UW 131 Information

BINDER!!!

You FILE IT ALL into your UW Binder!

Liz Taylor "Passion" Color Image

This is a major part of Ramamurthy's article--this photo...check it out and note the colors, hands, etc. that the author refers to in her article.

The Egg and the Sperm--Link here

Block Letter Format --link here

Table of Contents!

Sequence #1, Paper A Finished--well done!
Sequence #1, Paper B--at least two attempts at intertextual please! Finished--two down!
Sequence #1, Paper PRE-C-- This was a Breakout room assignment You wrote ONE claim that each of you will use in your paper for S1C
Sequence #1, Paper C--needs (required) two intertextuality BOOM!
Sequence #1, Paper D---this is a Block Letter Finished--BAM!
Sequence #1, Paper E-- FINAL draft due November 20th
MISC Sequence #2, Paper A ONLY draft is due Friday, November 13th
MISC Sequence #2, Paper BFINAL due December 18th
Theme for English B Pastiche--MISC Sequence #2, Paper D, PRE assignment! ONLY draft is due Tuesday, December 7th This is a Pre-D assignment!

Section #1: Revision

Section #2 Sequences

Sequence #1

1. Sequence #1, Paper A Assignment Sheet:

Build a Sandwich: Assignment Sheet FINAL DRAFT Advertisement 2nd Draft editing sheet 2nd Draft 1st Draft editing sheet 1st Draft

2. Sequence #1, Paper B Assignment Sheet:

Build a Sandwich: Assignment Sheet FINAL DRAFT Musical Lyrics 2nd Draft editing sheet 2nd Draft 1st Draft editing sheet 1st Draft

3. Sequence #1, Paper PRE-C Assignment Sheet

Each of you will have your summaries Each of you will have your one page reflection Each of you will have your Claim--BOOM!

4. Sequence #1, Paper C Assignment Sheet

Build a Sandwich Assignment Sheet FINAL DRAFT Your SIX Summaries here 2nd Draft editing sheet 2nd Draft 1st Draft editing Sheet 1st Draft

5. Sequence #1, Paper D Assignment Sheet

Build a Sandwich Assignment Sheet Business Letter FINAL DRAFT

6. Sequence #1, Paper E Assignment Sheet

BUILD A Sandwich Assignment sheet FINAL DRAFT 2nd Draft 1st Draft editing sheet 1st Draft

Sequence #2

7. Theme for English 131

BUILD A Sandwich Your Poem

8. Sequence #2, Paper A Assignment Sheet

BUILD A Sandwich Assignment Sheet FINAL DRAFT Draft #2 2nd draft Draft #1 Draft #1 editing sheet

9. Sequence #2, Paper B Assignment Sheet

BUILD A Sandwich Assignment Sheet Final Draft 2nd Draft Editing Sheet 2nd Draft with your edits/Intertextuality 1st draft editing sheet 1st draft

10. Sequence #2, Paper C Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft 2nd editing sheet 2nd Draft with your edits/questions on it 1st draft editing sheet 1st draft

11. Sequence #2, Paper D Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft TYPED Questions Interview Notes

12. Sequence #2, Paper E Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft 2nd Draft Editing Sheet 2nd Draft with Reflection paragraph 1st Draft with editing sheet for some; 3 questions for others.

Sequence #3

13. Sequence #3, Paper A Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft Works Cited 2nd draft editing sheet 2nd draft 1st draft editing sheet 1st draft

14. Sequence #3, Paper B Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft Works Cited 2nd draft editing sheet 2nd draft 1st draft editing sheet 1st draft

15. Sequence #3, Paper C Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft Works Cited 2nd draft editing sheet 2nd draft 1st draft editing sheet 1st draft

16. Sequence #3, Paper D Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft Works Cited 2nd draft editing sheet 2nd draft 1st draft editing sheet 1st draft

17. Sequence #3, Paper E Assignment Sheet

BUILD A Sandwich Assignment Sheet! Final Draft Works Cited 2nd draft editing sheet 2nd draft 1st draft editing sheet 1st draft

Section #3 The Readings and Quizzes!

Section #4 Hand outs!

Section #5 Post High School

Don't Forgets:

Don't forget to sign your Cover Letter!
Don't forget to include Enc. under your TYPED name on your Cover Letter.
Don't forget to UPLOAD your Cover Letter onto Canvas.
Don't forget to put your name on your manila envelope/clasped folder/etc.
Don't forget that you need to hand your Revision LIVE on May 25th or put in the mail to be here by Tuesday, 2pm.
Don't forget that if you attend school on Tuesdays, B Block, you need to be at school on Tuesday--be ethical!!!
Don't forget that Revision is a CELEBRATION of your hard word, writing improvement, growth--you should celebrate that!

Revision Notes:

Revision is a BEAST! You must also HAND IN (live/on campus/via the USPS (mail)) your work! HARD COPIES (that means you print them off) of all the work listed below. The ONLY exceptions to this are Jeff and Jacob will email their work to me as they are not in the United States!

Revision is due from 8:30am-9:15am on Tuesday, May 25th...if you have classes that day, you need to REMAIN ON CAMPUS for school; if you do NOT have classes you can hand in Revision and bounce; you can hand in Revision on Monday too (duh) and not have to drive in...the deadline is FIRM!

An Envelope for all of work being submitted--with your first and last name on the envelope!

IF you're mailing your work to me at school, then make sure you put your first/last name on the return address line. Your work MUST get to Kennedy on May 25th by 2pm (maildrop) so you will need to complete Revision a little earlier IF you're mailing it in! Do not spread an untruth that I am making you come to school, etc. for Revision--you can mail in your Revision--time management is on you; not me!

You print off WITH A NEW DATE (May 25, 2021) your first semester Revision paper.
You write ONE Cover Letter (2-4 pages) for your various papers--you will ALL revise a Major Paper E (Sequence 1 or 2) ; you will ALL resubmit your first semester Revision paper (with the date updated); then, depending on your grade, you will have 1-5 additional papers to revise for Revision!
Revision is 70% of your UW 131 grade (if you took it for college credit).
Revision is 50% of your JFK grade.
You will TYPE Reflection Questions for EACH of your 2nd semester revised papers (Major Paper E, plus whatever else; no Wests, you do not have to rewrite reflection questions for your 1st semester paper).

4 Reflection Questions:

What do you think is this paper’s strength? (Outcomes)What was most challenging about this writing experience and why? (Personal)What can you now do better as a writer? (Outcomes)What might you do differently in the future if you had more time? (Personal)

You will need to EDIT 2 Paper E papers during Revision--by now you should know who accepts your feedback and who doesn't etc. You also need to have your Paper E read two times--again, you should know who are the strong editors (which aren't always the strongest writers)! This is on you--you will need to HAND IN your two edited paper drafts in your Revision envelope!

Revision Order--hard copies:

Final UW 131 Cover Letter (this is not your first semester Cover Letter--it's a new one)

Major Paper E (with Reflection Questions; label Outcomes in RED)

1st Semester paper (with date updated)

Papers 1-6 (in your preferred order; Reflection Questions as well)

The TWO (2) DRAFTS of your Major Paper E that were edited by your peer(s)

Revision SELECTION SHEET!

Revision Tips: Look here FIRST!

1. You ONLY list the author's last name in your MLA formatting if you haven't used it in the sentence Ex: Her writing notes the discrepancy in the use of the world bitch describing a bitch as "a woman in control, powerful and pristine" (Gross 23). BUT, if you write Gross's writing notes the discrepancy in the use of the world bitch describing a bitch as "a woman in control, powerful and pristine" (23). Then you do NOT put the author's last name.
2. If you're only using one author in your paper, then you do NOT put the author's last name in parenthesis.
3. Authors do NOT discuss; authors do not "talk about"; authors don't explain; authors don't speak or say; they don't tell, discuss, or mention
Do note write: Ramamurthy talks about...Do write: In Ramamurthy's article, the author notes.
Do note write: Gross discusses...Do write: The article addresses the many ways in which.
Do not write: The author talks about how corporations pollute.Do write: The author explains that, without regulation, corporations pollute. Do not write: The authors describe this family, the Joneses…Do write: The authors describe a family, the Joneses… casual tone might undermine your authority.
Do not write: The author saysDo write: The author's argument addresses..
4. Group/Artists' name for in text citation of a song...you put the title if you're using the YouTube video (Sinatra, Fly Me to the Moon). IF just the artist (not using the video at all), you use their last name Sinatra. If in doubt, do the first example. IF you are citing a television show, via YouTube, then your in text citation is "When she looked at her and exclaimed you're a big fat cow (moo), Elise was stunned" (Amazing Race, 2020).
IF you are citing Twitter, Facebook, Snap-chat, Tumblr, Instagram, then your in text citation "Yo, I'm stressed about this dress code enforcement" (Instagram, 12/2/20).

How to MLA cite a Commercial from TV: MLA Company or store name. “Title of Commercial (if possible).” Network. Date you saw it. Television Commercial. Works Cited: MolsonCoors. “The Most Interesting Man in the World.” ABC. 3 Nov. 2011. Television Commercial. In-text Citation: “Stay thirsty, my friends,” says the Most Interesting Man in the World (MolsonCoors).
IF you are citing your Email, you put the LAST NAME of the the person who was "interviewed" Example (Vinson)
NOTE: If the name of the person who was interviewed is mentioned in the sentence leading into the quote or paraphrased writing, you do not repeat it in the in-text citation.

Example: Vinson asserted that honor the direction and take your own was off the books for Paper D.

5. WATCH out for the use of the word "you" in your Cover Letter...if you refers to me...AWESOME, but "Outcome one requires you to have a clear understanding of..." is NOT me...no you allowed. When you are explaining the Outcomes to me in your own words, don't rewrite EVERY WORD (Wests--this is to you) as you don't talk/write in this lingo--paraphrase; show me that you know what you know! Eliminate: I think; I believe; I feel in your Cover Letter... I also do not want to see "In Order" in your Cover Letter!
6. Sequence 1, Paper B (note the capitalization please and the comma) (and for A, C, D, E)
7. NOT in italics: Titles of Brands (Louis Vuitton, Dolce Gabbana, Versace, Gap, Ratchet, etc.)
8. You do NOT in text citation yourself OR the UW Outcomes in your Cover Letter (look, caps); but, you DO cite any course text you put into your Cover Letter. (When Tan writes "....." (23). You would write, initially I wrote my claim as a fact: School's enforce a dress code, but that's not arguable so you'll notice in my revised paper my claim now reads Dress Codes inadvertently create inequity due to unequal enforcement.
9. You write Outcome two or Outcome one or Outcome three...you do NOT write Outcome 1; however, you can write Outcome 2.1 or Outcome 1.4 or Outcome 3.2. ALWAYS Outcomes.
10. REFLECTIONS for the final draft in your Portfolio: After your final draft's Works Cited page, you need to answer the four (4) Reflection questions...you type them. This is TYPED on the additional page of your FINAL REVISION due January 15th!
11. If you use the title and author of your musical lyrics, you cite them as follows: For example, you could write “In the lyrics to Imagine (Lennon), he sings that…” and at the END of the sentence you would write (Lennon) or you could write the year of the song being released (1985).
12. For a website with no author, use the webpage (or website) title for your in-text citation. If it is a long title, you can shorten it to the first three words. For Example, "According to its website, a breeding center for endangered Arabian animals started functioning in February 1998" (Sharjah Natural History).
Youtube: Vinson, David L. “Why we Honor the Direction and Take Your Own.” YouTube, uploaded by Scribbr, 23 March. 2020, www.youtube.com/watch? v=231VInqOnhDL.
13. Outcome 1.3 is YOUR COVER LETTER...articulate clearly the who/what/why...STAKES!!!! HOWEVER, you should indicate in your Cover Letter the WHY you selected a paper and WHY you made certain changes...this is also 1.3.
14. Revision means significant changes. Reference your original draft, edits and questions in your Cover Letter about why you made certain changes; use your Rubric as well; use my notes on your papers...all of these work in tandem to showcase your mastery of Outcome 4 which is VERY important...tell me what you've done! Make me see in your Cover Letter what you have done and honor your hard work!
15. You may use Dead Words and Be Verbs in your Cover Letter (don't overuse them however, because they distract me and take away from your words--use them sparingly). The Cover Letter is PROOF that your paper has mastered your Outcomes...you should write the Cover Letter in conjunction with your paper so that you can remember/note what changes/revisions you've made that shows mastery of the Outcomes.
16. For Outcome 4, address how/where you struggled with this Outcome ALL SEMESTER (pronouns, format, MLA, intertextuality, etc.) and how changes you've made have addressed some of your "oops" from the entire year...this is the most difficult Outcome to show master because you must really work at it...
17. These words DO NOT replace "Is/Was/Are/Were: Appeared Became Standing Experienced Remained
18. It's ONE Cover Letter that explains the dazzling papers you revised...you may not have more than 2.5-3 full pages for your Cover Letter...WESTS...stop over explaining and overwriting.
19. PAGE NUMBER with the quotes...no exceptions...
20. Even if you have never struggled with 2.5 in any paper, all year, you still need to address (if you're revising using Outcome #2) how you have consistently shown mastery of 2.5 and that it is clear to me in your revised paper where you have mastery of 2.5.

Don't forget Sign your Cover Letter (via the computer) Put Enc. under your TYPED name on your Cover Letter (it means you're enclosing material) Italicize Titles (not " " and not underlined ___________) MLA format your date on your Revision (15 January 2021) paper MLA format your date on your Revision (January 15, 2021) Cover Letter MLA your heading (Title, page number/last name in the corners)

Citing a personal interview:

If you EVER use the UW 131 “What it means to be a man/woman” from our class, then you cite it like an interview. See Example below! Also, note the format because you will interview someone(s) for a paper later in the course! Structure:Last Name of Interviewee, First Name M. Type of Interview (Personal Interview, Phone Interview, Skype Interview, etc.). Date. Example:Cloyd, Allison. Personal interview. 24 July 2014. Example:Vinson, David. Personal interview. 19-27 September 2020. (Note the dates: It took more time in a few classes than others.)

How to cite your in text quotes from your movie you ask? The in-text citation must always correspond with the first word of the Works Cited entry. For movie citations, this is usually the title in italics. If the title is longer than a few words, shorten it to the first word or phrase. Boom! There you go! So, yes, Wests...you quote the movie and put the title in parenthesis. EX: "Jake!? Jake Ryan? That's my boy!" (16 Candles) the nerd exclaims to Samantha while they're talking in the auto shop.

How to Works Cited a MOVIE:

Director(s) last name, Initial. (Director). (Year). Title of film in italics and sentence case [Film]. Production company.

Example

Lucas, G. (Director). (1977). Star wars episode IV: A new hope [Film]. Lucasfilm.

If the format is a DVD:

Lucas, G. (Director). (1977). Star wars episode IV: A new hope [Film; two-disc special extended ed. on DVD]. Lucasfilm.

In Text Citation of MOVIES:

For time-based media such as film, video recordings, and audio recordings, include the related time or time range, separating the hours, minutes, and seconds with colons.

Example: ("Self Help" 00:34:30-34)

READINGS THROUGH THIS YEAR:

Sequence #1 READINGS:

Constructions of illusions by Anandi Ramamurthy pg. 669This is under readings too--and a link.The Egg and the Sperm--Link here This is under readings...Bitch by Beverly Gross pg. 506 in your text. I also found this text online--it is under readings too! Is Google Making Us Stupid? by Nicholas Carr This is in your textbook; there is a link on the Readings page!

MISC Sequence #2 READINGS:

Birthday Party, Popular Mechanics, and The Story of an Hour The three taboo readings for MISC Sequence #2, Paper A Birthday Party. By Katharine Brush. 16 March 1946, The New Yorker.Sentimental Narratives, by Joan Didion-Paper B This is on my website and you should consider printing it and annotating on it so that you have it handy/readily assessible. The Fall River Axe Murders by Angela Carter--Paper C This is on my website and you should consider printing it and annotating on it so that you have it handy/readily assessible. It is also on Canvas under readings...Theme for English B (in book--on this website) This is in book and on my websiteSuperman and Me by Sherman Alexie (in book, on website, link on Canvas) Under the readings tab online here Course Readings: MISC Sequence #2, Paper D HERE! Why I Write by Joan Didion (on website, link on Canvas)Under the readings tab online here Course Readings: MISC Sequence #2, Paper D HERE! Shooting an Elephant by George Orwell (in book, on website, link on Canvas) Under the readings tab online here Course Readings: MISC Sequence #2, Paper D HERE!
Works Cited for your MISC Sequence #2, Paper D Texts:Didion, Joan. “Why I Write.” New York Times Book Review. 9 Dec. 1976: 22. Alexie, Sherman. “The Joy of Reading and Writing: Superman and Me.” The Most Wonderful Books: Writers on Discovering the Pleasures of Reading. Minneapolis: Milkweed Editions, 19. 3—6. Print. Hughes, Langston. “Theme for English B.” The Bedford Introduction to Literature: Reading, Thinking, Writing. Ed. Michael Meyer. Boston: Bedford/St. Martin’s, 2002. 1107-1108. Print. Miller, R. Baxter. “ Orwell, George. Shooting an Elephant, and Other Essays. , 1950. Print.

MISC Sequence #3 READINGS: (in order)

How to Tame a Wild Tongue by Gloria Anzaludua by March 8th/9th Mother Tongue by Amy Tan by March 8th/9thIf Black English Isn't a Language, Then Tell Me What Is? by James Baldwin March 10th/11th The Veil by Marjane Satrapi by March 15th/16th The Revolution Will Not Be Televised by Gil-Scot Heron by March 18th/19th READ: The Revolution Will Not be Televised for Thursday/Friday https://medium.com/cuepoint/why-gil-scott-heron-wrote-the-revolution-will-not-be-televised-6e298f9d4e2 (You need to READ THIS TEXT!) Watch the Poem with visuals: https://www.youtube.com/watch?v=BS3QOtbW4m0Leave Your Name at the Border by Manuel Munoz by March 22nd/23rd

Writing Claims...

You have learned about persuasive essays whose primary purpose is to convince your readers that your opinion is valid. Academic argumentation in the university is different because it begins with the evidence accumulated through reading sources or collecting data. From this evidence, you create a claim that is then stated and supported as you bring your sources and evidence into your text.
The process is therefore reversed: You can’t make a claim until you have the evidence to support it. Often this claim may, in fact, be your opinion---but it is much more, since you can back it up with specific citations from your sources or with evidence from the data you have collected.
How to Create Your Claim Here’s the process for designing an academic argument.1. Pose a question such as: “What is the most powerful argument that Ramamurthy makes in her Constructions of Illusions and why? What makes this argument effective, significant, compelling?” (Short Paper 1.A in this sequence) 2. Then, using your source (in this case, her Constructions), explore this question with an open mind.3. Take notes from your source as you explore the question – nail your statement to the text, always.4. When you understand your source and have identified where, in the text, your question is being answered, then you can formulate your claim (i.e., “The most powerful argument that Ramamurthy makes in Constructions of Illusion is _______________________ because _________.”)
Of course we all have biases. But you should try to be as open-minded as possible and respond to the prompt or academic task. Focus more on the text than on your personal views – and look at the context (time, place, and situation) of the text’s composition as well. REMEMBER: 1. Establish that your issue is current and relevant, that it is or should be on people’s minds. What information do you need for this?2. Summarize briefly what others have said in the past. List some of the key texts you have read and the key points they make.3. Identify any misunderstandings or gaps in how others have addressed the issues.4. What is your take on the issue? (You can use these templates to make your own claim...) a. Although many scholars have argued about x and y, a careful examination suggests z. b. Although scholars have noted x and y, they have missed the importance of z. c. Although scholars have argued x and y ides of other writers, it is important to extend/refine/limit their ideas with z.

Course Reading:

Sequence #1

The Egg and the Sperm

The Egg and the Sperm by Emily Martin

Sequence #2

Sentimental Journeys

Sentimental Journeys

The Fall River Axe Murders

Shooting an Elephant

Shooting an Elephant

Superman and Me

Superman and Me

Why I Write

Theme for English B

Theme for English B

Here are the Readings for Sequence #3

The Revolution Will not Be Televised

Watch it: https://www.youtube.com/watch?v=qGaoXAwl9kw

READ it: http://www.azlyrics.com/lyrics/gilscottheron/therevolutionwillnotbetelevised.html

READ this: https://medium.com/cuepoint/why-gil-scott-heron-wrote-the-revolution-will-not-be-televised-6e298f9d4e2

If Black English Isn't a Language, Then Tell Me, What Is? (page 440)

READ IT: http://www.nytimes.com/books/98/03/29/specials/baldwin-english.html (it's in your book)

Mother Tongue (page 886)

http://www.olypen.com/pnkdurr/as/mother_text.htm

http://www.u.arizona.edu/~sab4949/mother.html (with audio)

http://knopfdoubleday.com/2009/06/30/the-veil-from-marjane-satrapis-persepolis/

http://www.olypen.com/pnkdurr/as/mother_text.htm

http://www.u.arizona.edu/~sab4949/mother.html (with audio)

Reading #1

The Revolution Will Not be Televised by Gill Scott-Heron

Watch it: https://www.youtube.com/watch?v=BS3QOtbW4m0

READ it: http://www.azlyrics.com/lyrics/gilscottheron/therevolutionwillnotbetelevised.html

READ this: https://medium.com/cuepoint/why-gil-scott-heron-wrote-the-revolution-will-not-be-televised-6e298f9d4e2

Reading #2

Leave Your Name at the Border (Munoz--it's in the Book) page 642

http://www.nytimes.com/2007/08/01/opinion/01iht-edmunoz.1.6936607.html

Reading #3--

Mother Tongue by Amy Tan, page 710 in your book

http://www.olypen.com/pnkdurr/as/mother_text.htm

http://www.u.arizona.edu/~sab4949/mother.html (with audio)

Reading #4

If Black English Isn't a Language, Then Tell ME, What is? by James Baldwin, page 440

READ IT: http://www.nytimes.com/books/98/03/29/specials/baldwin-english.html (it's in your book)

Reading #5

How to Tame a Wild Tongue by Gloria Anzaldua, page 430

READ IT: https://wendtenglish201f10.wikispaces.com/file/view/Wendt.How+to+Tame+a+Wild+Tongue.pdf

Reading #6

The Veil by Marjane Satrapi, page 700

http://knopfdoubleday.com/2009/06/30/the-veil-from-marjane-satrapis-persepolis/

Reading #7

I Has a Dream by Lee St. James, page 708

http://knopfdoubleday.com/2009/06/30/the-veil-from-marjane-satrapis-persepolis/

http://www.olypen.com/pnkdurr/as/mother_text.htm

http://www.u.arizona.edu/~sab4949/mother.html (with audio)

This article is in the Sunday, March 1st edition of the Seattle Times...very appropriate for our language conversation!

By Crystal Paul

Seattle Times features reporter, 3/1/2020

“Ain’t ain’t a word, so I ain’t gonna use it.”I heard this phrase countless times growing up — from teachers, from adults, even from other Black kids.
It was one of many such admonishments meant to shame and correct the “improper English” that I and other Black youth had grown up speaking. We were told to enunciate our dropped consonants and lose our universal “they” pronoun and resurrect the “is” and “are” linking verbs that we’d so efficiently eliminated from our sentences. And, of course, that four-letter word, “ain’t,” was the greatest dishonor one could inflict on “proper” English. For most of my formal education, I studiously practiced “proper English” and was ashamed when evidence of this “improper English” crept out of my mouth. It wasn’t until almost 10 years later, in a college linguistics course, that I would learn that Black Vernacular English (BVE) was a legitimate form of English with its own grammar and rules. Of course, linguists still argue over its origins. I’m particularly fond of the theory that it is rooted in the creative ways enslaved Black people, forced to abandon their native languages, adapted and mixed the sounds, rhythms and meanings of their myriad native languages with Standard American English (SAE) to create a unique English vernacular. Like most students in the U.S., I had read Their Eyes Were Watching God in high school, one of maybe two books we read in my school that was written by a Black woman. But armed with new knowledge about BVE, when I encountered Hurston’s ethnographic folklore collection Mules and Men ,I began to understand that many of the behaviors, foods, linguistic quirks and stories of my youth made up a culture worthy of study and respect in its own right.
When you grow up in any culture, it can be difficult to understand you are part of a culture at all, because for you, it is simply the norm. Usually, it is not until you encounter another culture that you can compare differences and come to appreciate your own culture’s unique traits. When you grow up immersed in Black culture, your first encounters with white cultures tell you that the normal you grew up living is wrong, inferior, debased. Hurston’s cultural work and writing defied this systemic inferiority complex. Regardless of its origins, the knowledge of its legitimacy as a form of English complete with its own grammar was my first wake-up call to the ways my formal education had taught me my Blackness was essentially “wrong.” And then I encountered Zora Neale Hurston.

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Paper C Helpers: What is a Cult Hero?

A writer, musician, artist, or other public figure who is greatly admired by a relatively small audience or is influential despite limited commercial success.
Cult Heroes:https://www.nme.com/list/music-s-20-greatest-cult-heroes-1388 (in music)https://www.seeker.com/killers-as-cult-heroes-photos-1767568565.html (crime) https://www.history.com/tag/cults (fanatical and religious)https://bleacherreport.com/articles/940013-20-of-the-biggest-cult-heroes-in-sports#slide0 (sports)
Herofication Narratives: Turning people into "pious, perfect creatures. Loewen describes heroification as a "degenerative process" that strips historical figures of their humanity and reduces them to the actions for which they were most renowned rather than presenting multifaceted views of them as people. This is usually accomplished with the omission of atypical or undesirable details. Loewen believes that we have cheapened the definition of hero, and that American ideals have been cheapened by our view that athletes, actors, and a wealth of other people are worthy role models and figures.

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