CHAPTER 2 NARRATION

1. CHAPTER 2NARRATION

2. The Purpose of Narration • to interest the reader in a story that illustrates a particular idea clearly. (13) • a mode of development used by writers to tell a story or give an account of a historical or fictional event. (290) • It calls for compressing and reshaping experience to that the reader relives it with you and is left with a particular point.

3. Skills • Shaping narrative draws on: • keen observation • careful selection of details (pertaining to the narration) • coherent sequencing • conflict • resolution

4. Dramatic Structure • This structure is derived from Freytag's Pyramid. Gustav Freytag developed a diagrammatic outline of the structure of a five act tragedy in Technik des Dramas (1863). This proved useful in generally speaking about dramatic structure for tragedy or comedy, for novels, short stories, cinema or television.

7. Time Order (Chronological Order) • The information is arranged according to time. (290) The writer often tells about events in the order in which they took place. This method of organization ensures that the sequence of the incidents will be logical. (14) • Details are listed as they occur in time. To put simply, chronological order is, a list of event.

8. Time signals: first, then, next, after, as, before, meanwhile, soon, now, during, eventually, finally. . .

9. Point of View(15-6) • First-Person Approach: A strongly individualized point of view. You draw on your own experience and speak to your audience, using pronouns like I, me, mine, we, our, and us.

10. Second-Person Approach: The writer speaks directly to the reader, using the pronoun you. this approach is considered appropriate for giving direct instructions and explanations to the reader.

11. Third-Person Approach: The most commonly used approach in academic writing. In this approach, the writer includes no direct reference to the reader (you) or the self (I, me). The writer writes as an outsider or “third person” observing and reporting matters of public rather than private importance.

12. Flashback (16) • The interruption of chronological sequence (as in a film or literary work) by interjection of events of earlier occurrence. • a past incident recurring vividly in the mind. • http://www.youtube.com/watch?v=W9ye5fW8g5w

13. Nonfiction & Fiction • Narrative writing is called nonfiction if the story or event is true and actually happened. (16) • If a story is not true or did not actually occur, it is called fiction. (17)

14. John Hoyer Updike (March 18, 1932 – January 27, 2009) was an American novelist, poet, short story writer, art critic, and literary critic.

15. “The Movie House” John Updike • Answer to Questions About the Reading • Updike probably did enjoy horror movies as a young boy. Although he was obviously frightened, he implied that he saw many horror movies. “I always ran to the movies” (14). • Updike running to and from the theater and the images of creaking doors, flashing lighting, shadowy tombs, suffocating halls, and gapping doorways.

16. Updike never mentions being at the movies with friends. He implies that he spent much time alone. • Answer to Questions About the Writer’s Strategies • The main idea is not directly stated but is implied in the vividness of the writer’s memories of the neighborhood theater. The main idea is that movies, especially horror movies, were at the center of the writer’s childhood.

17. The first-person point of view is applied. “It was two blocks from John’s home; he began to go alone from the age of six. His mother, so strict about his kissing girls, was strangely indulgent about this” (2-3). • The images of people turning into cats and of tombs, creaky houses, monsters and lighting would give an idea of what a horror movie would be like. Moreover, the sense of fear and excitement that the writer felt as he watched them and as he ran home would help the reader imagine what the movies were like.

18. Overall, the paragraph is subjective in the way the writer expresses his own feelings about watching the movies. It is objective in the way the writer describes the environment. • memoir (n.) Usually, memoirs. An account of one's personal life and experiences; autobiography.

19. Elizabeth Bishop (8 February 1911 – 6 October 1979) was an American poet and writer. She was the Poet Laureate of the United States from 1949 to 1950, and a Pulitzer Prize winner in 1956.

20. “Geography”Elizabeth Bishop • Answer to Questions About the Reading • a. “. . .the third and fourth grades” were “on their side of the room, . . .” (1-2). b. “, . . . made it hard for me to see them properly from where I sat” (8). c. “Only dimly did I hear the pupil’s recitations of capital cities and islands and bays”(12-13). These statements indicate that she wasn’t in the third or fourth grade but in a different grade.

21. “Only dimly did I hear the pupil’s recitations of capital cities and islands and bays” (12-3). The writer wasn’t paying attention to the class. • The essay is narrative, descriptive, and subjective. The writer pictures a one-room schoolhouse and a colorful view of the world via a geography class.

22. Answer to Questions About the Writer’s Strategies • a.The main idea: While the maps for the geography lesson gave the writer an impression that Canada was “the same size as the world” (14) and “the sun was always shining and . . . dry and glittering” (16), she still knew that impression was not true.

23. b.Topic sentence: “But I got the general impression that Canada was the same size as the world, which somehow or other fitted into it, or the other way around, and that in the world and Canada the sun was always shining and everything was dry and glittering. At the same time, I knew perfectly well that this was not true” (13-17).

24. The paragraph explains a personal experience—the geography lesson. (A) The incidents: pulling down the maps, wanting to touch them, and hearing the recitations. (B) The main event: the pulling down of the maps, which generates the writer’s fascination and response.

25. Apart from narrating what happened, the writer describes the classroom and the material, condition, and colors of the maps.

26. Russell Wayne Baker (born August 14, 1925) is an American Pulitzer Prize-winning writer known for his satirical commentary and self-critical prose, as well as for his autobiography, Growing Up.

27. “Learning to Write”Russell Baker • Answer to Questions About the Reading • He believed essays to be boring. He changed his mind when he saw the topic “The Art of Eating Spaghetti” as an option on the essay list. He remembered eating what was then “exotic” Spaghetti for the first time with his family and the good humor and laughing arguments about the “socially respectable method” of eating Spaghetti. • They were delighted by the novelty and challenge of eating Spaghetti.

28. Baker comments that “Of all forms of writing, none seemed so boring as the essay”; that the choice of essay topics seemed almost as dull” as “What I did on My Summer Vacation.” He also considers English the “dreariest of subjects.” • At first, Mr. Fleagle is pictured as a “comic antique.” However, as the story progresses, he becomes the person who unlocks the key to Baker’s future career. Mr. Fleagle becomes somewhat heroic, even if inadvertently.

29. The main event—the realization of the pleasure and power that came form his classmates’ laughter and his teacher’s approval—impelled Baker to begin believe that he might become a writer.

30. Answer to Questions About the Writer’s Strategies • The act of writing caused Baker to understand who he was and what he might become. • Paragraph 7: Baker says that he wanted to re-create the pleasure he had had at his aunt’s house by writing it down for himself rather than for Mr. Fleagle.

31. Chronological order • Subjectively. (the focus is on Baker’s feelings about those events occurred in the classroom.)

32. “The Story of My Ring”Annie Reeves • Answer to Questions About the Reading • The writer’s grandparents did. • Her grandparents gave her the ring when she graduated. • A mine in India. • The ring is not an engagement ring.

33. Answer to Questions About the Writer’s Strategies • Thesis statement: “What is significant about this ring is not the symbolism or the look of the ring, but rather the story of how my grandfather came to possess the stones in World War II.” • Chronological order

34. The Ma Phone worker was described as “thin, still shaped like a boy, camouflaged by his Khaki uniform . . . and shrouded in a pale cloth hiding his feet and torso” and his surroundings as “a small one-room shack” with a dirt floor. • First person point of view is employed in the 1st and 3rd paragraph when the writer tells the story of her grandfather visiting the mine and getting the stones for her ring. The changed is justified since the writer is relating her grandfather’s story of how he got the stones for her ring.

35. The essay is subjective in the writer’s feelings about her ring. Nevertheless, it is presumably objective in her telling of her grandfather’s story of visiting the mine and buying the stones from the Burmese man.

36. “Learning, then College”Meg Gifford • Organization and Ideas • It sets out the subject, “time off before college” and engaged the reader who wonders how it changed Gifford’s life. • Gifford’s going back and forth between the time of the decision and then ending up two years later makes the reader appreciate the toughness of the decision and the benefits of its results.

37. Her employment of chronology might be confusing. • “Taking a year off is a tough decision but well worth doing.” (inferred) • Technique and Style • The primary audience is high school students, perhaps college students as well.

38. We might find Gifford’s tone condescending, i. e., she thinks that she is more intelligent than other people. • The repetition (“I learned . . .”) creates emphasis, particularly on the word “learned,” which is what college (and life) is supposed to be about.

39. The range of examples is impressive and interesting since the examples are distinct from usual, ordinary ones.

40. “The Yellow Ribbon”Peter Hamill • Returning from prison, the ex-convict Vingo found that his wife still loved him. (inferred) • B • A • B

41. (A) He tells his story “slowly and painfully and with great hesitation.” (Page 1, Line 3 from the bottom) (B) He asks his wife to leave a signal (the handkerchief), rather than confront her directly. (Page 2, Paragraph 19, Line 3 from the bottom) • Vingo doesn’t express any self-pity about being in jail. He owns up to (admits) his crime. He offers his wife her freedom.

42. (A) Fort Lauderdale, New Jersey (B) 34th Street terminal in New York (C) Washington, Jacksonville (D) Philadelphia, Brunswick • “But if she didn’t, if she would take me back she should let me know.” (Line 2) • D • D