1. Class 4: EWRT 1B

2. AGENDA
Presentation: Terms
Teams and Points
Author Lecture: Langston Hughes
QHQ Discussion: Racial Passing: "Passing" and
"Passing‖
Lecture: Writing a Summary and Paraphrasing Poetry
In-class writing: Summary; paraphrase

3. Terms Exam #1: Class 6
 19. Characterization: the creation of the image of imaginary
persons in drama, narrative poetry, the novel, and the short
story. Characterization generates plot and is revealed by
actions, speech, thoughts, physical appearance, and the
other characters’ thoughts or words about him.
 20. Dialogue: is a conversation, or a literary work in the form
of a conversation, that is often used to reveal characters and
to advance the plot. Also, it is the lines spoken by a character
in a play, essay, story, or novel.
 21. Epistle: a letter, especially a formal or didactic one;
written communication. Also (usually initial capital letter ) one
of the apostolic letters in the new testament or ( often initial
capital letter ) an extract, usually from one of the Epistles of
the New Testament, forming part of the Eucharistic service in
certain churches.

4. 22. Irony: a dryly humorous or lightly sarcastic figure of speech in which the
literal meaning of a word or statement is the opposite of that intended. In
literature, it is the technique of indicating an intention or attitude opposed to
what is actually stated. Often, only the context of the statement leads the
reader to understand it is ironic. Irony makes use of
hyperbole, sarcasm, satire, and understatement.
There are four types of irony:
• Verbal irony as defined by Cicero: ―Irony is the saying of one thing and
meaning another,‖ or Socrates: ‖when one adopts another’s point of view
in order to reveal that person’s weaknesses and eventually to ridicule
him.‖
• Situational irony, such as when a pickpocket gets his own pockets picked
• Dramatic irony, such as when Oedipus unwittingly kills his own father
• Rhetorical irony, such as that of the innocent narrator in Twain’s
Huckleberry Finn

5. 23. Literal: pertaining to a letter of the alphabet. More typically, it
means ―based on what is actually written or expressed.‖ A literal
interpretation gives an exact rendering— word for word— taking
words in their usual or primary sense. It is also used to describe
thinking which is unimaginative or matter of fact.
24. Literature: writings in which expression and form, in
connection with ideas and concerns of universal and apparently
permanent interest, are essential features. While applied to any
kind of printed material, such as circulars, leaflets, and
handbills, there are some who feel it is more correctly reserved for
prose and verse of acknowledged excellence, such as George
Eliot’s works. The term connotes superior qualities.
25. Paraphrase: (also called rewording) – the restatement of a
passage giving the meaning in another form. This usually involves
expanding the original text so as to make it clear.

6. 1. We will often use teams to
earn participation points.
Your teams can be made
up of 3 or 4 people.
2. The teams will remain the same through
the discussion, reading, and workshops of
one essay.
3. You must change at least 50% of your team
after each essay is completed.
4. You may never be on a team with the same
person more than twice.
5. You may never have a new team comprised
of more than 50% of any prior team.

7. Points will be earned Answers, comments,
for correct answers to and questions must
questions, meaningful be posed in a
contributions to the manner that
discussion, and the promotes learning.
willingness to share Those who speak
your work. Each team
out of turn or with
will track their own
maliciousness will
points, but cheating
leads to death (or loss not receive points for
of 25 participation their teams.
points).

8. At the end of each
class, you will turn in a
point sheet with the
names of everyone in
Sit near your team
members in class to your group and your
facilitate ease of group
discussions
accumulated points for
the day.
It is your responsibility
to make the sheet, track
the points, and turn it in.

9.  Get into groups of
three or four. (1-2 Essay #2
minutes)
 If you can’t find a
Teams
group, please raise
your hand.
 Once your group is
established, choose
one person to be the
keeper of the points.
 Write down members’
names
 Turn in your sheet at
the end of the class
period.

10. In your groups: 5 minutes
Discuss the reading for today.
Review the QHQs that you
wrote.

11. What do you know about Langston Hughes?
LANGSTON
HUGHES 1902-
1967
One of the founders of the
cultural movement known as
the Harlem Renaissance.

12. Few authors of the twentieth century are more significant than
Langston Hughes. He is assured his status by his many
contributions to literature.
• The length of his career: 1921-1967
• The variety of his output: articles, poems, short
stories, dramas, novels, and history texts.
• His influence on three generations of African American
writers: from the Harlem Renaissance through the Civil
Rights Movement
• His concern for the ―ordinary‖ African American: The
subject of his work
• His introduction of the jazz idiom: the quality of black
colloquial speech and the rhythms of jazz and the blues.

13. During his long career Hughes was harshly criticized
by blacks and whites. Because he left no single
masterwork, such as Ralph Ellison’s Invisible Man
(1952) or Richard Wright’s Native Son (1940), and
because he consciously wrote in the common idiom
of the people, academic interest in him grew only
slowly. The importance of his influence on several
generations of African American authors
is, however, indisputable and widely acknowledged.

14. QHQ Discussion: Racial
Passing: "Passing" and
"Passing‖

15. ―Passing‖ The Short Story
 Q: Does Jack refute his ethnic identity out of fear or selfishness?
 Q. How is Jack so content with his life of passing for a white man while his
family has to live with the oppression of being ―colored‖?
 Q: Why does Jack like living the ―white‖ life even though he’s seen/heard how
badly white people talk about ―colored‖ people?
 Q. How does Jack not realize that he is turning exactly into what he might’ve
had to deal with were his skin darker?
 Q. What would Jack do if he realized his own cognitive dissonance regarding
his self-protection by passing as white vs. his allegedly continuing love for his
family?
 Q: given the circumstances his people are enduring at that given time, isn’t
the rejection of blood necessary in pursuit of the money to be successful and
live the American dream?
 Q: Do you think Jack is losing his identity by ignoring/pushing a part of who
he is away?
 Q: Is Jack serious about denying his kids?

16. Q: If Jack were to see a Black person being discriminated against or
mistreated, would he take action or just stand by and watch since he is
―passing‖ as white?
Q. Why does jack put up with the degrading remarks he heres from the
people he is trying to fit in with?
Q: Would Jack mind being black since he does not mind passing as
being white?
Q Why is Jack constantly trying to find an excuse for last night when
he saw his mother and ignored her?
Q: Has Jack ever thought about making a change by voicing out his
opinions on the topic of racism?
Q: Does Jack even feel anger or sadness when it comes to the
prejudice that black people face?
Q] Is Jack really sorry for his family?
Q) Why does Jack starts off saying that he felt like a dog in his first
sentence of the letter?
Q: Is Jack really free?

17. Consequences
 Q: What is jack going to do if his girl friend leaves him because she found
out his mother is black? could he be mad at her?
 Q: Did he ever reveal to his fiancée that he was actually black or did he
continue to pass for the remainder of his life?
 Q: What will happen when Jack’s racial denial comes back to haunt him in
the form of confrontation by his dark skinned siblings in the presence of
his future white family?
 Q; Is his job so important to him that he’s going to let them continue like
that, and is he going to ignore his mother and siblings and find an excuse
not to talk to them?
 Q: why can’t jack see that by passing for white, he has neglected his own
siblings?
 Q: Why doesn’t Jack understand why Gladys and Charlie are not happy about
his passing?
 Q: Does jack know he has become his own enemy?
 Q: What will happen if Jack’s secret is ever discovered?

18. Jack’s Poor Mother
 Q. How does the mom actually feel with the decision that Jack
has made to ignore her and the family and what is she
thinking/feeling when Jack describes his girl friend as blonde
and blue-eyed?
 Q. Looking at it from the other side, how does his mother
feel, knowing she gave Jack her blessing, yet when she sees
him in the street, he doesn’t say a word to her?
 Q: Why did it seem like Jack’s mother didn’t care for him?
 Can Jack’s mother handle all the pain that she caused for
herself just to give her son a better life?
 Q: Is there any regret in the way Jack wrote to his mother?

19. What does this mean?
 Q. Jack makes the comment that he is going to
―live white‖ in comparison to live life as a white
man. What does Jack mean by the phrase ―live
white‖?
 Q: What do you think Jack meant when he said
―I’m free, Ma I’m free!‖?
 Q: Why does Jack call his girlfriend ―weakness‖ in
the last paragraph?

20. Broader Inquiries about social policy,
perspective, and choice.
 Q: How long do you think someone could hide something like this
about themselves? Could you do it?
 Q Is it really worth being a part of the dominant culture if it means
giving up your roots, who you are, your family, and your morals?
 Q. What must it feel like to deny one’s own family in order to
succeed?
 Q :Does this happen today in 2013? Are people today willing to deny
there background to be treated as a part of the majority race?
 Q: The weight of playing race charades is heavy, is it really worth to
lose ones identity in the process?
 Q. Why is passing for being white considered so great and not
showing your true colors of who you really are can degrade you as a
person?

21. ―Passing‖ By Langston Hughes
On sunny summer Sunday afternoons in Harlem
when the air is one interminable ball game
and grandma cannot get her gospel hymns
from the Saints of God in Christ
on account of the Dodgers on the radio,
on sunny Sunday afternoons
when the kids look all new
and far too clean to stay that way,
and Harlem has its
washed-and-ironed-and-cleaned-best out,
the ones who’ve crossed the line
to live downtown
miss you,
Harlem of the bitter dream
since their dream has
come true.

22. ―Passing‖: The Poem
 Who is writing the poem and what are they saying?
 Q: What does it mean when Harlem has people that are
―washed-and-ironed-and cleaned-best out?‖
 Q: What certain obstacles/hardships did kids have to endure
and overcome in order to pave a better tomorrow for
themselves in Harlem?
 Q. What does Hughes mean by ―the ones who’ve crossed the
line to live downtown‖ ?
 What is the line that people crossed when they moved downtown?
 What is it that people lost when they crossed the line that could not
replace in their current location?
 Q: What does passing really mean in this poem?

23. Paraphrase and Summary
 Writing strategies that cannot be ignored

24. How to Paraphrase
 A Paraphrase is a restatement of a passage giving the meaning in another
form. This usually involves expanding the original text so as to make it clear.
 A paraphrase will have none of the beauty or effectiveness of the original. It
merely aims, in its prosy way, to spell out the literal meaning. It will not
substitute for the original, then, but will help us appreciate the compactness
and complexity of many poems.
 Write in prose, not verse (in prose the lines go all the way to right margin).
The line breaks of the original are irrelevant in paraphrasing.
 Write modern prose, rearranging word order and sentence structure as
necessary. As far as possible, within the limits of commonsense, avoid using
the words of the original. Finding new words to express the meaning is a test
of what you are understanding.
 Write coherent syntax, imitating that of the original if you can do so with
ease, otherwise breaking it down into easier sentence forms.
 Write in the same grammatical person and tense as the original. If the original
is in the first person, as many poems are, so must the paraphrase be.

25. Expand what is condensed.
 Spell out explicitly what the original implies or conveys by
hints. It follows that a paraphrase will normally be longer than
the original.
 Spell out explicitly all the possible meanings if the original is
ambiguous (saying two or more things at once), as many
poems are.
 Use square brackets to mark off any additional elements you
find it necessary to insert for the coherence of the meaning.
The brackets will show that these bits are editorial --
contributed by you for the sake of clarity but not strictly "said"
in the original. An example might be some implied transitional
phrase or even an implied thought that occurs to the speaker
causing a change in tone or feeling.

26. I, Too, Sing America  Paraphrased Text
by Langston Hughes
I, too, sing America. I am an American.
I am the darker brother.
They send me to eat in the kitchen Although the color of my skin may be
When company comes, different from yours, I am like the rest of
But I laugh, my fellowmen. Now I am separated from
And eat well, whites, but I [and my people] are gaining
And grow strong. strength.
Tomorrow,
I'll be at the table Soon, I [we] will join the rest of
When company comes. America, and my [our] rights will assure us
Nobody'll dare that we are not excluded from the fruits of
Say to me, the country.
"Eat in the kitchen,"
Then.
My darker complexion makes me no less
beautiful than everybody else, which should
Besides,
make whites feel sorry for treating me like
They'll see how beautiful I am
And be ashamed-- less than the average individual.
I, too, am America. I am like the rest of you.

27. ―Passing‖ By Langston Hughes
 On sunny summer Sunday afternoons in Harlem
 when the air is one interminable ball game
 and grandma cannot get her gospel hymns
 from the Saints of God in Christ
 on account of the Dodgers on the radio,
 on sunny Sunday afternoons
 when the kids look all new
 and far too clean to stay that way, Take a few minutes
 and Harlem has its
 washed-and-ironed-and-cleaned-best out, to paraphrase this
 the ones who’ve crossed the line
 to live downtown poem
 miss you,
 Harlem of the bitter dream
 since their dream has
 come true.

28. The Summary
A summary is condensed version of a larger
reading. A summary is not a rewrite of the
original piece and does not have to be long
nor should it be long. To write a summary, use
your own words to briefly express the main
idea and relevant details of the piece you have
read. Your purpose in writing the summary is
to give the basic ideas of the original
reading. What was it about and what did the
author want to communicate?

29. While reading the original work, take note of what or
who is the focus and ask the usual questions that
reporters use: Who? What? When? Where? Why?
How? Using these questions to examine what you are
reading can help you to write the summary.
Always read the introductory paragraph thoughtfully
and look for a thesis statement. Finding the thesis
statement is like finding a key to a locked
door. Frequently, however, the thesis, or central idea, is
implied or suggested. Thus, you will have to work
harder to figure out what the author wants readers to
understand. Use any hints that may shed light on the
meaning of the piece: pay attention to the title and any
headings and to the opening and closing lines of
paragraphs.

30. In writing the summary, let your reader know the piece that you are
summarizing. Identify the title, author and source of the piece. You may want
to use this formula:
In "Title of the Piece" (source and date of piece), author shows/offers/suggests
that: central idea of the piece.
Remember:
• Do not rewrite the original piece.
• Keep your summary short.
• Use your own wording.
• Refer to the central and main ideas of the
original piece.
• Read with who, what, when, where, why and
how questions in mind.

31. Here is a sample summary:
In the short story ―The Secret Life of Walter Mitty,‖ author
James Thurber humorously presents a character who
fantasizes about himself as a hero enduring incredibly
challenging circumstances. In his real life, Walter Mitty lives an
ordinary, plain life; he is a husband under the control of an
overbearing, critical wife. Thurber uses lively dialogue to give
readers an understanding of Mitty's character. The story takes
place over a period of about twenty minutes; during this brief
time, Mitty drives his wife to the hairdresser and runs errands
that his wife has given him while he waits for her. In between
his worrying that he is not doing what she wants him to do, he
daydreams about himself as a great surgeon, brilliant repair
technician, expert marksman, and brave military captain. This
story shows that fantasy is often a good alternative to reality.

32. ―Passing‖
the Short Story
By Langston Hughes
Start your summary of the story

33. HOMEWORK
1. Reading: Kennedy "Racial Passing" Posted under
"Secondary Sources.‖
2. Studying: Terms: Exam in Class 6
3. Post #5: Post summary of "Passing" and
paraphrase of "Passing."
4. Post #6: Discuss one story from Kennedy's article
that particularly spoke to you. How did it influence
you in your thinking about passing?