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¶ … Jennifer:
'I have nothing to write about. Nothing interesting ever happens to me.' Before I read Adam Gopnik's collection of essays about his life as a New Yorker entitled Through the Children's Gate: A Home in New York, I would often use this as an excuse for staring at the blank page of my computer screen. But this is no longer the case. Gopnik's prose illustrated to me that it is possible to make even very mundane events seem exciting and profound. It is not so much what you write about but how you write about it that is important.
This can be seen in Gopnik's essay on his daughter's imaginary friend Charlie Ravioli. Although many children have imaginary friends, Gopnik presents his daughter Olivia as an unusually precocious little girl who has a very complex relationship with Charlie. Charlie is always too busy to have dinner with her or to go on play dates. He becomes a representative of all overscheduled...
Gopnik uses dramatic dialogue to make the reader both laugh and think at the same time, without making his point in a heavy-handed way. He 'shows' rather than tells us as a writer. That is why I know you would love his writing and why I was inspired to write to you today.
One of the problems with reading nonfiction essays is when the writer makes use of fictional techniques like dialogue. It is easy to wonder: is this how the events really happened? How does the writer remember everything? Gopnik's characters, including his children, do tend to sound the same, so there is clearly an understanding between the reader and the writer that this is not a transcript from life, such as in another essay when Gopnik's son Luke counsels his father that he should have told his sister the truth about her dead fish. Gopnik takes some poetic license because…
Work Cited
Gopnik, Adam. Through the Children's Gate: A Home in New York. Vintage: New York, 2007.
She notes that "the laughter from the women in the group led to a pretty obvious bleeding of mascara" (2006). During this uproar, a male voice from the audience piped up and said he didn't find any of it funny. A few more men murmured sounds of agreement. The man said these women were nothing more than a couple of drunks. He ended with the comment, "I don't get
Internships Anya Kamenetz (2006) and Jennifer Halperin (2010) take opposing views of the issue of unpaid internships. In their pieces, the discuss some of the same issues, but they also discuss different issues, and the two writers certainly come to different conclusions about the issue of unpaid internships. At the heart of the issue are unpaid, rather than paid, internships, because this is a rising trend in both business and academia
Then he checks the bank account and is amazed to find out that over $300,000 dollars has siphoned off to them in just a short time. He, Samir and Michael are panicked and sure they will be caught. Peter, reasserting his moral code, says he will take full responsibility, writes a note confessing the crime, and places it, along with travelers' checks paying back the total amount, under Lumbergh's
Writing doesn�t have to be a chore. To prove it, here�s a cause and effect essay example that gets down and dirty with a semi-controversial issue that polarizes a lot of people (no pun intended):� yes, we�re talking about climate change. This topic has been in the news for a good long while. Topic Climate Change There have been movies made about it, conferences held about it, and many works of scholarly and not-so-scholarly literature
representation of Death and the impermanence in the short story "A Father's Story" by Andre Dubus, and the poem "Because I could not stop for Death" by Emily Dickinson. These two works were chosen because both speak of Death and impermanence, yet these authors employ different literary forms, characters, settings and plots. "A Father's Story" follows the format of a short story, being prose written in concise paragraphs with
The confidence of non-native speaker teachers is expected to be strengthened by better, more direct, access to the way native speakers use the language. But an option not on offer so far (and, of course, a task impossible for a corpus called the British National Corpus) is to give these non-native speaker teachers access to a corpus capturing the successful use of English among non-native speakers, as a lingua franca,