1. Week 8 Frazier, Lopez, and Mori

2. Frazier - Language In the middle of the essay, Frazier turns to a consideration of the word “margin” and “marginal.” Frazier uses the history of this word as proof of the change in social attitudes. What do you think of this passage about marginal as a descriptive argument technique? The word “marginal” has negative connotations. Is there another way to look at marginal as something positive in terms of what Frazier explores in this essay?

3. Frazier- Structure This essay is free flowing but does have a structure. Why does Frazier’s essay seem unified though it jumps from place to place and time to time? This essay is free flowing but does have a structure. Why does Frazier’s essay seem unified though it jumps from place to place and time to time? Look at Frazier’s use of transitions, i.e., how the word margins ties together paragraphs. How do these transitions tie paragraphs together, logically, loosely? Look at Frazier’s use of transitions, i.e., how the word margins ties together paragraphs. How do these transitions tie paragraphs together, logically, loosely? How does this structure reinforce his theme? How does this structure reinforce his theme?

4. Frazier - Perspective This essay is about aimlessness with a higher purpose. This essay is about aimlessness with a higher purpose. There are some kinds of aimlessness that leads to creativity, allows creativity to occur. Does all aimlessness lead to creativity? There are some kinds of aimlessness that leads to creativity, allows creativity to occur. Does all aimlessness lead to creativity? Does the aimlessness, like Frazier’s childhood trips to the woods, have to be somewhat directed or purposive, like going to the woods to explore? Does the aimlessness, like Frazier’s childhood trips to the woods, have to be somewhat directed or purposive, like going to the woods to explore? Is all aimlessness good? Is all aimlessness good?

5. Lopez - Language How do Lopez’s anthropological terms in describing the history and geography of the desert (the creation of suburbs as “emigration,” roads and power lines as “tangible evidence” of man’s passing) shape his and the reader’s responses to his experience? How do Lopez’s anthropological terms in describing the history and geography of the desert (the creation of suburbs as “emigration,” roads and power lines as “tangible evidence” of man’s passing) shape his and the reader’s responses to his experience? Why does he describe modern phenomena and prehistoric tribes in the same terms? Why does he describe modern phenomena and prehistoric tribes in the same terms? What point is he making about man’s proper place in history through the use of anthropological language? What point is he making about man’s proper place in history through the use of anthropological language?

6. Lopez - Structure Lopez divides his essay into three sections: an account of the history of the area and the problem of destruction of sites, his visit to the horse, and his thoughts on horses and history while listening to the sounds of the awakening village. Lopez divides his essay into three sections: an account of the history of the area and the problem of destruction of sites, his visit to the horse, and his thoughts on horses and history while listening to the sounds of the awakening village. Why does he use this structure? Why does he use this structure? How does his description of larger history—linear-- contrast with his experience of the horse—integral, immediate immersion in the past? How does his description of larger history—linear-- contrast with his experience of the horse—integral, immediate immersion in the past? Is there a persuasive logic in structuring his essay with first declaring the abuses, then showing how valuable the horse is, and concluding with a plea? Is there a persuasive logic in structuring his essay with first declaring the abuses, then showing how valuable the horse is, and concluding with a plea?

7. Lopez - Perspective Consider the perspective of the anthropologist who sees the world in terms of human habitation in this essay and in general. It seems to hold that in destroying the desert, vandals destroy valuable pieces of mankind’s metaphysical inheritance—the timelessness of humanity. Consider the perspective of the anthropologist who sees the world in terms of human habitation in this essay and in general. It seems to hold that in destroying the desert, vandals destroy valuable pieces of mankind’s metaphysical inheritance—the timelessness of humanity. Do you think the world is chiefly valuable as it reflects human activity? Do you think the world is chiefly valuable as it reflects human activity? How does Lopez shape an anthropological understanding of the world in his readers? How does Lopez shape an anthropological understanding of the world in his readers?

8. Mori - Language How does Mori bring the art of writing into the essay? How does Mori bring the art of writing into the essay? How does the word “patterns” pertain to both knitting and storytelling? How does the word “patterns” pertain to both knitting and storytelling? How does she similarly use the word “thread” to pertain to both storytelling and knitting? How does she similarly use the word “thread” to pertain to both storytelling and knitting?

9. Mori - Structure Like the characteristics of yarn, Mori’s story I flexible, stretching and giving. Like the characteristics of yarn, Mori’s story I flexible, stretching and giving. How is the essay patterned by images moreso than by chronology? How is the essay patterned by images moreso than by chronology? How do the mittens structure the essay? How do the mittens structure the essay?

10. Mori - Perspective The essay reveals a developing perspective over time from her early high school days to her more mature knitting self. The essay reveals a developing perspective over time from her early high school days to her more mature knitting self. What kind of balance is Mori trying to achieve between the intuitive self, the one that makes things up as she goes, and the self that is willing to take on the complicated patterns requiring patience and meticulousness? What kind of balance is Mori trying to achieve between the intuitive self, the one that makes things up as she goes, and the self that is willing to take on the complicated patterns requiring patience and meticulousness? What does this have to do with writing? What does this have to do with writing?