and what is within you. Writing, then, is not only a way of expressing pleasure but also a way of learning. The last word about complex thoughts and feelings is never said, but when we write we hope to make at least a little progress in the difficult but rewarding job of talking about our responses. We learn, and then we hope to interest our readers because we are communicating to them our responses to something that for one reason or another is worth talking about. This communication is, in effect, teaching. You may think that you are writing for the teacher, but that is a misconception; when you write, you are the teacher, offering an argument. An essay on literature is an attempt to help someone see the work as you see it. If this chapter had to be boiled down to a single sentence, that sentence would be: Because you are teaching, your essay should embody those qualities that you value in teachersintelligence, open-mindedness, effort, a desire to offer what help one can.

GETTING IDEAS: PRE-WRITING

All there is to writing, Robert Frost said, is having ideas. To learn to write is to learn to have ideas. But how does one learn to have ideas? Among the methods are these: reading with a pen or pencil in hand, so that you can annotate the text; keeping a journal, in which you jot down reflections about your

reading; talking with others (including your instructor) about the reading. Lets look at the first of these, annotating.

Annotating a Text
In reading, if you own a book dont hesitate to mark it up, indicating (by highlighting or underlining or by making marginal notes) what puzzles you, what pleases or interests you, and what displeases or bores you. Later, of course, youll want to think further about these responses, asking yourself, on rereading, if you still feel that way, and if not, why not, but these first responses will get you started. One kind of annotation is a question mark in the margin, jotted down in order to indicate your uncertainty about the meaning of a word. Its a good idea to keep a dictionary nearby while you are reading. Of course you wont look up every word that you are unsure aboutthis might spoil the fun of readingbut sometimes you will sense that you need to know the precise meanings and implications of the writers words in order to feel and appreciate the effects he or she is trying to create. And the more you become aware of how richly meaningful the words can be in a literary text, the more sensitive and self-aware you will be about the words you use in your own prose. We have already looked at Pat Moras short poem Immigrants (page 7), but here it is again, with a students first annotations. Notice that most of these annotations are questions that the student is asking herself. Asking questions is an excellent way to get yourself thinking. We will return to this method shortly.

Brainstorming for Ideas for Writing

Unlike annotating, which consists of making brief notes and small marks on the printed page, brainstormingthe free jotting down of ideasasks that you jot down at length whatever comes to mind, without inhibition. But before we talk further about brainstorming, read the following short story.

KATE CHOPIN
Kate Chopin (18511904)the name is pronounced in the French way, somewhat like show panwas born in St. Louis, with the name Katherine OFlaherty. Her father was an immigrant from Ireland, and her mother was descended from an old Creole family. (In the United States, a Creole is a person descended from the original French settlers in Louisiana or the original Spanish settlers in the Gulf States.) At the age of nineteen she married Oscar Chopin, a cotton broker in New Orleans. They had six

children, and though Kate Chopin had contemplated a literary career, she did not turn seriously to writing until after her husbands death in 1883. Most of her fiction concerns the lives of the descendants of the French who had settled in Louisiana.

The Story of an Hour

[1894]

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husbands death. It was her sister Josephine who told her, in broken sentences, veiled hints that revealed in half concealing. Her husbands friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallards name leading the list of killed. He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sisters arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. 5 She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window. She sat with her head thrown back upon the cushion of the chair quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her willas powerless as her two white slender hands would have been. 10 When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: Free, free, free! The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for her during those coming years; she would live for herself. There would be no powerful will bending her in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. And yet she had loved himsometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being. 15 Free! Body and soul free! she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. Louise, open the door! I beg; open the dooryou will make yourself ill. What are you doing, Louise? For heavens sake open the door. Go away. I am not making myself ill. No; she was drinking in a very elixir of life through that

open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long. She arose at length and opened the door to her sisters importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sisters waist, and together they descended the stairs. Richards stood waiting for them at the bottom. 20 Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his gripsack and umbrella. He had been far from the scene of accident, and did not even know there had been one. He stood amazed at Josephines piercing cry; at Richards quick motion to screen him from the view of his wife. But Richards was too late. When the doctors came they said she had died of heart diseaseof joy that kills. In brainstorming, dont worry about spelling, about writing complete sentences, or about unifying your thoughts; just let one thought lead to another. Later you can review your jottings, deleting some, connecting with arrows others that are related, expanding still others, but for now you want to get going, and so there is no reason to look back. Thus you might jot down something about the title. Title speaks of an hour, and story covers an hour, but maybe takes five minutes to read And then, perhaps prompted by an hour, you might happen to add something to this effect: Doubt that a woman who got news of the death of her husband could move from grief to joy within an hour Your next jotting might have little or nothing to do with this issue; it might simply say: Enjoyed "Hour" especially because "Hour" is so shocking And then you might ask yourself:

By shocking, do I mean "improbable," or what? Come to think of it, maybe its not so improbable. A lot depends on what the marriage was like. Focused Free Writing
Focused, or directed, free writing is a method related to brainstorming that some writers use to uncover ideas they may want to write about. Concentrating on one issuefor instance, a question that strikes them

as worth puzzling over (What kind of person is Mrs. Mallard?)they write at length, nonstop, for perhaps 5 or 10 minutes. Writers who find free writing helpful put down everything they can think of that has bearing on the one issue or question they are examining. They do not stop at this stage to evaluate the results, and they do not worry about niceties of sentence structure or of spelling. They just pour out their ideas in a steady stream of writing, drawing on whatever associations come to mind. If they pause in their writing, it is only to refer to the text, to search for more detailperhaps a quotationthat will help them answer their question. After the free-writing session, these writers usually go back and reread what they have written, highlighting or underlining what seems to be of value. Of course they find much that is of little or no use, but they also usually find that some strong ideas have surfaced and have received some development. At this point the writers are often able to make a scratch outline and then begin a draft. Here is an example of one students focused free writing, again on Chopins The Story of an Hour. What do I know about Mrs. Mallard? Let me put everything down here I know about her or can figure out from what Kate Chopin tells me. When she finds herself alone after the death of her husband, she says, "Free. Body and soul free" and before that she said, "Free, free, free." Three times. So she has suddenly perceived that she has not been free: she has been under the influence of a "powerful will." In this case it has been her husband, but she says no one, man nor woman, should impose their will on anyone else. So its not a feminist issue--its a power issue. No one should push anyone else around is what I guess Chopin means, force someone to do what the other person wants. I used to have a friend that did that to me all the time; he had to run everything. They say that fathers-before the womens movement--used to run things, with the father in charge of all the decisions, so maybe this is an honest reaction to having been pushed around by a husband. I think Mrs. Mallard is a believable character, even if the plot is not all that believable--all those things happening in such quick succession.

Listing and Clustering

In your preliminary thinking you may find it useful to make lists or to jot down clusters of your ideas, insights, comments, questions. For The Story of an Hour you might list Mrs. Mallards traits, or you might list the stages of her development. (Such a list is not the same as a summary of a plot. The list helps

the writer to see the sequence of psychological changes, and it will help assist her to offer a coherent argument about what happens.) weeps (when she gets the news) goes to room, alone "pressed down by a physical exhaustion" "dull stare" "something coming to her" strives to beat back "this thing" "Free, free, free!" The "vacant stare went from her eyes" "A clear and exalted perception" rejects Josephine "she was drinking in a very elixir of life" gets up, opens door, "a feverish triumph in her eyes" sees B, and dies Unlike brainstorming and annotating, which let you go in all directions, listing requires that you first make a decision about what you will be listingtraits of character, images, puns, or whatever. Once you make the decision, you can then construct the list, and, with a list in front of you, you will probably see patterns that you were not fully conscious of earlier. On the other hand, dont be unduly concerned if something does not seem to fit into a list or cluster. You can return to it, and give it more thoughtmaybe it will come to fit later. But you might also realize that this point needs to be placed to the side. As far as you can tell, it doesnt appear to belong in one of your lists or to link well to other points you have begun to make, and in this way you may come to realize that it is not relevant to your development of possible topics for your essay.

Developing an Awareness of the Writers Use of Language

In the first line of the story, Chopin notes that Mrs. Mallard was afflicted with a heart trouble. You might want to look up afflicted in your dictionary. Why do you think that Chopin chose this word, as opposed to other words she might have chosen? How would the effect of the opening line be different if, for example, Chopin had written Mrs. Mallard had a heart problem or Mrs. Mallards heart was weak?

Earlier we recommended that you keep a dictionary at hand when you read. It will help you, especially if you get into the habit of asking questions about the writers choice of language. And this brings us to our next point.

Asking Questions
If you feel stuck, ask yourself questions. We suggest questions for fiction on pages 177180, for poetry on pages 822823, and for drama on pages 1544 1546. If, for instance, you are thinking about a work of fiction, you might ask yourself questions about the plot and the charactersare they believable, are they interesting, and what does it all add up to? What does the story mean to you? One student found it helpful to jot down the following questions: Plot Ending false? unconvincing? or prepared for? Character? Mrs. M. unfeeling? Immoral? Mrs. M. unbelievable character? What might her marriage have been like? Many gaps. (Can we tell what her husband was like?) "And yet she loved him--sometimes." Fickle? Realistic? What is "this thing that was approaching to possess her"? Symbolism Set on spring day = symbolic of new life? But, again, you dont have to be as tidy as this student was. You can begin by jotting down notes and queries about what you like or dislike and about what puzzles or amuses you. Here are the jottings of another student. They are, obviously, in no particular orderthe student is brainstorming, putting down whatever occurs to herthough it is equally obvious that one note sometimes led to the next: Title nothing special. What might be better title? Could a woman who loved her husband be so heartless? Is she heartless? Did she love him? What are (were) Louises feelings about her husband? Did she want too much? What did she want? Could this story happen today? Feminist interpretation?

Sister (Josephine)--a busybody? Tricky ending--but maybe it could be true "And yet she loved him--sometimes. Often she had not." Why does one love someone "sometimes"? Irony: plot has reversal. Are characters ironic too? These jottings will help the reader-writer to think about the story, to find a special point of interest and to develop a thoughtful argument about it.

Keeping a Journal
A journal is not a diary, a record of what the writer did each day (today I read Chopins Hour); rather, a journal is a place to store some of the thoughts that you may have inscribed on a scrap of paper or in the margin of the textfor instance, your initial response to the title of a work or to the ending. Its also a place to jot down some further reflections. These reflections may include thoughts about what the work means to you or what was said in the classroom about writing in general or about specific works. You may, for instance, want to reflect on why your opinion is so different from that of another student, or you may want to apply a concept such as character or irony or plausibility to a story that later you may write an essay about. You might even make an entry in the form of a letter to the author or in the form of a letter from one character to another. Similarly, you might write a dialogue between characters in two works or between two authors, or you might record an experience of your own that is comparable to something in the work. A student who wrote about The Story of an Hour began with the following entry in his journal. In reading this entry, notice that one idea stimulates another. The student was, quite rightly, concerned with getting and exploring ideas, not with writing a unified paragraph. Apparently a "well-made" story, but seems clever rather than moving or real. Doesnt seem plausible. Mrs. Ms change comes out of the blue--maybe some women might respond like this, but probably not most. Does literature deal with unusual people, or with usual (typical?) people? Shouldnt it deal with typical? Maybe not. (Anyway, how can I know?) Is "typical" same as "plausible"? Come to think of it, prob. not. Anyway, whether Mrs. M. is typical or not, is her change plausible, believable?

Why did she change? Her husband dominated her life and controlled her action; he did "impose a private will upon a fellow creature." She calls this a crime. Why? Why not?

Arguing a Thesis
Having raised some questions, a reader goes back to the story, hoping to read it now with increased awareness. Some of the jottings will be dead ends, but some will lead to further ideas that can be arranged in lists. What the thesis of the essay will bethe idea that will be asserted and supportedis still in doubt, but there is no doubt about one thing: A good essay will have a thesis, a point, an argument. You ought to be able to state your point in a thesis sentence. Consider these candidates as possible thesis sentences, as assertions that can be supported in an argument: 1. -Mrs. Mallard dies soon after hearing that her husband had died. True, but scarcely a point that can be argued, or even developed. About the most the essayist can do with this sentence is to amplify it by summarizing the plot of the story, a task not worth doing. An analysis may include a sentence or two of summary, to give readers their bearings, but a summary is not an essay. 2. The story is a libel on women. In contrast to the first statement, this one can be developed into an argument. Probably the writer will try to demonstrate that Mrs. Mallards behavior is despicable. Whether this point can be convincingly argued is another matter; the thesis may be untenable, but it is a thesis. A second problem, however, is this: Even if the writer demonstrates that Mrs. Mallards behavior is despicable, he or she will have to go on to demonstrate that the presentation of one despicable woman constitutes a libel on women in general. Thats a pretty big order. 3. -The story is clever but superficial because it is based on an unreal character. Here, too, is a thesis, a point of view that can be argued. Whether or not this thesis is true is another matter. The writers job will be to support it by presenting evidence. Probably the writer will have no difficulty in finding evidence that the story is clever; the difficulty probably will be in establishing a case that the characterization of Mrs. Mallard is unreal. The writer will have to set forth some ideas about what makes a character real and then will have to show that Mrs. Mallard is an unreal (unbelievable) figure.

4. -The irony of the ending is believable partly because it is consistent with earlier ironies in the story. It happens that the student who wrote the essay printed on page 40 began by drafting an essay based on the third of these thesis topics, but as she worked on a draft she found that she couldnt support her assertion that the character was unconvincing. In fact, she came to believe that although Mrs. Mallards joy was the reverse of what a reader might expect, several early reversals in the story helped to make Mrs. Mallards shift from grief to joy acceptable.

WRITING A DRAFT
After jotting down notes and then adding more notes stimulated by rereading and further thinking, youll probably be able to formulate a tentative thesis. At this point most writers find it useful to clear the air by glancing over their preliminary notes and by jotting down the thesis and a few especially promising notes brief statements of what they think their key points may be. These notes may include some brief key quotations that the writer thinks will help to support the thesis. Here are the notes (not the original brainstorming notes, but a later selection from them, with additions) and a draft (following) that makes use of them. The final version of the essaythe product produced by the processis given on page 40. title: Ironies in an Hour (?) An Hour of Irony (?) Kate Chopins Irony (?) thesis: irony at the end is prepared for by earlier ironies chief irony: Mrs. M. dies just as she is beginning to enjoy life smaller ironies: 1. "sad message" brings her joy 2. Richards is "too late" at end 3. Richards is too early at start

Sample Draft of an Essay on Kate Chopins The Story of an Hour

Now for the students draftnot the first version, but a revised draft with some of the irrelevancies of the first draft omitted and some evidence added. The digits within the parentheses refer to the page numbers from which the quotations are drawn, though with so short a work as The Story of an Hour, page references are hardly necessary. Unless instructed otherwise, always provide page numbers for your quotations. This will enable your readers to quickly locate the passages to which you refer. (Detailed information about how to document a paper is

given on pages 17761788.) Crowe 1 Lynn Crowe Professor OBrian English 102 1 November 2005 Ironies in an Hour After we know how the story turns out, if we reread it we find irony at the very start, as is true of many other stories. Mrs. Mallards friends assume, mistakenly, that Mrs. Mallard was deeply in love with her husband, Brently Mallard. They take great care to tell her gently of his death. The friends mean well, and in fact they do well. They bring her an hour of life, an hour of freedom. They think their news is sad. Mrs. Mallard at first expresses grief when she hears the news, but soon she finds joy in it. So Richardss "sad message" (28), though sad in Richardss eyes, is in fact a happy message. Among the ironic details is the statement that when Mallard entered the house, Richards tried to conceal him from Mrs. Mallard, but "Richards was too late" (29). This is ironic because earlier Richards "hastened" (28) to bring his sad message; if he had at the start been "too late" (29), Brently Mallard would have arrived at home first, and Mrs. Mallards life would not have ended an hour later but would simply have gone on as it had before. Yet another irony at the end of the story is the diagnosis of the doctors. The doctors say she died of "heart disease--of joy that kills" (29). In one sense the doctors are right: Mrs. Mallard has experienced a great joy. But of course the doctors totally misunderstood the joy that kills her. The central irony resides not in the well-intentioned but ironic actions of Richards, nor Crowe 2 in the unconsciously ironic words of the doctors, but in her own life. In a way she has been dead. She "sometimes" (29) loved her husband, but in a way she has been dead. Now, his apparent death brings her new life. This new life comes to her at the season of the year when "the tops of trees . . . were all aquiver with the new spring life" (28). But, ironically, her new life will last only an hour. She looks forward to "summer days" (29) but she will not see even the end of this spring day. Her years of marriage were ironic. They brought her a sort of living

death instead of joy. Her new life is ironic too. It grows out of her moment of grief for her supposedly dead husband, and her vision of a new life is cut short. [New page] Crowe 3 Work Cited Chopin, Kate. "The Story of an Hour." An Introduction to Literature. Ed. Sylvan Barnet et al. 14th ed. New York: Longman, 2006. 2829.

Revising a Draft
The draft, although thoughtful and clear, is not yet a finished essay. The student went on to improve it in many small but important ways. First, the draft needs a good introductory paragraph, a paragraph that will let readers know where the writer will be taking them. Doubtless you know from your own experience as a reader that readers can follow an argument more easilyand with more pleasureif early in the discussion the writer alerts them to the gist of the argument. (The title, too, can strongly suggest the thesis.) Second, some of the paragraphs could be clearer. In revising paragraphsor, for that matter, in revising an entire draftwriters unify, organize, clarify, and polish. Lets look at the nouns implicit in these verbs. 1. -Unity is achieved partly by eliminating irrelevancies. Notice that in the final version, printed on pages 4041, the writer has deleted as is true of many other stories from the first sentence of the draft. 2. -Organization is largely a matter of arranging material into a sequence that will assist the reader to grasp the point. 3. -Clarity is achieved largely by providing concrete details and quotations to support generalizations and by providing helpful transitions (for instance, furthermore, on the other hand, however). 4. -Polish is small-scale revision. For instance, one deletes unnecessary repetitions. In the second paragraph of the draft, the phrase the doctors appears three times, but it appears only once in the final version of the paragraph. Similarly, in polishing, a writer combines choppy sentences into longer sentences, and breaks overly long sentences into shorter sentences. Later, after producing a draft that seems close to a finished essay, writers engage in yet another activity.

5. -Editing concerns such things as checking the accuracy of quotations by comparing them with the original, checking a dictionary for the spelling of doubtful words, checking a handbook for doubtful punctuationfor instance, whether a comma or a semicolon is needed in a particular sentence.

Peer Review
Your instructor may encourage (or even require) you to discuss your draft with another student or with a small group of students. That is, you may be asked to get a review from your peers. Such a procedure is helpful in several ways. First, it gives the writer a real audience, readers who can point to what pleases or puzzles them, who make suggestions, who may often disagree (with the writer or with each other), and who frequently, though not intentionally, misread. Though writers dont necessarily like everything they hear (they seldom hear This is perfect. Dont change a word!), reading and discussing their work with others almost always gives them a fresh perspective on their work, and a fresh perspective may stimulate thoughtful revision. (Having your intentions misread because your writing isnt clear enough can be particularly stimulating.) The writer whose work is being reviewed is not the sole beneficiary. When students regularly serve as readers for each other, they become better readers of their own work and consequently better revisers. When you produce a draft of your paper for peer review, it will not be in final form; the draft is an important step toward shaping the paper and bringing it to final form. But aim to do the best job possible on your draft; let your classmates respond to the best work you can do at this stage of the process. QUESTIONS FOR PEER REVIEW ENGLISH 125A

Read each draft once, quickly. Then read it again, with the following questions in mind. 1. -What is the essays topic? Is it one of the assigned topics, or a variation from it? Does the draft show promise of fulfilling the assignment? 2. -Looking at the essay as a whole, what thesis (main idea) is stated or implied? If implied, try to state it in your own words. 3. -Is the thesis plausible? How might the argument be strengthened? 4. -Looking at each paragraph separately: a. -What is the basic point? (If it isnt clear to you, ask for clarification.) b. -How does the paragraph relate to the essays main idea or to the previous paragraph? c. -Should some paragraphs be deleted? Be divided into two or more paragraphs? Be combined?

Be put elsewhere? (If you outline the essay by jotting down the gist of each paragraph, you will get help in answering these questions.) d. -Is each sentence clearly related to the sentence that precedes and to the sentence that follows? e. -Is each paragraph adequately developed? f. -Are there sufficient details, perhaps brief supporting quotations from the text? 5. -What are the papers chief strengths? 6. -Make at least two specific suggestions that you think will assist the author to improve the paper. You will have more work to do on this paperyou know that. But you dont want your classmates to be pointing out mistakes that you know are in the draft and that you could have fixed yourself. If peer review is a part of the writing process in your course, the instructor may distribute a sheet with some suggestions and questions. An example of such a sheet is shown here.

THE FINAL VERSION

Here is the final version of the students essay. The essay that was submitted to her instructor had been retyped, but here, so that you can easily see how the draft has been revised, we print the draft with the final changes written in by hand.

A Brief Overview of the Final Version

Finally, as a quick review, lets look at several principles illustrated by this essay. 1. -The title of the essay is not merely the title of the work discussed; rather, it gives the readers a clue, a small idea of the essayists topic. 2. -The opening or introductory paragraph does not begin by saying In this story . . . Rather, by naming the author and the title, it lets the reader know exactly what story is being discussed. It also develops the writers thesis so readers know where they will be going. 3. -The organization is effective. The smaller ironies are discussed in the second and third paragraphs, the central (chief) irony in the last paragraph. That is, the essay does not dwindle or become anticlimactic; rather, it builds up from the least important to the most important point. 4. -Some brief quotations are used, both to provide evidence and to let the reader heareven if only fleetinglyKate Chopins writing. 5. -The essay is chiefly devoted to analysis (how the parts relate to each other), not to summary (a brief

restatement of the happenings). The writer, properly assuming that the reader has read the work, does not tell the plot in great detail. But, aware that the reader has not memorized the story, the writer gives helpful reminders. 6. -The present tense is used in narrating the action: Mrs. Mallard dies; Mrs. Mallards friends and her sister assume. 7. -Although a concluding paragraph is often usefulif it does more than merely summarize what has already been clearly saidit is not essential in a short analysis. In this essay, the last sentence explains the chief irony and therefore makes an acceptable ending.

Explication
A line-by-line commentary on what is going on in a text is an explication (literally, unfolding, or spreading out). Although your explication will for the most part move steadily from the beginning to the end of the selection, try to avoid writing along these lines (or, one might say, along this one line): In line one. . . . In the second line. . . . In the third line. . . . That is, dont hesitate to write such things as The poem begins.... In the next line.... The speaker immediately adds.... He then introduces.... The next stanza begins by saying.... And of course you can discuss the second line before the first if that seems the best way of handling the passage. An explication is not concerned with the writers life or times, and it is not a paraphrase (a rewording)though it may include paraphrase if a passage in the original seems unclear, perhaps because of an unusual word or an unfamiliar expression. On the whole, however, an explication goes beyond paraphrase, seeking to make explicit what the reader perceives as implicit in the work. To this end it calls attention, as it proceeds, to the implications of words (for instance, to their tone), the function of rhymes (for instance, how they may connect ideas, as in throne and alone), the development of contrasts, and any other contributions to the meaning. Obviously you will have ideas about the merit and the meaning of a poem, and your paper will implicitly have a thesisan argument, for instance this poem is very difficult, or this poem begins effectively but quickly goes downhill, or this poem is excessively sentimental. Your essay, however, is largely devoted not to making assertions of this sort but to explaining how the details make the meaning. A good way to stimulate responses to the poem is to ask some of the questions given on pages 822

823. Many students find that by copying the poem (by hand, or on a computer) they gain an understanding of the uses of language in a literary work. Dont photocopy the poem; the act of writing or typing it will help you to get into the piece, word by word, comma by comma. Double-space, so that you have ample room for annotations. If you use a word processing program, you can highlight key words, lines, stanzas. You can also rearrange lines and stanzas, and perhaps substitute different words for the words that the poet has selected. Some students like to make multiple printouts for contrast and comparisonthe poem as the poet wrote it, the poem as the student has marked it up by using the highlighting feature of the computer program, the poem as it stands after the student has somewhat rearranged it. A computer cannot interpret a poem or story for you. But you can employ it as a tool to deepen your own sense of how a poem is structuredwhy this or that word or image is crucial at this juncture, why this or that stanza or passage belongs here and could not be placed elsewhere, and so on. Your goal is to gain insight into how writers of literary texts use their artistic medium, and often a computer can be a good complement to the dictionary that you always keep nearby.

A Sample Explication
Read this short poem (published in 1917) by the Irish poet William Butler Yeats (18651939). The balloon in the poem is a dirigible, a blimp.

WILLIAM BUTLER YEATS The Balloon of the Mind [1917]

Hands, do what youre bid: Bring the balloon of the mind That bellies and drags in the wind Into its narrow shed. A student began thinking about the poem by copying it, double-spaced. Then she jotted down her first thoughts. Later she wrote some notes in a journal. Im still puzzled about the meaning of the words, "The balloon of the mind." Does "balloon of

the mind" mean a balloon that belongs to the mind, sort of like "a disease of the heart"? If so, it means a balloon that the mind has, a balloon that the mind possesses, I guess by imagining it. Or does it mean that the mind is like a balloon, as when you say "hes a pig of a man," meaning he is like a pig, he is a pig? Can it mean both? Whats a balloon that the mind imagines? Something like dreams of fame, wealth? Castles in Spain. Is Yeats saying that the "hands" have to work hard to make dreams a reality? Maybe. But maybe the idea really is that the mind is like a balloon--hard to keep under control, floating around. Very hard to keep the mind on the job. If the mind is like a balloon, its hard to get it into the hangar (shed). "Bellies." Is there such a verb? In this poem it seems to mean something like "puffs out" or "flops around in the wind." Just checked The American Heritage Dictionary, and it says "belly" can be a verb, "to swell out," "to bulge." Well, you learn something every day. A later entry: OK; I think the poem is about a writer trying to keep his balloon-like mind from floating around, trying to keep the mind under control, trying to keep it working at the job of writing something, maybe writing something with the "clarity, unity, and coherence" I keep hearing about in this course. Here is the students final version of the explication. Yeatss "Balloon of the Mind" is about writing poetry, specifically about the difficulty of getting ones floating thoughts down in lines on the page. The first line, a short, stern, heavily stressed command to the speakers hands, perhaps implies by its severe or impatient tone that these hands will be disobedient or inept or careless if not watched closely: the poor bumbling body so often fails to achieve the goals of the mind. The bluntness of the command in the first line is emphasized by the fact that all the subsequent lines have more syllables. Furthermore, the first line is a grammatically complete sentence, whereas the thought of line 2 spills over into the next lines, implying the difficulty of fitting ideas into confining spaces, that is, of getting ones thoughts into order, especially into a coherent poem. Lines 2 and 3 amplify the metaphor already stated in the title (the product of the mind is an airy but unwieldy balloon), and they also contain a second command, "Bring." Alliteration ties this command, "Bring," to the earlier "bid"; it also ties both of these verbs to their object, "balloon," and

to the verb that most effectively describes the balloon, "bellies." In comparison with the abrupt first line of the poem, lines 2 and 3 themselves seem almost swollen, bellying and dragging, an effect aided by using adjacent unstressed syllables ("of the," "[bell]ies and," "in the") and by using an eye rhyme ("mind" and "wind") rather than an exact rhyme. And then comes the short last line: almost before we could expect it, the cumbersome balloon--here, the idea that is to be packed into the stanza--is successfully lodged in its "narrow shed." Aside from the relatively colorless "into," the only words of more than one syllable in the poem are "balloon," "bellies," and "narrow," and all three emphasize the difficulty of the task. But after "narrow"--the word itself almost looks long and narrow, in this context like a hangar--we get the simplicity of the monosyllable "shed." The difficult job is done, the thought is safely packed away, the poem is completed--but again with an off rhyme ("bid" and "shed"), for neatness can go only so far when hands and mind and a balloon are involved. Note: The reader of an explication needs to see the text, and because the explicated text is usually short, it is advisable to quote it all. (Remember, your imagined audience probably consists of your classmates; even if they have already read the work you are explicating, they have not memorized it, and so you helpfully remind them of the work by quoting it.) You can quote the entire text at the outset, or you can quote the first unit (for example, a stanza), then explicate that unit, and then quote the next unit, and so on. And if the poem or passage of prose is longer than, say, six lines, it is advisable to number every fifth line at the right for easy reference, or every fourth line if the poem is written in four-line stanzas.

EXPLICATION AS ARGUMENT
An explication unfolds or interprets a work; it is partly an exposition but it is also an argument, offering assertions that are supported by reasons. Re-read the explication of The Balloon of the Mind, and notice that the first sentence makes a claimthe poem is about such-and-suchand notice, too, that the subsequent assertions are supported by evidence. For instance, when the writer says that lines 2 and 3 seem to drag, she goes on to support the claim by calling attention to adjacent unstressed syllables. She does not merely assert; she argues.

COMPARISON AND CONTRAST: A WAY OF ARGUING

Something should be said about an essay organized around a comparison or a contrast, say, of the settings

in two short stories, of two characters in a novel, or of the symbolism in two poems. (A comparison emphasizes resemblances whereas a contrast emphasizes differences, but we can use the word comparison to cover both kinds of writing.) Probably the students first thought, after making some jottings, is to discuss one-half of the comparison and then go on to the second half. Instructors and textbooks (though not this one) usually condemn such an organization, arguing that the essay breaks into two parts and that the second part involves a good deal of repetition of categories set up in the first part. Usually they recommend that students organize their thoughts differently, making point-by-point comparisons. For example, in comparing Huckleberry Finn with The Catcher in the Rye, you might organize the material like this: 1. -First similarity: the narrator and his quest a. Huck b. Holden 2. -Second similarity: the corrupt world surrounding the narrator a. society in Huckleberry Finn b. society in Catcher 3. -First difference: degree to which the narrator fulfills his quest and escapes from society a. Hucks plan to light out to the frontier b. Holdens breakdown Here is another way of organizing a comparison and contrast: 1. -First point: the narrator and his quest a. similarities between Huck and Holden b. differences between Huck and Holden 2. -Second point: the corrupt world a. similarities between the worlds in Huck and Catcher b. differences between the worlds in Huck and Catcher 3. -Third point: degree of success a. similarities between Huck and Holden b. differences between Huck and Holden But a comparison need not employ either of these structures. There is even the danger that an essay

employing either of them may not come into focus until the essayist stands back from the seven-layer cake and announces, in the concluding paragraph, that the odd layers taste better. In your preparatory thinking, you may want to make comparisons in pairs, but you must come to some conclusions about what these add up to before writing the final version. This final version should not duplicate the thought processes; rather, it should be organized to make the point clearly and effectively. You are making a list; you are arguing a case. The point of the essay presumably is not to list pairs of similarities or differences, but to illuminate a work or works by making thoughtful comparisons. Although in a long essay the writer cannot postpone until page 30 a discussion of the second half of the comparison, in an essay of, say, fewer than ten pages nothing is wrong with setting forth one-half of the comparison and then, in light of it, the second half. The essay will break into two unrelated parts if the second half makes no use of the first or if it fails to modify the first half, but not if the second half looks back to the first half and calls attention to differences that the new material reveals. Learning how to write an essay with interwoven comparisons is worthwhile, but be aware that there is another, simpler and clearer way to write a comparison.

REVIEW: HOW TO WRITE AN EFFECTIVE ESSAY

Everyone must work out his or her own writing procedures and rituals (Hemingway liked to sharpen pencils; Robert Frost liked to do farm work before writing). The following suggestions may provide some help. 1. -Read the work carefully. 2. -Choose a worthwhile and compassable subject, something that interests you and is not so big that your handling of it must be superficial. As you work, shape and narrow your topicfor example, from The Character of Hester Prynne to The Effects of Alienation on Hester Prynne. 3. -Reread the work, jotting down notes of all relevant matters. As you read, reflect on your reading and record your reflections. If you have a feeling or an idea, jot it down; dont assume that you will remember it when you get around to writing your essay. The margins of the book are a good place for initial jottings, but many people find that in the long run it is easiest to transfer these notes to 3 5 cards, writing on one side only, or to a file in a word processor. 4. -Sort out your cards into some kind of reasonable divisions, and reject cards irrelevant to your topic. If you are writing an explication, the order probably is essentially the order of the lines or of

the episodes, but if you are writing an analysis you almost surely will want to rearrange your notes. If you took notes on a word processor, print them andwell, here the authors of this text differ. One author recommends that you make jottings on the printout (put this with X, put this at the end of file; probably not useful) so that you can, by block movements, rearrange the sequence in your file and thus have something fairly well organized to scan and think about on-screen. Another author, aiming for the same end result, recommends that you scissor the jottings apart, reorganize them just as you would reorganize index cards, and then, after much fiddling, rearrange the sequence in your file. Whichever method you use, get the notes into order. For instance, you may wish to organize your essay from the lesser material to the greater (to avoid anticlimax) or from the simple to the complex (to ensure intelligibility). If, for instance, you are discussing the roles of three characters in a story, it may be best to build up to the one of the three that you think the most important. If you are comparing two characters it may be best to move from the most obvious contrasts to the least obvious. When you have arranged your notes into a meaningful sequence of packets, you have approximately divided your material into paragraphs, though of course two or three notes may be combined into one paragraph, or one packed note may turn into two or more paragraphs. 5. -Get it down on paper. Most essayists find it useful to jot down some sort of outline, indicating the main idea of each paragraph and, under each main idea, supporting details that give it substance. An outlinenot necessarily anything highly formal with capital and lowercase letters and roman and arabic numerals, but merely key phrases in some sort of orderwill help you to overcome the paralysis called writers block that commonly afflicts professionals as well as students. A page of paper with ideas in some sort of sequence, however rough, ought to encourage you to realize that you do have something to say. And so, despite the temptation to sharpen another pencil or put a new ribbon into the printer or check your e-mail, the best thing to do at this point is to sit down and start writing. If you dont feel that you can work from note cards and a rough outline, try another method: get something down on paper (or on a disk) by writing freely, sloppily, automatically, or whatever, but allowing your ideas about what the work means to you and how it conveys its meaningrough as your ideas may beto begin to take visible form. If you are like most people, you cant do much

precise thinking until you have committed to paper at least a rough sketch of your initial ideas. Later you can push and polish your ideas into shape, perhaps even deleting all of them and starting over, but its a lot easier to improve your ideas once you see them in front of you than it is to do the job in your head. On paper or on the screen of a word processor one word leads to another; in your head one word often blocks another. Just keep going; you may realize, as you near the end of a sentence, that you no longer believe it. OK, be glad that your first idea led you to a better one, and pick up your better one and keep going with it. What you are doing is, in a sense, by trial and error pushing your way not only toward clear expression but also toward sharper ideas and richer responses. 6. -If there is time, reread the work, looking for additional material that strengthens or weakens your main point; take account of it in your outline or draft. 7. By now your thesis (your argument) should be clear to you, and you ought to be able to give your essay an informative titlenot simply the title of the story, poem, or play, but something that lets your reader know where you will be going. With a thesis and title clearly in mind, improve your draft, checking your notes for fuller details, such as supporting quotations. If, as you work, you find that some of the points in your earlier jottings are no longer relevant, eliminate them, but make sure that the argument flows from one point to the next. As you write, your ideas will doubtless become clearer; some may prove to be poor ideas. (We rarely know exactly what our ideas are until we have them set down on paper. As the little girl said, replying to the suggestion that she should think before she spoke, How do I know what I think until I say it?) Not until you have written a draft do you really have a strong sense of what your ideas are and how good your essay may be. 8. -After a suitable interval, preferably a few days, read the draft with a view toward revising it, not with a view toward congratulating yourself. A revision, after all, is a re-vision, a second (and presumably sharper) view. When you revise, you will be in the company of Picasso, who said that in painting he advanced by a series of destructions. A revisionsay, the substitution of a precise word for an imprecise oneis not a matter of prettifying but of thinking. As you read, correct things that disturb you (for example, awkward repetitions that bore, inflated utterances that grate), add supporting detail where the argument is undeveloped (a paragraph of only one or two sentences is

usually an undeveloped paragraph), and ruthlessly delete irrelevancies however well written they may be. But remember that a deletion probably requires some adjustment in the preceding and subsequent material. Make sure that the argument, aided by transitions, runs smoothly. The details should be relevant, the organization reasonable, the argument clear. Check all quotations for accuracy. Quotations are evidence, usually intended to support your assertions, and it is not nice to alter the evidence, even unintentionally. If there is time (there almost never is), put the revision aside, reread it in a day or two, and revise it again, especially with a view toward deleting wordiness and, on the other hand, supporting generalizations with evidence. 9. -Type, write, or print a clean copy, following the principles concerning margins, pagination, footnotes, and so on set forth on pages 17641765. If you have borrowed any ideas, be sure to give credit, usually in footnotes, to your sources. Remember that plagiarism is not limited to the unacknowledged borrowing of words; a borrowed idea, even when put into your own words, requires acknowledgment. 10. -Proofread and make corrections as explained on pages 17651766. Remember that writing is a form of self-representation. Fairly or unfairly, readers will make judgments about you based on how you present yourself to them in your writing. With this in mind, proofread your work carefully, making sure that there are no misspellings, misquotations, and the like. The trick, of course, is not to feel so good about the paper that you find yourself skimming and congratulating yourself on your ideas, rather than reading word by word, with an eye for small errors.

ADDITIONAL READINGS
KATE CHOPIN
For a biographical sketch, see page 28.

Ripe Figs [1893]

Maman-Nainaine said that when the figs were ripe Babette might go to visit her cousins down on the Bayou-Lafourche where the sugar cane grows. Not that the ripening of figs had the least thing to do with it, but that is the way Maman-Nainaine was. It seemed to Babette a very long time to wait; for the leaves upon the trees were tender yet, and

the figs were like little hard, green marbles. But warm rains came along and plenty of strong sunshine, and though Maman-Nainaine was as patient as the statue of la Madone, and Babette as restless as a humming-bird, the first thing they both knew it was hot summertime. Every day Babette danced out to where the fig-trees were in a long line against the fence. She walked slowly beneath them, carefully peering between the gnarled, spreading branches. But each time she came disconsolate away again. What she saw there finally was something that made her sing and dance the whole long day. When Maman-Nainaine sat down in her stately way to breakfast, the following morning, her muslin cap standing like an aureole about her white, placid face, Babette approached. She bore a dainty porcelain platter, which she set down before her godmother. It contained a dozen purple figs, fringed around with their rich, green leaves. Ah, said Maman-Nainaine arching her eyebrows, how early the figs have ripened this year! Oh, said Babette. I think they have ripened very late. Babette, continued Maman-Nainaine, as she peeled the very plumpest figs with her pointed silver fruit-knife, you will carry my love to them all down on Bayou-Lafourche. And tell your Tante Frosine I shall look for her at Toussaintwhen the chrysanthemums are in bloom.

TOPICS FOR CRITICAL THINKING AND WRITING

1. -Compare and contrast Maman-Nainaine and Babette. 2. -Two questions here: What, if anything, happens in Ripe Figs? And what, in your opinion, is the story about? 3. -What, if anything, would be lost if the last line were omitted? (If you can think of a better final line, write it, and explain why your version is preferable.)

WILLIAM STAFFORD
William Stafford (19141993) was born in Hutchinson, Kansas, and was educated at the University of Kansas and the State University of Iowa. A conscientious objector during World War II, he worked for the Brethren Service and the Church World Service. After the war he taught at several universities and then settled at Lewis and Clark College in Portland, Oregon. In addition to writing several books of poems, Stafford wrote Down in My Heart (1947), an account of his experiences as a conscientious objector.

Traveling Through the Dark

[1960]

Traveling through the dark I found a deer dead on the edge of the Wilson River road. It is usually best to roll them into the canyon: the road is narrow; to swerve might make more dead. By glow of the tail-light I stumbled back of the car and stood by the heap, a doe, a recent killing; she had stiffened already, almost cold. I dragged her off; she was large in the belly. 8 4

My fingers touching her side brought me the reason her side was warm; her fawn lay there waiting, alive, still, never to be born. Beside that mountain road I hesitated. 12 The car aimed ahead its lowered parking lights; under the hood purred the steady engine. I stood in the glare of the warm exhaust turning red; around our group I could hear the wilderness listen. I thought hard for us allmy only swerving Then pushed her over the edge into the river. 16

TOPICS FOR CRITICAL THINKING AND WRITING

1. -Look at the first sentence (the first two lines) and try to recall what your impression of the speaker was, based only on these two lines, or pretend that you have not read the entire poem, and characterize him merely on these two lines. Then take the entire poem into consideration and characterize him. 2. -What do you make of the title? Do you think it is a good title for this poem? Explain.

LORNA DEE CERVANTES

Lorna Dee Cervantes, born in San Francisco in 1954, founded a press and a poetry magazine, Mango, chiefly devoted to Chicano literature. In 1978 she received a fellowship from the National Endowment for

the Arts, and in 1981 she published her first book of poems. Refugee Ship, originally written in 1974, was revised for the book. We print the revised version.

Refugee Ship

[1981]

Like wet cornstarch, I slide past my grandmothers eyes. Bible at her side, she removes her glasses. The pudding thickens. Mama raised me without language. Im orphaned from my Spanish name. The words are foreign, stumbling on my tongue. I see in the mirror my reflection: bronzed skin, black hair. I feel I am a captive aboard the refugee ship. The ship that will never dock. El barco que nunca atraca.

Topics for Critical Thinking and Writing

1. -What do you think the speaker means by the comparison with wet cornstarch in line 1? And what do you take her to mean in line 6 when she says, Im orphaned from my Spanish name? 2. -Judging from the poem as a whole, why does the speaker feel she is a captive / aboard the refugee ship? How would you characterize such feelings? 3. -In an earlier version of the poem, instead of my grandmothers eyes Cervantes wrote mi abuelitas eyes; that is, she used the Spanish words for my grandmother. In line 5 instead of Mama she wrote mam (again, the Spanish equivalent), and in line 9 she wrote brown skin instead of bronzed skin. The final line of her original version was not in Spanish but in English, a repetition of the preceding line, which ran thus: A ship that will never dock. How does each of these changes strike you?

JOS ARMAS

Born in 1944, Jos Armas has been a teacher (at the University of New Mexico and at the University of Albuquerque), publisher, critic, and community organizer. His interest in community affairs won him a fellowship, which in 19741975 brought him into association with the Urban Planning Department at the Massachusetts Institute of Technology. In 1980 he was awarded a writing fellowship by the National Endowment for the Arts, and he now writes a column on Hispanic affairs for De Colores.

El Tonto del Barrio1 Romeo Estrado was called El Cotorro2 because he was always whistling and singing. He made nice music even though his songs were spontaneous compositions made up of words with sounds that he liked but which seldom made any sense. But that didnt seem to bother either Romero or anyone else in the Golden Heights Centro where he lived. Not even the kids made fun of him. It just was not permitted.
Romero had a ritual that he followed almost every day. After breakfast he would get his broom and go up and down the main street of the Golden Heights Centro whistling and singing and sweeping the sidewalks for all the businesses. He would sweep in front of the Tortillera America,3 the XXX Liquor Store, the Tres Milpas4 Bar run by Tino Gabaldon, Barelas Barber Shop, the used furniture store owned by Goldstein, El Centro Market of the Avila family, the Model Cities Office, and Lourdes Printing Store. Then, in the afternoons, he would come back and sit in Barelas Barber Shop and spend the day looking at magazines and watching and waving to the passing people as he sang and composed his songs without a care in the world. When business was slow, Barelas would let him sit in the barbers chair. Romero loved it. It was a routine that Romero kept every day except Sundays and Mondays when Barelas Barber Shop was closed. After a period of years, people in the barrio got used to seeing Romero do his little task of sweeping the sidewalks and sitting in Barelas Barber Shop. If he didnt show up one day someone assumed the responsibility to go to his house to see if he was ill. People would stop to say hello to Romero on the street and although he never initiated a conversation while he was sober, he always

smiled and responded cheerfully to everyone. People passing the barber shop in the afternoons made it a point to wave even though they couldnt see him; they knew he was in there and was expecting some salutation. When he was feeling real good, Romero would sweep in front of the houses on both sides of the block also. He took his job seriously and took great care to sweep cleanly, between the cracks and even between the sides of buildings. The dirt and small scraps went into the gutter. The bottles and bigger pieces of litter were put carefully in cardboard boxes, ready for the garbage man. 5 If he did it the way he wanted, the work took him the whole morning. And always cheerful always with some song. Only once did someone call attention to his work. Frank Avila told him in jest that Romero had forgotten to pick up an empty bottle of wine from his door. Romero was so offended and made such a commotion that it got around very quickly that no one should criticize his work. There was, in fact, no reason to. Although it had been long acknowledged that Romero was a little touched, he fit very well into the community. He was a respected citizen. He could be found at the Tres Milpas Bar drinking his occasional beer in the evenings. Romero had a rivalry going with the Ranchera songs on the jukebox. He would try to outsing the songs using the same melody but inserting his own selection of random words. Sometimes, like all people, he would bust out and get drunk. One could always tell when Romero was getting drunk because he would begin telling everyone that he loved them. 10 I looov youuu, he would sing to someone and offer to compose them a song. Ta bueno, Romero. Ta bueno, ya bete,5 they would tell him. Sometimes when he got too drunk he would crap in his pants and then Tino would make him go home. Romero received some money from Social Security but it wasnt much. None of the merchants gave him any credit because he would always forget to pay his bills. He didnt do it on purpose, he just forgot and spent his money on something else. So instead, the businessmen preferred to do little things for him occasionally. Barelas would trim his hair when things were slow. The Tortillera

America would give him menudo6 and fresh-made tortillas at noon when he was finished with his sweeping. El Centro Market would give him the overripe fruit and broken boxes of food that no one else would buy. Although it was unspoken and unwritten, there was an agreement that existed between Romero and the Golden Heights Centro. Romero kept the sidewalks clean and the barrio looked after him. It was a contract that worked well for a long time. Then, when Seferino, Barelas oldest son, graduated from high school he went to work in the barber shop for the summer. Seferino was a conscientious and sensitive young man and it wasnt long before he took notice of Romero and came to feel sorry for him. 15 One day when Romero was in the shop Seferino decided to act. Mira, Romero. Yo te doy 50 centavos por cada da que me barres la banqueta. Fifty cents for every day you sweep the sidewalk for us. Qu te parece?7 Romero thought about it carefully. Hecho! Done! he exclaimed. He started for home right away to get his broom. Why did you do that for, mijo?8 asked Barelas. 20 It dont seem right, Dad. The man works and no one pays him for his work. Everyone should get paid for what they do. He dont need no pay. Romero has everything he needs. Its not the same, Dad. How would you like to do what he does and be treated the same way? Its degrading the way he has to go around getting scraps and handouts. Im not Romero. Besides you dont know about these things, mijo. Romero would be unhappy if his schedule was upset. Right now everyone likes him and takes care of him. He sweeps the sidewalks because he wants something to do, not because he wants money. Ill pay him out of my money, dont worry about it then. 25 The money is not the point. The point is that money will not help Romero. Dont you understand that? Look, Dad. Just put yourself in his place. Would you do it? Would you cut hair for nothing? Barelas just knew his son was putting something over on him but he didnt know how to answer. It seemed to make sense the way Seferino explained it. But it still went against his instinct. On the other hand, Seferino had gone and finished high school. He must know something. There were few

kids who had finished high school in the barrio, and fewer who had gone to college. Barelas knew them all. He noted (with some pride) that Seferino was going to be enrolled at Harvard University this year. That must count for something, he thought. Barelas himself had never gone to school. So maybe his son had something there. On the other hand . . . it upset Barelas that he wasnt able to get Seferino to see the issue. How can we be so far apart on something so simple, he thought. But he decided not to say anything else about it. Romero came back right away and swept the front of Barelas shop again and put what little dirt he found into the curb. He swept up the gutter, put the trash in a shoe box and threw it in a garbage can. Seferino watched with pride as Romero went about his job and when he was finished he went outside and shook Romeros hand. Seferino told him he had done a good job. Romero beamed. 30 Manolo was coming into the shop to get his hair cut as Seferino was giving Romero his wages. He noticed Romero with his broom. Whats going on? He asked. Barelas shrugged his shoulders. Qu tiene Romero?9 Is he sick or something? No, hes not sick, explained Seferino, who had now come inside. He told Manolo the story. Were going to make Romero a businessman, said Seferino. Do you realize how much money Romero would make if everyone paid him just fifty cents a day? Like my dad says, Everyone should be able to keep his dignity, no matter how poor. And he does a job, you know. Well, it makes sense, said Manolo. 35 Hey, Maybe Ill ask people to do that, said Seferino. That way the poor old man could make a decent wage. Do you want to help, Manolo? You can go with me to ask people to pay him. Well, said Manolo as he glanced at Barelas, Im not too good at asking people for money. This did not discourage Seferino. He went out and contacted all the businesses on his own, but no one else wanted to contribute. This didnt discourage Seferino either. He went on giving Romero fifty cents a day. After a while, Seferino heard that Romero had asked for credit at the grocery store. See, Dad. What did I tell you? Things are getting better for him already. Hes becoming his own man. And look. Its only been a couple of weeks. Barelas did not reply.

But then the next week Romero did not show up to sweep any sidewalks. He was around but he didnt do any work for anybody the entire week. He walked around Golden Heights Centro in his best gray work pants and his slouch hat, looking important and making it a point to walk right past the barber shop every little while. 40 Of course, the people in the Golden Heights Centro noticed the change immediately, and since they saw Romero in the street, they knew he wasnt ill. But the change was clearly disturbing the community. They discussed him in the Tortillera America where people got together for coffee, and at the Tres Milpas Bar. Everywhere the topic of conversation was the great change that had come over Romero. Only Barelas did not talk about it. The following week Romero came into the barber shop and asked to talk with Seferino in private. Barelas knew immediately something was wrong. Romero never initiated a conversation unless he was drunk. They went into the back room where Barelas could not hear and then Romero informed Seferino, I want a raise. What? What do you mean, a raise? You havent been around for a week. You only worked a few weeks and now you want a raise? Seferino was clearly angry but Romero was calm and insistent. Romero correctly pointed out that he had been sweeping the sidewalks for a long time. Even before Seferino finished high school. 45 I deserve a raise, he repeated after an eloquent presentation. Seferino looked coldly at Romero. It was clearly a stand-off. Then Seferino said, Look, maybe we should forget the whole thing. I was just trying to help you out and look at what you do. Romero held his ground. I helped you out too. No one told me to do it and I did it anyway. I helped you many years. Well, lets forget about the whole thing then, said Seferino. 50 I quit then, said Romero. Quit? exclaimed Seferino as he laughed at Romero. Quit! I quit! said Romero as he walked out the front of the shop past Barelas, who was cutting a customers hair.

Seferino came out shaking his head and laughing. Can you imagine that old guy? 55 Barelas did not seem too amused. He felt he could have predicted that something bad like this would happen. Romero began sweeping the sidewalks again the next day with the exception that when he came to the barber shop he would go around it and continue sweeping the rest of the sidewalks. He did this for the rest of the week. And the following Tuesday he began sweeping the sidewalk all the way up to the shop and then pushing the trash to the sidewalk in front of the barber shop. Romero then stopped coming to the barber shop in the afternoon. The barrio buzzed with fact and rumor about Romero. Tino commented that Romero was not singing anymore. Even if someone offered to buy him a beer he wouldnt sing. Frank Avila said the neighbors were complaining because he was leaving his TV on loud the whole day and night. He still greeted people but seldom smiled. He had run up a big bill at the liquor store and when the manager stopped his credit, he caught Romero stealing bottles of whiskey. He was also getting careless about his dress. He didnt shave and clean like he used to. Women complained that he walked around in soiled pants, that he smelled bad. Even one of the little kids complained that Romero had kicked his puppy, but that seemed hard to believe. Barelas felt terrible. He felt responsible. But he couldnt convince Seferino that what he had done was wrong. Barelas himself stopped going to the Tres Milpas Bar after work to avoid hearing about Romero. Once he came across Romero on the street and Barelas said hello but with a sense of guilt. Romero responded, avoiding Barelas eyes and moving past him awkwardly and quickly. Romeros behavior continued to get erratic and some people started talking about having Romero committed. You cant do that, said Barelas when he was presented with a petition. 60 Hes flipped, said Tino, who made up part of the delegation circulating the petition. No one likes Romero more than I do, you know that Barelas. But hes really crazy, said Frank Avila. He was crazy before. No one noticed, pleaded Barelas. But it was a crazy we could depend on. Now he just wants to sit on the curb and pull up the womens skirts. Its terrible. The women are going crazy. Hes also running into the street stopping

the traffic. You see how he is. What choice do we have? Its for his own good, put in one of the workers from the Model Cities Office. Barelas dismissed them as outsiders. Seferino was there and wanted to say something but a look from Barelas stopped him. 65 We just cant do that, insisted Barelas. Lets wait. Maybe hes just going through a cycle. Look. Weve had a full moon recently, qu no?10 That must be it. You know how the moon affects people in his condition. I dont know, said Tino. What if he hurts. . . . Hes not going to hurt anyone, cut in Barelas. No, Barelas. I was going to say, what if he hurts himself. He has no one at home. Id say, let him come home with me for a while but you know how stubborn he is. You cant even talk to him any more. He gives everyone the finger when they try to pull him out of the traffic, said Frank Avila. The cops have missed him, but it wont be long before they see him doing some of his antics and arrest him. Then what? Then the poor guy is in real trouble. 70 Well, look, said Barelas. How many names you got on the list? Tino responded slowly, Well, we sort of wanted you to start off the list. Lets wait a while longer, said Barelas. I just know that Romero will come around. Lets wait just a while, okay? No one had the heart to fight the issue and so they postponed the petition. There was no dramatic change in Romero even though the full moon had completed its cycle. Still, no one initiated the petition again and then in the middle of August Seferino left for Cambridge to look for housing and to register early for school. Suddenly everything began to change again. One day Romero began sweeping the entire sidewalk again. His spirits began to pick up and his strange antics began to disappear. 75 At the Tortillera America the original committee met for coffee and the talk turned to Romero. Hes going to be all right now, said a jubilant Barelas. I guarantee it. Well, dont hold your breath yet, said Tino. The full moon is coming up again. Yeah, said Frank Avila dejectedly.

When the next full moon was in force the group was together again drinking coffee and Tino asked, Well, hows Romero doing? 80 Barelas smiled and said, Well. Singing songs like crazy.

TOPICS FOR CRITICAL THINKING AND WRITING

1. -What sort of man do you think Barelas is? In your response take account of the fact that the townspeople sort of want Barelas to start off the list of petitioners seeking to commit Romero. 2. -The narrator, introducing the reader to Seferino, tells us that Seferino was a conscientious and sensitive young man. Do you agree? Why, or why not? 3. -What do you make of the last line of the story? 4. -Do you think this story could take place in almost any community? If you did not grow up in a barrio, could it take place in your community? Getting Ideas: Pre-Writing

Chapter 2 / Writing about Literature: From Idea to Essay Kate Chopin Chapter 2 / Writing about Literature: From Idea to Essay Getting Ideas: Pre-Writing Chapter 2 / Writing about Literature: From Idea to Essay Getting Ideas: Pre-Writing Chapter 2 / Writing about Literature: From Idea to Essay Writing a Draft Chapter 2 / Writing about Literature: From Idea to Essay Writing a Draft Chapter 2 / Writing about Literature: From Idea to Essay Writing a Draft Chapter 2 / Writing about Literature: From Idea to Essay Crowe 1 Lynn Crowe

Professor OBrian English 102 1 November 2005 Crowe 2

The Final Version

Chapter 2 / Writing about Literature: From Idea to Essay William Butler Yeats Chapter 2 / Writing about Literature: From Idea to Essay

Explication Chapter 2 / Writing about Literature: From Idea to Essay Review: How to Write an Effective Essay Chapter 2 / Writing about Literature: From Idea to Essay Review: How to Write an Effective Essay Chapter 2 / Writing about Literature: From Idea to Essay William Stafford Chapter 2 / Writing about Literature: From Idea to Essay 5 13 El barco que nunca atraca The ship that never docks. 10 Jos Armas

1El Tonto del Barrio the barrio dummy (in the United States, a barrio is a Spanish-speaking community). All notes are by the editors. 2El Cotorro The Parrot. 3Tortillera America America Tortilla Factory. 4Tres Milpas Three Cornfields. Chapter 2 / Writing about Literature: From Idea to Essay 5Ta bueno, ya bete OK, now go away. 6menudo tripe soup. 7Qu te parece? How does that strike you? 8mijo (mi hijo) my son.

Jos Armas 9Qu tiene Romero? Whats with Romero? Chapter 2 / Writing about Literature: From Idea to Essay Jos Armas 10qu no? right? Chapter 2 / Writing about Literature: From Idea to Essay