Our five-step method for incorporating quotations

introduce the quotation: this will help situate the passage. It might not even be a full sentence

provide the quotation: quote it exactly. Include parenthetical documentation to cite your source.

interpret it: you might approach this by saying “In other words…”

analyze it: what is significant about this passage, or what do you understand about it that you want your reader to understand? How is it significant?

apply it back to our argument: how does it support the argument you make in your thesis statement?

Prof. Rebecca Devers introduced this method to me–there are many ways of describing how to incorporate quotations, but this method seems the most thorough to me. Here’s the language she uses to describe these five steps:

Introduce: Use transitional phrases to inform your reader that you’re about to use someone else’s words.

Quote: Include words or images from another source. When you quote someone, you are obligated to represent them accurately. This means avoiding typos and mistakes, and it means providing accurate citations that tell your reader what source provided the words or images.

Interpret: If a quotation can stand on its own, then your reader doesn’t need to read your paper. After using a quotation, explain it to your reader. Put that quotation into your own words, or into a language or discourse that your audience can better understand. Consider starting sentences after quotations with phrases like, “In other
words, . . . .”

Analyze: Interpretation translates the original author’s words into a language your audience will understand. Analysis tells your reader why that quotation was so important. It highlights the significance of an author’s word choice, argument, example, or logic. Analysis goes beyond the obvious, telling the readers what they may
have missed if they didn’t read closely enough.

Apply: Each time you use a quotation, make it clear to your reader how it supports your argument. You can do that by applying your analysis to your thesis statement. Remind your reader of your purpose for writing, and tell them how this quotation, and your analysis of it, helps you support your argument.

Prof. Devers cautions against using this as a formula that might get boring to read. One way to vary this is to make sure you don’t only write one sentence for each of the three steps after the quotation.

I hope that you find this method helps you develop your paragraphs in more meaningful, careful ways.

thesis statement workshop

The realities of life and death are portrayed through Beloved in hurt and pain as it is felt by the main characters.–more of a middle sentence in the introduction

It is entirely within reason to conclude that had Paul D not inadvertently banished the ghost of Beloved from Sethe’s house at the start of the book, the story would not have played out the way it did, namely Beloved would not have come back and the other characters would not have had to negotiate her presence.

One of the most crucial moments in the novel Beloved by Toni Morrison comes after Paul D’s arrival in Sethe’s house after 18 years of separation from Sweet Home. Sethe was reclusive after she committed grave sin of killing her baby, and had adapted to the baby’s ghost haunting her house.The situation would not have changed much in Sethe and Denver’s life if Paul D had not come into their life and drove off the baby’s ghost, since Beloved would not have come back and the other characters would not have had to negotiate her presence.

essay 2 passage

“Paul D made a few acquaintances; spoke to them about what work he might
find. Sethe returned the smiles she got. Denver was swaying with delight. And
on the way home, although leading them now, the shadows of three people still
held hands.
A FULLY DRESSED woman walked out of the water. She barely gained the dry
bank of the stream before she sat down and leaned against a mulberry tree. All
day and all night she sat there, her head resting on the trunk in a position
abandoned enough to crack the brim in her straw hat. Everything hurt but her
lungs most of all.
Sopping wet and breathing shallow she spent those hours trying to
negotiate the weight of her eyelids. The day breeze blew her dress dry; the
night wind wrinkled it. Nobody saw her emerge or came accidentally by. If they
had, chances are they would have hesitated before approaching her. Not because
she was wet, or dozing or had what sounded like asthma, but because amid all
that she was smiling……
“You from around here?” Sethe asked her.
She shook her head no and reached down to take off her shoes.
She pulled her dress up to the knees and rolled down her stockings.
When the hosiery was tucked into the shoes, Sethe saw that her feet were
like her hands, soft and new. She must have hitched a wagon ride, thought
Sethe. Probably one of those West Virginia girls looking for something to beat
a life of tobacco and sorghum. Sethe bent to pick up the shoes.
“What might your name be?” asked Paul D.
“Beloved,” she said, and her voice was so low and rough each one looked
at the other two. They heard the voice first–later the name.
“Beloved. You use a last name, Beloved?” Paul D asked her.
“Last?” She seemed puzzled. Then “No,” and she spelled it for them,
slowly as though the letters were being formed as she spoke them.
Sethe dropped the shoes; Denver sat down and Paul D smiled.
He recognized the careful enunciation of letters by those, like himself,
who could not read but had memorized the letters of their name. He was about to
ask who her people were but thought better of it. A young coloredwoman drifting
was drifting from ruin. He had been in Rochester four years ago and seen five
women arriving with fourteen female children. All their men–brothers, uncles,
fathers, husbands, sons–had been picked off one by one by one. They had a
single piece of paper directing them to a preacher on DeVore Street.
The War had been over four or five years then, but nobody white or black
seemed to know it. Odd clusters and strays of Negroes wandered the back roads
and cowpaths from Schenectady to Jackson.
Dazed but insistent, they searched each other out for word of a cousin,
an aunt, a friend who once said, “Call on me. Anytime you get near Chicago,
just call on me.” Some of them were running from family that could not support
them, some to family; some were running from dead crops, dead kin, life
threats, and took-over land. Boys younger than Buglar and Howard;
configurations and blends of families of women and children, while elsewhere,
solitary, hunted and hunting for, were men, men, men. Forbidden public
transportation, chased by debt and filthy “talking sheets,” they followed
secondary routes, scanned the horizon for signs and counted heavily on each
other. Silent, except for social courtesies, when they met one another they
neither described nor asked about the sorrow that drove them from one place to
another. The whites didn’t bear speaking on. Everybody knew.
So he did not press the young woman with the broken hat about where from
or how come.” (Morrison pg 28) (online version)

i think a significant part in the story where is starts picking up to climax is where they first meet beloved and a few sentences before denver was actually starting to get used to pual d’s presence, but all of that changes when beloved shows up

Passage for Essay 2

Inside, two boys bled in the sawdust and dirt at the feet of a nigger woman holding a blood-soaked child to her chest with one hand and an infant by the heels in the other. She did not look at them; she simply swung the baby toward the wall planks, missed and tried to connect a second time, when out of nowheremin the ticking time the men spent staring at what there was to stare the old nigger boy, still mewing, ran through the door behind them and snatched the baby from the arch of its mother’s swing.
Right off it was clear, to schoolteacher especially, that there was nothing there to claim. The three (now four–because she’d had the one coming when she cut) pickaninnies they had hoped were alive and well enough to take back to Kentucky, take back and raise properly to do the work Sweet Home desperately needed, were not.

My Experience at the BHS

Visiting the Brooklyn Historical Society was a complete new experience for me because ive never went to a place where real primary sources were archived throughout the years and be able to use in research. its like a time machine and being able to peer into the past and see some of the past and how it was. it has also changed how i can do research and use primary sources to back up my thesis, or support an argument, or enhance a research paper. it has also changed how i view and read the book beloved and any other piece of literature that is in that time period and about slavery such as the “runaway slave profile” by Franklin/Schwninger it gave some examples and descriptions on how the slave owners put slave ads on newspapers and how they described them,whether they were dark skin, mulatto, etc and any other unique features that could identify the person in the ad. Even though they gave descriptions and how they did it and what the ads looked like it does not compare to actually physically seeing and and reading it for yourself what the ads looked like and what they contained. for example the caricature of a slave next to the ad to signify that it was a slave ad. many different things ive learned and experienced. it has changed how i look at primary sources and where to find them. i hope to return to the BHS in the future and take advantage of the primary sources

 

Group Project Runaway Slave BHS (Brian, Danny, Simone and Nicole)

In the first slave advertisement it is a reward of $20 to find the slave named Joe. They give a brief description of his outer appearance saying how tall he is (5’4), well-built and that he has no beard. He is also 20 years old. Also they mentioned that he has a scar on his face in order for others to recognize him. The article warns captains to not harbor this slave and if spotted to report it.

In the second slave advertisement it’s not a reward but a captured slave. This slave was arrested for calling himself Caesar and said that he belongs to Colonel Grem of Fort Hudson. In the advisement they said that he is being held in the jail of the Parisher St James. He is 35 years old and lost his right leg and the end of his left foot.

These slave advertisements compared to the Franklin/Schweninger “runaway slave profile” are brief and to the point. Although I found it interesting in the first document because the slave named Joe was 20 years old and according to the runaway slave profile, teens and early twenties was the common age for men to run away. They also mentioned his “built” and height which in the runaway slave was common for owners to state that. In the runaway slave profile they said that slaves were identifiable by marks or scars and in document 1 you can see that when they mentioned Joe having a scar on his face. It also mentions about missing limbs although in document 2 doesn’t mention how he lost his leg but it could be from an accident or disease that caused him to lose his leg according to the runaway slave profile. They never mentioned any of the slaves skin color in the advertisements or what their clothing may look like and that was also two of the things that were part of the profile of a runaway.  (Nicole Romano)

 

Danny: Bullet Point 3&5

3. When looking at the different documents we came upon an old news article that was reward amount for the slave that escaped and if found the reward on top was the payment for finding them. The wanted news article described the runaway slaves to be between 2035 years of age, both black and male, one was Joe and he had a scar on his face, no beard, well built, and was around 5 feet four inches tall. The article as posted by the state of Louisiana 1835 may 15th. Another article described a man who was jailed for referring himself as Cesar who belong to the colonial green of fort Hudson.  He was 35 years of age and lost his right leg and the end of his left in a big accident that isn’t specified. This article was published may 30th 1835.

5. When reading the “runaway slave profile” Franklin/Schweninger  the story described the runnaway slave to be young men in their teens or twenties and 78% of those were between the ages of 13-29. Rarely was there an older slave runaway but when there was one they were between the ages of 40-50. Most were described as having dark skin, not so well built, and height varied. But when seen in the newspaper article the two men described were between 20-40, well-built and unlike the ones described in the “runaway slave profile” the ones in the news article were injured in different ways. One had a scar on his face, and the other had no leg/ foot.

 

Brian: Bullet Point #6

The reality of connecting the acts of the “slaves” in Beloved to the descriptions given in the advertisements and even just connecting it to the actions taken by the “owners” is startling. The thought that these articles represented another human being is one that i still have problems accepting. For example in the case of Sethe she ran away without taking anything to help disguised herself. If her owner had created an ad for her its description would have been spot on until she gave birth and got the coat from the man and his son to carry her newborn child in. In the first advertisement we have an offered reward for the return or capture of a slave and a proclamation that warns ship captains to not harbor the slave whose name was Joe. Comparing these two things a fictitious account of a slave to that of a real advertisement sheds a light onto an issue that should be remembered and teach a new generation about where they were and how far they have come. In Beloved we learn the story of Sethe who has run away and is on the run for quite some time trying to make it to safety. She goes through many trials and tribulations before making it to Baby Suggs house her mother-in-law. This as it pertains to the ads is basically that she had somewhere to go to and someone that could help her when she got there. The people mentioned in these ads probably had no one and would have been on their own after arriving to safety. In retrospect I think both the story and these ads are part of history that should never be forgotten because it is what helps us to realize that we are an advancing people who are better off due to our experiences. I mean better as a collective whole and not just individually.

Simone McPherson

The size of the rewards are very small, they are just ads from the newspapers. The ads include from document 6; a $20.00 reward for a runaway slave named Joe, who doesn’t have a beard but has a scar on the face, about 20 years old, who is also 5’4 and well built. In document 5, describes a man named Caesar who is about 35 years old. He lost his right leg and the end of his left foot. During these times which is rounded to about the time of 1835. The slave owners have given good descriptions of their runaways and it seems like they are a value to them, since they want them back.

Attached are four pictures the first two are advertisements for run-away slaves the third is the citation for all the images and the fourth is a code that was the law for all slaves

Questions about Beloved

When Sethe is choked, is it Beloved, or is it the spirit of Baby Suggs? indeterminate

What is the circle of iron? is it a representation of her past? a necklace? noose? chains–shackles?

Why does Sethe go to the Clearing? To connect with Baby Suggs

Why does she feel she needs to connect with Baby Suggs? Because she’s been remembering when she first got to 124 and what Baby Suggs did for her; also for help making sense of what Paul D told her about how Halle saw what happened to her with the schoolteacher and his two boys.

What’s the iron bit situation with Paul D? a punishment that locked his mouth.

What’s the deal with Beloved? who is she? where did she come from? is she the baby ghost?

What’s the purpose of not cleaning the baby’s eyes and waiting for Sethe’s urine? Baby Suggs’s home remedy

How can something horrific keep you from your loved ones?

Who is the narrator? not part of the story–not homodiegetic. third person. jumps to first person who is limited? characters as focalizers, free indirect discourse.

notes for midterm exam preparation

1.mental health: Consider the way mental disposition is portrayed in the short stories “A Rose for Emily” by William Faulkner  and “The Yellow Wallpaper” by Charlotte Perkins Gilman. How do the mental breaks or perks of the protagonists contribute to the development of the story. In what way are both women similar in their realities. Consider this in relation to the sort of dementia that plagues the narrator in “The Yellow Wallpaper” as well as Emily’s mental state due to her fathers interference.

also consider: Mrs. Wright in “A Jury of Her Peers”; Mrs. Samsa in “The Metamorphosis”; Goodman Brown in “Young Goodman Brown”

also: consider how one character influences another’s mental instability

also: consider how one character influences another’s health, both mental and physical

2. In short stories setting is important because it is hard to portray certain feelings in such little space of time. Consider the story “Young Goodman Brown” by Nathaniel Hawthorne and “A Jury of Her Peers” by Susan Glaspell. How does language help to portray the setting and help to show the mood and tone of the story. For example cold in “A jury of her peers” and dark in “Young Goodman Brown” as they pertain to each story. Show examples where words help to set the feeling or tone in that portion of the story.

compare with “The Yellow Wall-Paper”

“The Story of an Hour”–daytime, spring

something about symbolism in our understanding of setting: forest, springtime, etc

setting and its significance, symbolic significance

3. Consider the portrayal of the strength of women and the influences they have on each other in the following stories “The Cottagette”  By Charlotte Perkins Gilman and “A Jury of Her Peers” by Susan Glaspell. Consider the lies told by the woman to either get something in “The Cottagette” when Malda changes to get Fords attention lying to him in showing that she is a domestic woman when she is definitely not. As well as the woman lie about the bird in the box. How do these actions help to influence the outcome of the story.

truth/lies

4-time

irony: short story, short life in “The Story of an Hour”

5-SUPERNATURAL/inexplicable: “Young Goodman Brown,” “The Metamorphosis,” “The Yellow Wall-Paper”

6-inside/outside and transformations, border-crossings

7-freedom vs. death: “the story of an hour”; “a rose for emily”; “a jury of her peers”; “The Metamorphosis”

8-marriage (vs. death? vs. freedom?) restrictive vs. enabling

9-reliable narrators?

Essay Questions (Midterm)

1. Consider the way mental disposition is portrayed in the short stories “A Rose for Emily” by William Faulkner  and “The Yellow Wallpaper” by Charlotte Perkins Gilman. How do the mental breaks or perks of the protagonists contribute to the development of the story. In what way are both women similar in their realities. Consider this in relation to the sort of dementia that plagues the narrator in “The Yellow Wallpaper” as well as Emily’s mental state due to her fathers interference.

2. In short stories setting is important because it is hard to portray certain feelings in such little space of time. Consider the story “Young Goodman Brown” by Nathaniel Hawthorne and “A Jury of Her Peers” by Susan Glaspell. How does language help to portray the setting and help to show the mood and tone of the story. For example cold in “A jury of her peers” and dark in “Young Goodman Brown” as they pertain to each story. Show examples where words help to set the feeling or tone in that portion of the story.

3. Consider the portrayal of the strength of women and the influences they have on each other in the following stories “The Cottagette”  By Charlotte Perkins Gilman and “A Jury of Her Peers” by Susan Glaspell. Consider the lies told by the woman to either get something in “The Cottagette” when Malda changes to get Fords attention lying to him in showing that she is a domestic woman when she is definitely not. As well as the woman lie about the bird in the box. How do these actions help to influence the outcome of the story.

Tagging stories

In class on Wednesday, 3/13, we tagged the stories we read with words and terms that might help us think more about overlaps we could find among the stories. Here’s what we had to say:

Charlotte Perkins Gilman, “The Cottagette”

equality, domestication, gender roles, romance, happy endings? domesticity, gender roles, feminism, role of gender, roles, Chinese take-out, doesn’t have to stay in the kitchen, conformity, utopia, happy ending (?), domesticity

Franz Kafka, “The Metamorphosis”

grotesque, nightmare-fuel, entombed, unconditional  vs conditional love, physical/ emotional change, gross, unordinary, euthanasia, transform, change, acceptance, metamorphosis, plot, bug, insect, ill, family, finance, metaphor, discrimination, transforming, family, creation, absurd, deformity, family, vermin, family values, family reliability, different living world, responsibility, disability, repugnant, unexplained,”The Fly”

Charlotte Perkins Gilman, “The Yellow Wall-Paper”

sickness, mental, psychological, hallucination, creepy, craziness, mental illness, loss of freedom, mental breakdown, illness, ignorance, brainwashing, confining marriage, gender role in society, you’d think yellow was a happy color, feminism, psychoanalysis, physicians, marriage, freedom, “rest cure” doesn’t work, caring vs hurting, consequences of bad marriage, gothic, dystopia

Kate Chopin, “The Story of an Hour”

what is true love?, elixir, freedom, blind persistence, freedom–not!, shame she didn’t live, freedom, marriage, illness, love, free, freedom, dark, 3rd person limited, love–who needs it? heart trouble, physical exhaustion, “freedom,” life, heart attack, lack of freedom, desire of freedom, unhappy marriage

Susan Glaspell, “A Jury of Her Peers”

woman-centric, women’s intuition, poor Mr. Wright, two wives, crazies, detective story, mystery, crime, judgmental, neighbors, women know women, confining marriage, importance of details

Nathaniel Hawthorne, “Young Goodman Brown”

Faith, damnation, symbols, allegory, distrust, forest, pink ribbons, forest, journey, evil, corruption, hallucinations vs. supernatural, hidden identities, reasons the Puritans aren’t really around anymore, demonic, godless, confusing, dream or not, young love, mystery, moral, ancient, faith, dreams, metaphors, Old English [**just have to say–this is NOT Old English. If you want to see what Old English looks like, or Middle English, or Early Modern English, in contrast to Modern English, you might check out this website, among many, many others. Thanks for listening!**]

William Faulkner, “A Rose for Emily”

crazy, haunting, death, forever and ever, pity, caring vs. hurting, loneliness, dilapidated, lonely life, Southern Gothic, loving dead, possessive, loneliness, china painting, iron-grey hair, mystery, crime, horror, past/future, 3rd person dramatic [***just to be clear, though, this story is told from a first-person plural point of view. The narrator is the people of the town. We could call this homodiegetic narration***], taxes, grotesque

Thomas Wolfe, “Only the Dead Know Brooklyn”

humor, Brooklyn, history, New York City, the map, Bensonhoist, big guy knows how to swim, transportation, directions, past, getting to know places, locations, settings, train, Brooklyn, vast, big, tour, Brooklyn, accent, NY, 1st person unreliable, enormous, unknowable, knowledge of Brooklyn, historical, accents/diction, maps, Brooklyn, Bensonhoist, Brooklyn history, culture, setting, ingenuity, visual descriptions, Bensonhurst, Red Hook, Coney Island

Comparisons in “The Metamorphosis”

who Gregor was before vs his life after his change

Gregor narrated vs. quoted

tone changes: first discovering himself as vermin to when he later accepts his situation

characters treat Gregor: mother vs father; sister from beginning to end

struggles of family: financial burden vs financial boom

physical vs emotional abnormalities or ugliness

literal vs metaphorical understanding of Gregor’s transformation

family’s reaction to Gregor when he first transforms vs when he dies

status quo vs reaction to sudden change

Although Grete is notably uncomfortable with Gregor’s new state, she takes on the responsibility of caring for her brother, a job his father could not fill.

introduce the quotation: When Gregor’s presence shocks his mother and makes her faint, Gregor’s father blames him for this

provide the quotation

interpret it

analyze it

apply it back to our argument

When Gregor’s presence shocks his mother and makes her faint, Gregor’s father blames him for this: “It was clear to Gregor that Grete had not said enough and that his father took it to mean that something bad had happened, that he was he was responsible for some act of violence” (16). Here, Mr. Samsa, although not in the room, jumps quickly to the conclusion that something awful has happened and that Gregor is at fault. He clearly sees his son as a monster, and someone to be afraid of, who would purposely hurt the family. This shows that unlike Grete, he is not willing to engage in the current family situation.

“Only the Dead Know Brooklyn” and the Brooklyn Historical Society

On Wednesday, we will be traveling to the Brooklyn Historical Society to look at some of the archived materials in their collections. Please meet promptly at 11:30 or prior inside the Adams Street entrance to City Tech (near the entrance to the bookstore). We will leave from there and travel the short distance to the Brooklyn Historical Society at 128 Pierrepont Street at Clinton Street.

Before our visit to the Brooklyn Historical Society (BHS), every student in our class needs to complete a survey. You can find the survey here. Follow the instructions on the site. If you have any questions or problems, please get in touch with me. You’ll do another survey at the end of the semester. It’s all to gauge how much you’ve learned at BHS.

To prepare, think about the following two questions:

Q: How does the “big guy” in “Only the Dead Know Brooklyn” attempt to know Brooklyn?

Q: How have you gotten to know Brooklyn?

When we’re at BHS, I’ll ask you to think about getting to know Brooklyn:

Q: How can we get to know Brooklyn and Wolfe’s story through the archival materials at BHS?

You will work in groups to examine the materials at one of six stations.

Be prepared to photograph each piece and its citation–your phone’s camera is fine.

In your groups, you will discuss what you’re looking at, trying to identify elements from the story in your materials and to piece together an understanding of the area you’re looking at.

Your group will then share what you have discussed by presenting for 3-5 minutes total on some aspects of the following topics:

  • What did you look at?
  • What do you know about Brooklyn from each piece you didn’t know before?
  • How does it represent aspects of “Only the Dead Know Brooklyn,” if it does? How is it different?
  • What more do you want to know?

Each person needs to speak!

“A Rose for Emily” Chronology

when Emily died, no one had seen the inside of her house in at least 10 years

house built in the 1870s?

Battle of Jefferson–people from it buried in the cemetery where Emily will be buried

1894: Colonel Sartoris releases Emily from the obligation of paying taxes

(Q: is this when Emily’s father died?)

next generation (20 years?): they want her to pay taxes, send notice 1/1, again in February, but she won’t pay. She looks small and fat, bloated

Colonel Sartoris died approximately 10 years before the next generation wants her taxes

30 years before they want her taxes: the smell; a week later, smell went away

2 years prior to the smell: her father died

the next day: Emily denied that he had died

three days later: she let them remove his body

a short time after her father died: Homer Barron left her

after the smell ended: Emily turned thirty, still single

gave china-painting lessons–8-10 years before they want to collect her taxes

a year prior, her 2 cousins visit, people pity her

buys poison = over 30

next day–they thought she’d kill herself

next Sunday: Emily and Homer driving down the street

the Sunday after: minister’s wife wrote to Emily’s family

people assume they’ll be married soon

Homer disappears, cousins leave after a week, then he reappears, then disappears again

Emily disappears into the house for almost six months

townspeople spread lime to get rid of the smell around the same time

age 40: teaches art class in her home

Negro man grows older–passage of time

Emily is secretive

Emily dies at age 74

back to the beginning: funeral

Negro man=servant, he leaves

funeral 2 days after she died

room upstairs hasn’t been open in 40 years–which is the time of the smell

room set up with wedding things for Homer

dusty

Homer’s body

an iron-gray hair=in her older age