Page 135 - The Language of Composition 4e Teacher Edition Sample.indd

Through the large glass windows of a 55 I w onder : I n thes e s tr e ets I c an s till sh ar e w ith 4
I wonder: In these streets I can still share with
you, Father, streets where you watched your own
restaurant, his boy watches him from the you, Father, streets where you watched your own CLOSE READING
snowed-in street. deaf father in 1945, were you bewildered by his chapter 4
deaf father in 1945, were you bewildered by his
deafness? I come back so that I can see for you
Father enters the room, already dancing. He deafness? I come back so that I can see for you Key Passage. The highlighted text is a
Key Passage.
rich passage suited for close reading. Stu-
the Odessa streets your deaf father saw. Sounds
enters the room, elbowing his way straight to the the Odessa streets your deaf father saw. Sounds rich passage suited for close r eading. Stu-
dents can annotate this key passage in the
are contagious even if no one notices. The sound
bride. He is kissing the bride on both cheeks, are contagious even if no one notices. The sound dents can annotate this key passage in the
book’s digital platform, or you can print it to
then laughing, he lifts her up, puts her on his of someone breathing heavily in line for grocer- Other Voices / Ilya Kaminsky book’ s digital platform, or you can print it to
of someone breathing heavily in line for grocer-
be annotated by hand.
shoulders, and he swings into the middle of the ies affects the breathing rate of others in the line. be annotated by hand.
ies affects the breathing rate of others in the line.
room. I am walking to the Hotel Krasnaya, to see a
I am walking to the Hotel Krasnaya, to see a
Copyright (c) 2023 Bedford, Freeman & Worth Publishers. Uncorrected proofs have been used for this sample chapter.
stranger’s wedding.
I am standing in snow, clinging to my moth- stranger’s wedding.
You once stole for me seven pieces of wed-
er’s hand. Across the street, my father, with that You once stole for me seven pieces of wed- CLOSE READING
large white cloud of a bride above his head. He ding cake. Look, now I tell you seven things a
ding cake. Look, now I tell you seven things a
is circling with the bride on his shoulders as the deaf man sees at weddings: Paragraph 62, which begins a new section,
Paragraph 62, which begins a new section,
deaf man sees at weddings:
may challenge students with its apos-
room gathers around him to applaud. Then he One. When husbands smile at their wives, may challenge students with its apos-
One. When husbands smile at their wives,
trophe to the father. You might ask them
the corners of their mouths move toward their
places the bride down right before the groom the corners of their mouths move toward their tr ophe to the father . Y ou might ask them
to consider the rhetorical situation of the
Distributed by Bedford, Freeman & Worth Publishers. Strictly for use with its products. Not for redistribution.
eyes. But when they smile at the notary signing
and kisses her hand. eyes. But when they smile at the notary signing to consider the rhetorical situation of the
essay her
e and discuss the function of the
the wedding certificate, I see the corners of their
I am not sure what is happening. Now he the wedding certificate, I see the corners of their essay here and discuss the function of the
ect addr
dir
ess to the father
. Y
ou could ask
waltzes elbowing his way to the fattest grand- mouths move toward their ears. direct address to the father. You could ask
mouths move toward their ears.
them to explore, perhaps in small groups,
mother in the room, picking up a bottle of Two. When businesspeople speak, they 65 them to explor e, perhaps in small gr oups,
Two. When businesspeople speak, they
some or all of these questions: How does
champagne and pouring into her glass. He stand toe to toe. But if one person’s foot begins some or all of these questions: How does
stand toe to toe. But if one person’s foot begins
the address to the father convey to the
to move away, this person wants to be some-
kneels before that fat woman, kissing her hand. to move away, this person wants to be some- the addr ess to the father convey to the
eaders the psychological perspective of
Everyone is circling them, and clapping. place else. r readers the psychological perspective of
place else.
the speaker? Is his statement that “I come
Three. When couples eat cake and they are
Outside, in snow, I am a bewildered boy Three. When couples eat cake and they are the speaker? Is his statement that “I come
back so that I can see for you the Odessa
watching his father circle the room at a happy, their legs wiggle or bounce. But we don’t back so that I can see for you the Odessa
happy, their legs wiggle or bounce. But we don’t
eets your deaf father saw” a definitive
str
need to look under the tables to see happy feet.
stranger’s wedding. My father who spends so need to look under the tables to see happy feet. streets your deaf father saw” a definitive
answer to his earlier uncertainty about why
many years repeating the same story is See their shirts or shoulders. See how the answer to his earlier uncertainty about why
See their shirts or shoulders. See how the
he came back, or is it an increment of the
laughing and the room around him laughs. wiggling feet make shoulders, too, vibrate. he came back, or is it an incr ement of the
wiggling feet make shoulders, too, vibrate.
motivation? And, what connections does
Four. A crowd waiting at the wedding buffet.
He comes back outside, smiling, bringing a Four. A crowd waiting at the wedding buffet. motivation? And, what connections does
the essay suggest between Shura’s experi-
Notice how people whistle to calm themselves.
large bottle of champagne and seven pieces Notice how people whistle to calm themselves. the essay suggest between Shura’s experi-
ence of deafness and Kaminsky’s? Or is it
of wedding cake. Five. A woman talks to the relative who ence of deafness and Kaminsky’s? Or is it
Five. A woman talks to the relative who
more about Kaminsky’s father’s experience
makes her slightly uncomfortable. She touches
At a large wedding no one knows one 60 makes her slightly uncomfortable. She touches more about Kaminsky’s father’s experience
of their deafness here?
another, father whispers. The bride thinks the her face, licks lips. of their deafness here?
her face, licks lips.
visitor is a relative of the groom. The groom tries Six. Sometimes it is a man who is uncom-
Six. Sometimes it is a man who is uncom-
to impress the bride’s important guest. fortable. See his unease by how he’s stroking his
fortable. See his unease by how he’s stroking his
beard.
Here is something my father never speaks beard. DIFFERENTIA TION
DIFFERENTIATION
about, something I will find out only many years Seven. If there is an orchestra at the wed- 70
Seven. If there is an orchestra at the wed-
Collaborative Learning
ding, there is silence in the conductor’s fingers
later: This is a trick learned from Shura. A deaf ding, there is silence in the conductor’s fingers Collaborative Learning
man back from the war, unable to find a job to before the baton lifts, making music visible If students completed the work on a defini-
before the baton lifts, making music visible
If students completed the work on a defini-
inside the bodies of others.
bring home food, Shura danced at strangers’ inside the bodies of others. tion of meanings of deafness from page
tion of meanings of deafness fr
om page
Deafness is a theater. Here the deaf person is
weddings, surprising his child and wife at night Deafness is a theater. Here the deaf person is 240, they might expand it to encompass
240, they might expand it to encompass
the audience. Everyone else is an actor. No need
with plates of wedding cake. the audience. Everyone else is an actor. No need “Deafness is theater” fr om paragraph 71.
“Deafness is theater” from paragraph 71.
• to worry about the silent world to which the Alternatively, students can use evidence
natively
to worry about the silent world to which the
Alter
, students can use evidence
om this section of the text to discuss the
hearing people think we are exiled. The deaf do
hearing people think we are exiled. The deaf do
fr
from this section of the text to discuss the
meanings of that statement. You could also
meanings of that statement. Y ou could also
have them discuss the tone of this para-
241 have them discuss the tone of this para-
graph: is it factual, defensive, accusatory, ,
graph: is it factual, defensive, accusatory
and empowering?
and empowering?
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