Page 115 - The Language of Composition 4e Teacher Edition Sample.indd

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instead bushes and tangles and curls in all direc- and Seamus Heaney and love all things Harry 4
tions at once. Mine is a mane that bears the Potter and “Doctor Who.” I study French and
strongest imprint of my African ancestors, hair Spanish and attempt to translate the simplest DIFFERENTIA TION chapter 4
DIFFERENTIATION
that my hairstylist combed out into a volumi- poems by Pablo Neruda and Federico García
Speaking and Listening
8
nous Afro during one of my visits to New York Lorca into English (and fail awfully). I watch Speaking and Listening
Y
City, so that I walked the streets with a ten-inch obscure French movies with subtitles. I attend You might use paragraph 12 as a lens for
ou might use paragraph 12 as a lens for
students to r
eview the essay’
ea-
s line of r
halo that repelled the rain and spoke of Africa to powwows and eat fry bread and walk along the Other Voices / Jesmyn Ward students to review the essay’s line of rea-
oups, stu-
everyone who saw it. outside of the dancing circles with a kind of wist- soning. In partners or small groups, stu-
soning. In partners or small gr
dents could trace the essay for evidence of
That’s how I remembered myself. I remem- ful longing because I want to understand the dents could trace the essay for evidence of
Copyright (c) 2023 Bedford, Freeman & Worth Publishers. Uncorrected proofs have been used for this sample chapter.
Ward’s Black identity in what she calls her
bered that people of color from my region of the singing so badly, because I want to stomp the W ar d’ s Black identity in what she calls her
“personal history,” “family history,” “politi-
United States can choose to embrace all aspects earth in exultation and to belong in that circle, “personal history ,” “family history ,” “politi-
of their ancestry, in the food they eat, in the too. But I imagine that my ancestors from Sierra cal and moral choices,” and “essential
cal and moral choices,” and “essential
self.” This activity can help students recog-
music they listen to, in the stories they tell, while Leone and Britain, from France and the Choctaw self.” This activity can help students r ecog-
nize the essay’s coherence and how Ward’s
also choosing to war in one armor, that of black settlements on the Mississippi bayou, from Spain nize the essay’ s coher ence and how W ar d’ s
selection of detail supports one of her
Americans, when they fight for racial equality. and Ghana — all those people whose genetic selection of detail supports one of her
Distributed by Bedford, Freeman & Worth Publishers. Strictly for use with its products. Not for redistribution.
conclusions.
I remembered that in choosing to identify as strands intertwined to produce mine — felt that conclusions.
black, to write about black characters in my same longing, even as they found themselves
fiction and to assert the humanity of black people making a new community here at the mouth of
in my nonfiction, I’ve remained true to my per- the Mississippi. Together, they would make new CLOSE READING
sonal history, to my family history, to my political music, like blues and jazz and Zydeco, and new
AP Teaching Tip. You might ask students
and moral choices, and to my essential self: a self dances, second lining through the streets. They AP ®
to explor
that understands the world through the prism of would make a world that reflected back to them to explore the tension between “longing” e the tension between “longing”
being a black American, and stands in solidarity the richness of their heritage, and in doing so and “belonging” in the final paragraph. and “belonging” in the final paragraph.
Start by asking them to define the refer--
with the people of the African diaspora. 6 discover a new type of belonging. Start by asking them to define the r efer
ences to “longing,” both for Ward and for d and for
This doesn’t mean that I don’t honor and 2015 ences to “longing,” both for W ar
her imagined ancestors, by car
claim the myriad other aspects of my heritage. her imagined ancestors, by carefully efully
7 Philip Larkin (1922–1985) was an English poet, novelist, and
examining the paragraph. Y
I do, in ways serious and silly. I read Philip Larkin examining the paragraph. You can then ou can then
librarian; Seamus Heaney (1939–2013) was an Irish poet, playwright,
and translator. — Eds. ask them how that longing can lead to a ask them how that longing can lead to a
8 Pablo Neruda (1904–1973) was a Chilean poet and politician; “new type of belonging.” Tensions are one e one
ensions ar
“new type of belonging.” T
6 The dispersion or migration of a group of people from their Federico García Lorca (1898–1936) was a Spanish poet and
ancestral homeland. — Eds. playwright. — Eds. of the hallmarks of sophistication in the of the hallmarks of sophistication in the
®
AP Language scoring rubric, and you
AP
could ask students to craft a thesis state-could ask students to craft a thesis state-
ment built on the claim that in her essay
ment built on the claim that in her essay, ,
Understanding and Interpreting
Ward explores the tension between longing es the tension between longing
W ar d explor
and belonging. and belonging.
1. Claims and Evidence. Identify the central argument of Ward’s essay. What are the main
claims Ward makes to develop her argument?
2. Rhetorical Situation / Claims and Evidence. According to Ward, what aspects of her and
her father’s childhoods were “complicated” (par. 3)? What evidence does Ward provide to DIFFERENTIA TION
DIFFERENTIATION
support this claim?
Connections to World
3. Claims and Evidence / Reasoning and Organization. Why is Ward “discomfit[ed]” Connections to W orld
(par. 11) by her 23andMe results? How does this information affect her sense of self? At the end of the essay , W ar d wr estles with
At the end of the essay, Ward wrestles with
4. Reasoning and Organization. What role does physical place and geographical location the idea of “choosing to identify as black”
the idea of “choosing to identify as black”
serve in Ward’s essay? How do they relate to Ward’s understanding of her own identity?
(par
opriate for
. 12). If you think it is appr
(par. 12). If you think it is appropriate for
your student population, you could ask
your student population, you could ask
them to write about the meaning of “choos-
221 them to write about the meaning of “choos-
ing to identify as” something central to
ing to identify as” something central to
elationship
s identity and explor
one’s identity and explore the relationship
one’
e the r
between agency and identity .
between agency and identity.
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TRM Suggested Responses
Suggested responses to the questions for
this reading can be found in the Teacher’s
Resource Materials.
Other Voices / Jesmyn Ward 221
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