TOW #13 "The Death of the Artist—and the Birth of the Creative Entrepreneur" by William Deresiewicz

          William Deresiewicz is an acclaimed editorial writer who has been writing for The Atlantic since 2014, and recently released his own novel. He focuses his writing around common trends in American culture, usually focusing his work around the arts and literature. Hence, the subject matter of his piece, "The Death of the Artist—and the Birth of the Creative Entrepreneur" does not come as much of a surprise. Deresiewicz begins this piece with a lesson in art history, as well as information on the ever-changing nature of what defines art. For the most part, this section is very factual. Additionally, he uses statements from many historians to add to the overall credibility. This demonstrates that what he is saying is correct and factual, which sets him up to have a credible opinion later in the piece. He also highlights the various definitions of the word artist, and the way that expectation of what an artist should be has changed drastically along with society. In doing so, he creates a juxtaposition with what artistry was, as opposed to what it is now. By adding such emphasis to the vast differences, Deresiewicz is able to demonstrate to his readers that the current definition of art was not always the norm. In many ways, Deresiewicz's writing is a reaction to the art movement that is happening now. The main two aspects of the modern-art world that he highlights are the nature of artists to take on various mediums, as well as the simple fact that in the twenty-first century popularity benchmarks the success of a piece. Although neither of these things are necessarily bad in their own right, Deresiewicz is able to give them both a very negative connotation through nuances created by his choices of vocabulary. He uses words such as, "sink, mourn, disappear, lose, etc." to point his readers in what he believes is the right direction, without forcing his opinion at them. This also helps set up the many rhetorical questions that he employs, in which he gives his audience lots of room to think for themselves- after he has given them a great deal of evidence supporting his opinion. Readers of The Atlantic are generally very well-educated, so it is safe for him to assume that they will logically evaluate the issue he presents on their own. Through his references of credible sources, juxtaposition, carefully chosen diction, and rhetorical questions, Deresiewicz creates a very strong argument that makes his audience reconsider the definition of art that has become a societal norm. I really enjoyed this piece, as it was very informative and really made me question myself in a sense of my own artwork and preconceived notions I had about what it means to truly be an artist.

I accessed this article on The Atlantic's website after first seeing it on Mr. Miller's website, and I would definitely recommend checking it out: http://www.theatlantic.com/magazine/archive/2015/01/the-death-of-the-artist-and-the-birth-of-the-creative-entrepreneur/383497/

TOW #12 IRB "The Right Stuff" by Tom Wolfe

         Tom Wolfe's, The Right Stuff, is an entertaining and informative read that I would highly recommend to anyone looking for a good non-fiction book that flows more like a traditional work of fiction. Wolfe seamlessly blends the abstract details from his own mind with the actual events and realities of the situations that he depicts throughout his work. I was pleasantly surprised at how much I am liking the book so far, and this factor of something being so concrete, yet also feeling "larger than life," definitely added to my personal level of enjoyment. Throughout approximately the first half of the, The Right Stuff, Wolfe focuses on the U.S.'s fascination with space exploration in the post-war era. However, I found the book to be more about the space race than the actual travel into space. In addition, the most important factor of the novel is the characters: whose bravery, and at times absurdity, eventually made the voyage into space possible for the nation. This daring and readiness to take enormous risks seemed to be exactly what Wolfe would describe as the right stuff to get the job done. When he published the book in 1979, Wolfe was already an acclaimed journalist who wrote for a wide variety of newspapers and magazines. His extensive body of non-fiction work makes him much more credible to modern-day readers, but also helped him compose the book when he was writing. The first Americans landed on the moon less than ten years before the release of, The Right Stuff, and so Wolfe was able to utilize those who were still alive as primary sources for the book.
         Throughout the first half of his book, Wolfe uses a combination of strong imagery and juxtaposition to highlight the courage of the Mercury Seven, who were NASA's first astronauts. The juxtaposition is really helpful for readers, as it makes a much more stark difference between the astronauts and the test-pilots who almost got the job instead. He shows the difference in personality, training, and ethics in order to reveal the complexity of the issues that faced the men. Additionally, he uses strong imagery in order to grab the audience's attention and add detail. From the very beginning of the book, the powerful descriptions that he writes really set the tone for the rest of the novel, "And today, here in Florida, in Jacksonville, in the peaceful year 1955, the sun shines through the pines outside, and the very air takes on the sparkle of the ocean. The ocean and a great mica-white beach are less than a mile away," (Wolfe, pg. 2). He also uses imagery to turn the audience's attention to what really matters: the people, rather than the events. 

TOW #11 "First Comes Baby, Then Comes Push Present?" by Una LaMarche

         In, "First Comes Baby, Then Comes Push Present?" NY Times staff-writer Una LaMarche questions the nature of the flamboyant "push presents" that celebrities such as Kim Kardashian have popularized more and more in the past few years. LaMarche is known for her cleverly sharing her thoughts on subjects such as feminism, privilege, and critiquing the modern-day media in the form of her own books, writing for the NY Times, and also guest-writing for the Huffington Post. With this in mind, I really did not need to question her credibility and knowledge on this subject matter, and also took her previously shared views into account when looking for nuances to alter my interpretation of the piece. In this particular writing, it seems as though she is talking to all women who have, or plan to have, children. In addition to sharing her own passionate opinion, she uses statements from women and medical professionals alike to make a very firm argument that ridicules the sincerity of "push-presents" and what they imply about a woman. Her purpose in writing is not in any means to say that women do not deserve to be shown some kind of gratification after enduring carrying a baby for nine months and then delivering some- she more so takes issue with the given name. She wittily proclaims, "it is hard to deny that the unfortunate name makes women sound like human slot machines waiting to spit out a jackpot," (para. 5). She skillfully achieves her purpose by writing something that is strongly worded enough to show significance, but also neutral enough to not make her readers feel the need to "get defensive."
        To achieve her purpose on a somewhat controversial topic by using a multitude of rhetorical devices and strategies, including juxtaposition, allusion, and helps her argument seem more logical by addressing the counterargument. She juxtaposes celebrities like Kim Kardashian with common people, and their thinking around "push presents." She does show to show the disparity between what is normal, and what is normal for a celebrity who can spend a million dollars on a necklace without thinking about it twice. In her contrast of the average women a celebrity, she alludes to the major differences in those who are extremely wealthy, as well as the way that this impacts someone's view on feminism. This greatly helps her achieve her purpose by showing the relevance of the issue she describes, and makes sure her audience knows that she is not just choosing to argue over something as small as a name. In addition, she addresses the counterargument, to show that she is aware of, and respects the other sides opinion. In doing so, she creates a very powerful argument that definitely changed the way I thought about the subject.

I accessed this article on the NY Times website: http://www.nytimes.com/2015/12/03/fashion/kim-kardashian-push-present-politics.html?ref=fashion&_r=0

This cartoon was included with the article, and I thought it did an awesome job in setting up LaMarche's ideas:

TOW #10 "Choose to Be Grateful. It Will Make You Happier" by Arthur Brooks

          In Arthur Brooks's popular piece for The New York Times, he begins to delve into his thematic purpose with a question asked to him by his Spanish in-laws on the topic of Thanksgiving: "Should you celebrate this holiday even if you do not feel grateful?" (para. 3). As this holiday is right around the corner, he brings up a very glazed over question that the American population seldom asks themselves. Through the combination of Brooks's use of statistics and his personal anecdotes he makes a strong argument that it is better to express gratitude even if it does not feel entirely genuine. Brooks simplifies the scientific explanation behind this logic and connects it back to something familiar to his readers: "According to research published in the journal Cerebral Cortex, gratitude stimulates the ventral tegmental area (part of out "reward circuitry that produces the sensation of pleasure) ... Choosing to focus on good things makes you feel better than choosing to focus on bad things. As my teenage kids would say, 'Thank you captain obvious,'" (para. 10). These statements prove the irrefutable reasoning behind what he is saying, while also keeping it simple enough that people without an extensive neuroscience background can relate to it.
           His thesis is made evident in the title he chooses; "Choose to Be Grateful. It Will Make You Happier."As the president of the American Enterprise Institute, who is also a regular Op-ed writer for such a reputable literary column as The New York Times, he is very credible by reputation which allows him to appeal to ethos. He is also appeal to logos and pathos in his piece, thanks to the employment of several device. The combination of all three appeals helps make an argument that is as appealing as it is convincing. Considering the level of academia of the average reader of The New York Times, it is pivotal that his argument has sound evidence, but is also nearly free of logical fallacies. If his audience was less intellectual, he might be able to "get away" with having less accurate information. Brooks brilliantly achieves his purpose, and proves that there is something to be said for being thankful, even when one does not necessarily feel much gratitude. In his conclusion, he proclaims, "This Thanksgiving, don't express gratitude only when you feel it. Give thanks especially when you don't feel it," (para. 22). He leaves his audience with something to think about, as well as a hopeful new state of mind.

I accessed this article on The New York Times website: http://www.nytimes.com/2015/11/22/opinion/sunday/choose-to-be-grateful-it-will-make-you-happier.html?action=click&contentCollection=International%20Arts&module=MostPopularFB&version=Full&region=Marginalia&src=me&pgtype=article

This artwork was included with the article and I think that it depicts the idea of gratitude really well, as well as tying the element of a visual text into the meaning of the article.

TOW #9 "Extra Gum: The Story of Sarah & Juan"

            Extra Gum's "The Story of Sarah & Juan" was released in early October and has since taken the internet by storm- but truthfully: and it is not very hard to see why. After every moment the gorgeous couple shares, Sarah hands Juan a piece of gum and on he depicts the scene on each wrapper. Eventually, Sarah finds herself in Juan's art gallery, realizing that all the framed gum wrappers show scenes from their relationship, ending with him proposing. She turns and sees him on one knee. The commercial does an incredible job depicting the one thing everyone seems to want: true love. This idea of undying caring and affection is nothing new to this brand, as they released the incredibly successful "Origami" commercial campaign, in 2013. After the popularity of this advertisement, and the fact that Extra has been around for decades, they are a very credible company with little to prove. With their tokened slogan, "Give extra, get extra," the company has done an incredible job creating advertisements that can not only make people tear up, but also convince wide ranges of audiences to buy their product.
          Through the use of allusion, and the imagery that is achieved through elements of cinematography, Extra gum is able to create a strong emotional appeal that enables them to connect with their viewers so much so, that they are willing to pay more for essentially the same product. Although the two main characters may have arguably fell in love without sharing Extra brand gum since the day they first met, the commercial alludes to the idea that some of the reason behind the couple's success is the small acts of caring demonstrated in their exchange of gum. The allusion to Extra gum being an essential part of falling in love will ultimately drive much of the consumer base towards this brand over their competitors. Additionally, the imagery utilized helps explain the popularity of the commercial, as it is truly enjoyable to watch. Several elements of cinematography were incorporated, hence the commercial feels much more like a short film than a mere advertisement. The scoring of the ad, with sweet vocals and delicate piano plays into the scene of innocence and joy that the commercial wants to achieve. Additionally, the sweeping style of filming and blurred edges effect help contribute to this, among many other things. This choices had be heavily thought about while the commercial was being created, as one of the most key aspects of the commercial is that it feels more like a story than something that is trying to sell you a product.
         As I see this advertisement every time I scroll down my Tumblr newsfeed, it is pretty obvious that teens are latching on to this commercial and loving it. But, after sitting down with my parents and seeing how much they enjoyed it as well, I think that much of the commercial's success can be attributed to the wide range of people that it resonates with.

I accessed the commercial on youtube, and I would highly recommend checking it out: https://www.youtube.com/watch?v=XLpDiIVX0Wo

This is a still from my favorite part of the commercial, as it does a great job giving a feel for what "The Story of Sarah & Juan," is truly about.

IRB #2 Introduction

This month I will be reading, The Right Stuff, by Tom Wolfe. I found out about this book because it is my Dad's absolute favorite, and he has been telling me to read for ages- so I am really excited to finally get the chance to check it out. The subject of the book is primarily focused on the bravery of the first Americans in space, which is vastly different read. I have already read a few pages, and am already intrigued by the manner in which Wolfe recounts history: mixing in his thoughts on the time period with factual evidence. Can't wait to read more! 

TOW #8 IRB "Don't Get Too Comfortable" by David Rakoff

         For this cycle of TOW's I finished reading, Don't Get Too Comfortable: The Indignities of Coach Class, The Torments of Low Thread Count, The Never-Ending Quest for Artisanal Olive Oil, and Other First World Problems, by David Rakoff. In the second half of the book, he continued to use a humorous, and mildly sarcastic tone to ridicule American culture. I really admire the seamless balance of fun and seriousness he created throughout the book, as this harmony is essential to his purpose, which is to show his frustration and bafflement with the upperclass culture, particularly the "Log-Cabin right-wingers," as he often refers to them. As a very openly gay liberal, his disdain for this group of people must be noted as having some bias.

          He is able to hit on heavy, sometimes rather dry topics, such as socioeconomics and the implications of capitalism, in a very entertaining way through his tone that gives the audience know choice but to burst out in laughter. He achieves this degree of humor with dashing, colorful, figurative language, in addition to breaking his narrative mode of writing with phrases that break the fourth wall and allow him to communicate with the audience. Near the end of the book, he interrupts an informative piece about Swiss foreign police and writes, "I am shocked, shocked, to hear that the Swiss..." (Rakoff, pg. 210).  He is able to take a step back from the seriousness of his subject, and engage his reader. In doing so, he is able to appeal emotionally, while also composing a book that people want to read for pleasure. Contrastingly, he maintains some level of academia throughout the book through his subject matter, and intellectual jargon. Although it is a laugh-out-loud funny kind of book, it is not merely a crowd pleaser. Undoubtably, Rakoff is a very intelligent person with a unique perspective and something meaningful to say. He writes about very serious things in Don't Get Too Comfortable, as well, such as AIDS, "A young man, dead at the age of twenty-nine from hemophilia derived AIDS," (Rakoff, pg. 212). While he uses lots of humor, he is also able to communicate a serious message and share his insights on topics that are far from humorous. This helps him achieve his purpose, while also making a highly-enjoyable read that I would definitely recommend.

This is the cover created by Rakoff, that I think accurately reveals his tone. It also, perhaps, reveals how he earned the nickname, "the witty pessimist". 

TOW #7 "Louis Vuitton Spring 2016 Ready-To-Wear"

          The 2016 Vuitton Spring Ready-To-Wear show hit an entirely new note for the world renowned house of couture, and to be completely frank: I was more than pleasantly surprised. I could not be more inspired, nor more intrigued with the show from start to finish. Creative director Nicolas Ghesquiere can be credited with much of the show's success, and for sharing the rich flavor that he brought to Balenciaga for fifteen years with Vuitton, since he began working there in 2014. As a well-respected, and dare I say iconic, A-lister in the fashion world, Ghesquiere is already very established, and was therefore was able to take major risks. 

         Ghesquiere described the classic element of travel that Louis Vuitton is known for as one of his biggest influences in the design process, yet he strove to communicate a different kind of travel to an incredibly relevant destination: the digital world. He used lots of luggage inspired prints and accessories in almost every look. Additionally, throughout the show, he used music from Tron: Legacy in addition to the opening music in the popular game Minecraft to show the influence technology has had on him, while also depicting the beauty in it. He tapped into fond memories of his own childhood, helping the show feel much more intimate and to help viewers connect with the avant-garde clothing line.
           This collection is highly acclaimed for the several sets of juxtaposition it brings to attention, but also weaves together through innovative pieces and styling. He highlights the balance of classic and modern, hard and soft, the girly girl and the rockstar, and was able to leave his audience speechless. For this show in particular, Ghesquiere gave himself a very difficult task, in making a brand first established in 1854 feel modern, but also staying true to the Louis Vuitton name and aesthetic. His use of textiles were essential in this process, and also in acheiving his purpose. His credibility, emotional appeal, travel motif, and use of juxtaposition were absolutely essential in showing the versatility and timelessness of the Vuitton brand, while also making a stance in depicted the beautiful way that technology has enriched our lives. 

I accessed both the video of the show and the photo gallery on the LV website: http://us.louisvuitton.com/eng-us/stories/womens-spring-summer-16-show

This is the first look in the collection, and it truly took my breath away. The innovation behind the construction is remarkable, as well as the strategic styling and mix of prints that almost seems too good to be true.

TOW #6 "The Lonely Death of George Bell" N. R. Kleinfield

         In the, "The Lonely Death of George Bell," N. R. Kleinfield uses a recount of the death of a New York man by the name of George Bell to reveal that only death can truly tell the secrets that went unknown in an individual's life. The author,  N. R. Kleinfield, gave a very unique perspective, as he has written for The Times since 1977, and is an avid member of the Metro department's investigation team. His high-level knowledge of the subject shone through, as well as his obvious talent and experience as a writer. In his piece, he describes the events before and after Bell's death, and in doing so reveals a message that goes far beyond the realm of traditional journalism. He uses his ability to accurately report to prove that while death is relatively easy to measure, on the contrary, measuring life is much more complicated.
        Through the use of anecdotes, imagery, and statements from other professionals alongside those who knew Bell, Kleinfeild was able to masterfully achieve his purpose, and teach his audience about how the events after one dies are a direct result of the way that one lived their life. He shows the importance of companionship, through anecdotes of friends Bell kept, as well as imagery to show the detrimental effects that mental illness can have on someone. He uses a vivid image of Bell's apartment to demonstrate this, and make his purpose resonate with the audience, "Hoarding is deemed a mental disorder... Amid the mess were a half-dozen unopened ironing board covers, multiple packages of unused Christmas lights, four new tire-pressure gauges," (Kleinfeld, pg. 1). This mixed with the testimonies of people who knew Bell before his mental disorder consumed his apartment, and his life, say something incredibly powerful. By employing these rhetorical devices, the author is able to achieve his purpose, and show that much of a person's life is revealed only after their death. I really enjoyed this piece, as it was insightful, well-written, and communicated a fresh and unique perspective.

I accessed this article The NY Times website: http://www.nytimes.com/2015/10/18/nyregion/dying-alone-in-new-york-city.html?hp&action=click&pgtype=Homepage&module=photo-spot-region&region=top-news&WT.nav=top-news&_r=0

The following image was included in the article, and was taken shortly after Bell was found dead in his apartment.

TOW #5 "Who Can Be Finished With Alice?" by Adam Gopnik

         Adam Gopnik has been writing for The New Yorker, since 1986. He is known for his critiques of artwork, humorous editorials, and book reviews. In his essay, Who Can Be Finished With Alice?, he shares his thoughts on Lewis Carroll's two Alice books, and details the impact they have had on society.  Although I have personally always been a huge fan of Carroll's works, Who Can Be Finished With Alice?, would also probably resonate with those who are not as fascinated by the series, and help explain why the two books are such significant pieces of literature. Gopnik utilizes a high level vocabulary, and several allusions to pop culture and politics, so a more mature audience can probably get more out of reading this particular piece. He begins by making connections to characters in the books and GOP candidates for the 2016 election, beginning with none other than Carly Fiorina put next to the Red Queen. He then switches gears, and talks about the composition and publication of several annotated versions of the Alice books, specifically Gardner's famous collection of analysis regarding the books. In doing so, he is able to show the importance that the books have in the connections that they make, but also in the connections that readers are able to draw from them individually. He references experts on the book series, such as Gardner, but also iconic celebrities such as John Lennon. He writes, "'I was passionate about Alice in Wonderland and drew all the characters. I did poems in the style of Jabberwocky. I used to live Alice,' John once said," (Gopnik, pg. 1). By showing the impact that the book had on particularly important people, Gopnik is able to show the scope that the books have had culturally. Through many references, metaphors, and allusions, he shows that no one can ever really be finished with Alice, as she is ingrained in our society and way of life. 

I accessed this essay virtually on The New Yorker's website: http://www.newyorker.com/books/page-turner/who-can-be-finished-with-alice?intcid=popular

In 2009, Disney made another version of Alice in Wonderland featuring a star-studded cast, an updated storyline, as well as lots of cutting edge  technology to blend real actors with the surrealism that the series is known for. 

TOW #4 IRB "Don't Get Too Comfortable" by David Rakoff

        In his novel, Don't Get Too Comfortable: The Indignities of Coach Class, The Torments of Low Thread Count, The Never-Ending Quest for Artisanal Olive Oil, and Other First World Problems, Rakoff writes in the style of several essays strung together by the common thread of the self-indulgence, a token of the American way of life. Although residing in New York for most of his life, originally coming to America as an immigrant, he has a refreshing outsiders take on the way of life that is thought of as common place. He admits to, while also picking fun at the idea of such excessive means of living in his autobiography. The tenth chapter in the book particularly caught my attention, as an exemplar of what, Don't Get Too Comfortable, is trying to achieve, as well as the rhetorical devices and strategies it utilizes in order to do so in such a meaningful way. 

       Humor is perhaps, the most important part of the book. Most of his audience participates in the lifestyle that he so adamantly mocks, so it is crucial for him to sugarcoat his criticisms with wit and sarcasm, in order to keep his audience entertained, rather than feeling attacked. After an encounter with the very rude Karl Lagerfeld on a trip to Paris, Rakoff describes, "His large doughy rump dominating the miniature piece of furniture, like a loose, flabby, ass flavored muffin overrisen from its pan, he resembles a Daumier caricature of some corpulent, inhumane oligarch drawn sitting on a commode, stuffing his greedy throat with the corpses of dead children," (Rakoff, pg. 143). Not only does he dazzle his audience with clever, yet vivid imagery and allusion, he also employs a humorously obscene vocabulary and diction. His disdain toward people such as the well-known designer could not be more obvious, yet in writing so wittily, he disguises his loathing in a matter that will cause readers to crack a smile at the very least. Although there is some disconnect caused by the fragmented manner in which the book is written, Rakoff is very successful in achieving his purpose, through the use of many rhetorical devices. 

The book's cover sets the tone for the clever, yet relatable, narrative that Rakoff's autobiography entails. The blade carving out a patch of the floor beneath the luxurious chair depicted prepares readers to be a bit uncomfortable, as the book addresses many things that are seldom included in American writing. 

TOW #3 Visual Text "Choose one"

         This public service announcement called, "Choose One," was published by an organization called Moms Demand Action For Gun Sense in America, in 2013. The non-profit began in 2012, as a response to the tragic Sandy Hook Elementary School shooting. This particular PSA was published in print, as well as online, in order to reach as many people as possible. In their mission statement, Moms Demand Action explained, "We are organizing to effectively lobby and apply pressure that will result in stronger, sensible gun laws, and policies that will protect our children and families." As demonstrated through the campaign, members of this group feel very passionately,  and are striving to make change happen in America. Some bias is present as shown through the exaggerations that are being made. The depictions make it seem as though Little Red Riding Hood and dodge-ball are illegal throughout the country, when in reality, they have only been banned in a few different school districts. Even with this in mind, I still found this series of pictures to be incredibly effective due to the rhetorical devices that it employs, and the events that it was a response to. The add appeals to both ethos and logos, by playing off of viewer's emotions, in addition to basic logic. It is terrifying to think of children walking around with dangerous assault rifles, especially when thinking about the fact that specific candies, balls, and books have been banned for their own safety. The dramatic juxtaposition forces the audience to really evaluate why commonplace items have been banned, while life-threatening weapons have very little restrictions around them. This is a very controversial topic, as well as a much debated one. Although there is some hyperbole involved that works against the purpose of the campaign, in the heat of several devastating school shootings in America in the last decade, the message is well achieved.

I accessed this series of advertisements on the campaign's website:

http://momsdemandaction.org/in-the-news/choose-one-little-red-riding-hood-or-an-assault-weapon/  

There are several in the series, but I primarily focused on these three.

TOW #2 "The 3 Most Important Things in Life" (Section One)

       In Harlan Ellison's, The 3 Most Important Things in Life, he humorously communicates his opinion on the three most important things in life to a wide range of people in his audience. His take on a constantly pondered question is unique, witty, and a breath of fresh air. While making it very obvious from the beginning of his essay that the three things he chose as the most important were strictly his thoughts, he appeals primarily to ethos, establishing his credibility by writing as though he is a professor and the audience are all his pupils. He writes, "I have selected three examples of what I think are the most important things in life. Notes should be taken; this will count as sixty per cent of your grade," (Ellison, para. 7). He enables himself to play off of the Socratic method and create a dialogue within his essay. Throughout the duration of his piece, he asks the audience rhetorical questions in order to better their understanding of this very abstract topic, while formulating an opinion of their own. He is able to primarily build off of this due to the credibility he has established for himself as an acclaimed writer of short stories, novellas, and his work as a screenplay writer in the film industry. 

      In the first segment of Ellison's essay, he writes exclusively about one of the things he finds to be the most important in life, sex. In the two following sections, he writes about violence and labor relations. Rather than merely trying to explain its importance, he shares an anecdote. This is effective in illustrating his point, as well as helping him achieve his purpose in a very timely manner. The subject matter of the first section also helps to specify his audience as a more adult age-group. While I found his essay to be very effective, as well as witty, I found that I was most likely not mature enough to understand this section to its fullest. He achieved his purpose well in sharing his opinion, while also creating a dialogue in which his audience can takeaway a new perspective. 

This essay was recommend to me by a former AP ELC student, and I accessed it on this website:

http://harlanellison.com/iwrite/mostimp.htm

I included this cartoon of Snoopy the Dog to show the wide range of people (and perhaps, animals) who would be curious about the topic of this essay. 

TOW #1 "How to Be Polite"

         Throughout his article, How to Be Polite, Paul Ford uses a series of personal anecdotes to give a thorough explanation of the positive impact that having good manners can have on one's life. He writes from his own perspective, and maintains a rather informal sense of diction throughout the piece, while utilizing a very strong vocabulary. Ford is a freelance writer who primarily writes for A Medium Corporation but this piece was featured on The Atlantic's website. He communicates very openly with his audience, often sharing his opinions, as well as his wit. Prior to suggesting what to do when there is an awkward lull in a conversation, Ford embellishes, "I will share it with you because I like and respect you, and it is clear to me that you'll know to apply it wisely," (Ford, para. 9). Although it is rather obvious that he knows little about his audience and could not judge if they would really know how to wisely apply what he is saying, he includes details such as this to make himself seem more friendly and tap into the audience's emotions. In doing so, he makes himself a very likable figure. This is incredibly important to achieving his purpose. Ford is able to demonstrate that he is a master at using his eloquent manners to make connections with people that will help him in the future, even through the form of writing.

          In order to fully convince those who read his work of the value of manners, he shares stories, as well as insightful tips that can seemingly make a big difference for the better in terms of creating a positive first impression. He teaches his audience about simple things, such as not touching someone's hair without permission, but also about values, such as forgiveness. Regardless of age or prior thoughts that one has about being polite, How to Be Polite, is very difficult to argue with. This is  primarily due to the excellent examples that Ford shares to prove his point. His tone is established and informative, and is able to maintain his credibility while also playing off of emotions.

I accessed this article through the website it was originally published on:

https://medium.com/message/how-to-be-polite-9bf1e69e888c

In the article, Ford references this old fashioned guide to manners, which does not seem to be nearly as applicable to the twenty-first century as what he wrote in response to it.

IRB #1 Introduction

This month I will be reading, Don't Get Too Comfortable: The Indignities of Coach Class, The Torments of Low Thread Count, The Never- Ending Quest for Artisanal Olive Oil, and Other First World Problems, by David Rakoff. I initially found out about this book while looking for a TOW. An excerpt from the book was included on a list of top essays of the century, and after a few paragraphs I was definitely hooked. I am really excited to peer into Rakoff's very unique perspective on American culture, as well as learn from the strong style he utilizes. I really admire the manner in which his book has elements of humor, while still being primarily a work of non-fiction. 

Bop Written By Langston Hughes

• Bop is an exquisite representation of what Langston Hughes is best known for. He is thought of as the primary leader of the Harlem Renaissance, which was a social and cultural movement that mainly took place in the 1920's when the city of Harlem became a mecca for African-American creators, regardless of their chosen art form. In his essay, Bop, Hughes addresses many of the civil inequalities that the Harlem Renaissance brought into question, while still keeping sight of his invention of the iconic art form, jazz poetry. In his piece, Hughes describes a conversation between the narrator, and a supposed friend of the narrator, who goes by the name of Simple. Hughes utilizes first-person perspective throughout the piece in order to give the work an overall feeling of fluency, as well as to make it seem like an active dialogue. The narrator overhears Dizzy Gillespie playing as he passes by, and is invited by Simple to sit down and listen with him. The narrator has very little appreciation for Bop music, much unlike his counterpart who treats Be-Bop music as a religion. Simple explains that  the origin of the music is the struggle of African-Americans, and the embodiment of their culture. Simple directly refers to violent racism that seems almost commonplace to him, "White folks do not get their heads beat just for being white. But me - a cop is liable to grab me almost any time and beat my head - just for being colored,’” (Hughes, pg. 191). Throughout the duration of the essay, Simple continues to shed light on the very obvious racial inequality that occurred at the time that Bop was written, in 1949, but unfortunately still occurs today. In the essay's closing lines, the narrator sympathizes with Simple, leading the readers to do the same, "'Your explanation depresses me,' I said. 'Your nonsense depresses me,' said Simple," (Hughes, pg. 192). He utilizes the rhetorical device known as pathos to get the audience to sympathize with those who are victims of oppression due to race, better achieving his purpose. He does an excellent job communicating the hardships of African-Americans, as well as the artistry that came from this struggle.

When will it stop?: Protesters in Washington D.C. fight for justice after several unarmed African-Americans were murdered at the hands of caucasian police officers. (http://america.aljazeera.com/articles/2014/12/13/washington-justicemarch.html)

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Once More to the Lake Written By E. B. White

• In, Once More to the Lake, E. B. White returns to the lake where he went with his family every summer as a child. He takes his son with him, but has trouble distinguishing the memories he made as a child and the actions of his son. He describes the newfound sensation, "I looked at the boy, who was silently watching his fly and it was my hands that held his rod, my eyes watching. I felt dizzy and didn't low which rod I was at the end of," (White, pg. 181). In his narrative, he and his son are seemingly doppelgängers, the only difference between them being time. For the most part, his son experiences the lake the same way he did as a child, forcing White to realize that he is playing the part his father once did. He creates an interesting juxtapose in his writing, by highlighting the cherished memories he made at the lake as a child as he recollects them, with the new experiences that his son is living through. Although it is difficult for him, by the end of his narrative, White realizes his own mortality. He is no longer the easy-going young boy swimming in the pond with the children, but now the responsible adult overseeing this activity. Due to this new level of consciousness regarding the contrast of his summers and his son's, he is forced to come to terms with his own mortality. He ends his essay with a final parallel between his son and himself, "I watched him, his hard little body, skinny and bare, saw him wince slightly as he pulled up around his vitals the small, soggy, icy garment. As he buckled the swollen belt suddenly my groin felt the chill of death," (White, pg. 185). He does an incredible job of communicating the manner insignificant in which people live, but also the signifigcance that they are able to timelessly create in the experiences that they share with others. White uses his authority of recounting aspects of his own life, and lots of imagery to solidify his point.  This essay was written for adults who may not have come to terms with growing up, as well as children who should learn to appreciate the time they have with their parents. 
  
  All Life Connects: In this photograph, taken by Raymond Gehman in Canada, it is hard to tell where the forest stops and the reflection starts. White faces something similar when trying to separate his experience at the lake as a child, and the experiences of his son.
  
  
  
  
  
  
  

The Figure A Poem Makes Written By Robert Frost

• In his essay, The Figure A Poem Makes, Robert Frost masterfully describes his impression of what a poem should be. Throughout his piece, Frost explains to his audience that poetry is an art, and should be treated as such. Visual artwork is thought of as very difficult to judge, as one person can see a painting and think it is breathtakingly beautiful, while another person could view the same painting and see it as being very ugly. Frost clarifies that poetry cannot be measured by traditional standards of logical reason, "Scholars get theirs with conscientious thoroughness along projected lines of logic; poets theirs cavalierly, and as it happens in and out of books," (Frost, pg. 178).  When he published, The Figure A Poem Makes, in 1939, Frost had already won three Pulitzer Prizes, and was very well known for his large body of critically acclaimed work. The confident tone he utilizes, as well as his reputation, aid to establish his credibility and make readers trust that he has enough authority to explain how people and poetry should interact. He also uses imagery to grab his readers attention, and better achieve his thematic purpose throughout the duration of his essay. He illustrates complex points as a means of bettering the audiences understanding by giving a basis of understanding, "... And kicking ourselves from one chance suggestion to another in all directions as of a hot afternoon in the life of a grasshopper," (Frost, pg. 177). Most people are unfamiliar with the manner in which a poem comes to life when it is spoken, but they can visualize the way a grasshopper moves; by adding in imagery such as this, Frost is able to accomplish his purpose. His essay is very versatile in a sense that it can speak to poetry lovers, just as it can communicate the same ideas to people who do not appreciate poetry and perhaps even peak their interest. This piece is also a helpful piece of literature for those who would like to start writing poetry, as it details the most important elements that a poem should have. I think Frost achieves his purpose well, and communicates his firm belief that poetry is an art. He delves into the wisdom that people can take from poetry, as well as the author's emotion being pivotal to the overall impact of their writing.
  
  Poetry and Art Can Be Synonymous: Artist Juan Osborne gives visual art a new figure by creating detailed portraits and landscapes made up of only words relevant to what he is creating. Although his method and medium is very different than Frost's, the emotion their work evokes is the most key component. 
  
  
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Artists in Uniform Written By Mary McCarthy

• In Artists in Uniform, Mary McCarthy narrates her confrontation with a man who she encounters on a train voyage across the United States. McCarthy's essay was published in 1953, less than a decade after the end of World War II. In this essay, McCarthy utilizes a scholarly vernacular, as well as her usual confident tone to establish her intellectual superiority to the man she meets. This allows her to establish her credibility, utilizing the rhetorical device called ethos. McCarthy also taps into her audience's emotions by having her story revolve around the general message that biases blinds a person from seeing others as they truly are, but they are also very hard to break free of. She communicates her purpose masterfully by highlighting the colonel's stupidity, when he says hateful things about Jews, yet immediately takes a liking to McCarthy after hearing her very Irish sounding last name. Although she is much more logical than he, she is unable to  shake him of his ignorance towards the Jewish people. McCarthy is a fourth Jewish, but does not let the colonel know this until the very end of their time together because she does not want him to dismiss her thinking as motivated by her own lineage, "Don't start that anti-semtetic talk before making sure there are no Jews present," (McCarthy, pg.205). She makes him look very foolish by employing dramatic irony throughout the piece, because the audience knows she is Jewish, yet the colonel does not. After he makes many offensive and anti-Semitic remarks, McCarthy decides that instead of declining his invitation to lunch as she once intended to, she will go out with him in the pursuit of teaching him the error in his ways. Unfortunately, she in unable to, and she begins to question if her unprejudiced view was acquired in her life, just as much as a the colonel acquired his anti-semitic outlook. As she parts with the man, he asks for her married name. She reveals that it is Broadwater, and immediately the colonel's grimace is traded for a look of understanding, as the name sounds very Jewish. She considers this a victory for the colonel, as he can walk away from the encounter assuming that McCarthy only tried to persuade him to be more tolerant because she was defending her own religious community, but the audience knows that this is not the case. Artists in Uniform is filled with subtle nuances such as this, that add deeply to the thematic message that McCarthy is trying to communicate. Her target audience is post-adolescence, and some level of academia is required in order to understand the significant word  choices she makes. 

Hatred is taught: This is a poster that was shown to the public to advertise a Nazi propaganda movie called, The Eternal Jew. It depicted the Jewish people as parasitic and unclean, using them as a scapegoat for the German failure. Joseph Goebbels was in charge of Nazi propaganda the time, The Eternal Jew, was released. 

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