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Akbar ...

Dr. ...

English I

29 April, 2013

Cover Letter

This year, students have toiled away unhappily at the English I assignments. Days were spent working deep into the night, crafting pieces with much difficulty and stress. The work was tedious and rough, which made it only obvious the entire grade despised it; my classmates found it irritating and bothersome. I too was one of these many students; however, I experience two colliding attitudes towards the work. One part of me disliked the assignments, whereas another part of me understood it. I was aware of the upcoming years and the difficulties associated with them – I’ve heard many, many stories regarding future teachers and their views on homework.

Over the course of English I, students were assigned a multitude of tasks including three major essays. One of these major essays, the Literary Analysis, was incorporated into my English portfolio as the essay revision. Despite the fact it was my strongest paper, many weaknesses were clearly identified by Dr. deGravelles. A quick skim of my final draft review revealed several formatting, sentence fluency, and conventional errors. As part of the essay revision, I have concluded to correct and improve these traits of good writing. My new paper will not only correct mistakes, but also demonstrate strong, fluid sentence structures with appropriate conventions that work hand in hand with my sentences. The final draft should represent and display all six traits of good writing efficiently.

After the evaluation of one of my papers, I looked towards other pieces of my writing for the next assignment. Within a few hours, I had transformed a blog post into a poem. The transition from blog to poem was a massive jump, but I managed to breeze right through it; I was so familiar with the blog’s topic that the words came to me. It recreated a moment my brothers and I are very familiar with: gaming. My hands typed fluently with a pause here and there to collect myself and review my work. The work was enjoyable and finalizing it was satisfactory. This piece introduced me to a new style of writing that I never really took interest in; my knowledge and skill in poetry was rudimentary. The writing process experience has helped me grow accustomed to poetry in general.

My last assignment required me to scavenge my cumulated writing from this year and select two “hits” and two “misses.” After searching through my blogs and essays, I concluded my Literary Analysis and “Song Analysis” post were two of my stronger writes. Both are analyses and have taught me a great deal about writing. My literary analysis was formal and, in my opinion, well-written. It had strong transitions, a diverse vocabulary, and developed ideas, but most importantly it was long. In the past, my writing was always condensed and concise, but for this analysis I experimented with the length and received encouraging feedback. In the future, I plan to harvest this experience and approach papers with a different attitude.

My other “hit” was another analysis in the form of a blog post. It was my song analysis of “Scatman” by Scatman John. Those who are familiar with this song would probably already know why I picked it as my other “hit.” This song has an upbeat tune and is pleasant to the ear. During the writing process, I chuckled often to the childish and silly words I was analyzing; lines like “It’s a scoobie oobie doobie scoobie doobie melody” amused me. Though it wasn’t a masterpiece, it both completed the assignment effectively and was a joy to write.

However, not all my pieces were perfect. In fact, most of them probably lean towards the “miss” side. Two definite “misses” I discovered were my “Poem: Place” and “Who are you?” blog posts. Both of these posts poorly represent me as a writer. I will not lie, “Poem: Place” was hastily made. To me, the poem felt decent, but the explanation was very bland and monotone. I made no attempt whatsoever to add variety or improve my work. “Who are you?” was another post that didn’t properly convey my skills in writing. In its defense, it was my first blog post ever, and I was still adapting to the entire system. Even though I was inexperienced, I had no reason to write so poorly. The effort was there, but the words I used were that of an 8^th grader. The post was dull and had an abundance of “cheesy” lines.

From these experiences I have grown into a completely new writer. They have both sharpened my skills and pointed out my weak spots, in which I have already begun strengthening. Before and in the literary analysis, I often encountered many conventional problems in my writing. Comma splices and incorrect semicolon uses crowded my paper. The essay revisions made me take time to thoroughly understand and correct these errors. I have developed a sense of awareness when it comes to placing punctuation. I will continue working to perfect this trait. As we turn into my strengths as a writer, it is clearly noticeable that word choice has always been the backbone of my paper. I enjoy using my arsenal of vocabulary to express a distinct voice in my pieces—it really sets my writing apart from others. This year has nurtured my word choice and further developed it.

English I was a course most students despised. Students seemed constantly irritated by work and I often had friends come complaining to me about having too much work. Unlike my friends, I understood the work and knew my time spent was not in vain. I expected to see improvements in my writings and was met with results. As I look back, I realize just how much progress I have made the academic year. My writing has flourished this year far more than it has any other year. The so-called “useless” and “unhelpful” homework given by Dr. deGravelles has transformed me into a stronger, more fluent writer. My newfound knowledge of English has driven me to enjoy writing.

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Essay Revision Writing Process:
One Thursday afternoon, I visited the writing center because the appointment was mandatory. I planned to focus on two aspects of writing: my conventions and sentence fluency. Miss Spaht happened to be there and willingly helped me with my paper. She and I reviewed the first three paragraphs of my writing and pointed out several errors. Miss Spaht also encouraged me to read my work out loud and offered me several papers on comma errors. Her ideas have helped me understand sentence fluency and conventions in a much more detailed way.
I approached my paper with these newly obtained ideas as well as the education I had already received. Miss Spaht's idea of sentence variety lead me to understand a multitude of errors spread throughout my paper. Common comma mistakes were quickly corrected within a few keystrokes. I believe I've improved more than corrected my literary analysis.
Most of the changes I made revolve around these two traits and their close relatives. I incorporated sentence variety through different phrasing and word choice. My sentence fluency problems led me to reconsider my introduction and conclusion. Reading my paper out loud helped me identify clarification problems which I soon fixed. My paper has dramatically changed from what it started as.
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Akbar ...

Dr. ...

Block 1

29 April, 2012

Structured Emotions (Revised Final)

In “The Return,” Ngugi Wa Thiong’o relates the tale through the eyes of the main character Kamau and adeptly manipulates the ebb and flow of emotions throughout the narration. To do so, Thiong’o makes full use of Freytag’s pyramid to expose the reader to the full idea of rising and falling emotions experienced by Kamau. This technique takes us on an emotional journey as the main character.

The exposition is hidden throughout the rising action. We are not immediately introduced to the setting or the characters – they are developed as the narrative progresses. The rising action instantly begins with a feeling of excitement upon Kamau’s release from the “hardships of the years spent in detention camps” (195) and his exhilaration at the prospect of returning home. For example, “he looked straight ahead as if he would, any time now; see a familiar object that would hail him as a friend and tell him that he was near home” (195). In anticipation, Kamau’s head is up rather than looking down, diligently searching for some signs of motivation. Seeing a “familiar object” would further strengthen his enthusiasm and lead him home, which is his obvious goal. A line later his determination and happiness is evident: “He made quick, springing steps…” (195). The word “quick” emphasizes his eagerness to reach home, whereas “springing steps” evokes the image of a happy child, skipping along the way void of any worry. Thiong’o continues to build the rising action and Kamau’s feeling: “…his eyes brightened a little as he went along the path that would take him down the valley and then to the village. At last home was near and, with that realization, the faraway look of a weary traveler seemed to desert him for a while” (195). This first sentence strongly communicates his excitement. Thiong’o uses optimistic words such as “eyes brighten” to portray hope in Kamau. At the start of the narration, Thiong’o created an initial image of Kamau similar to a “weary traveler” (195). Now that he is aware of his location near home, this image is replaced and reveals a different Kamau.

The entire attitude of the rising action is joyful and without worry. The reader is carried along with the emotions provided by this narrator. Normally, stories do not dramatically change in a short span of time—characters’ emotions will not swing from one extreme to another. Thiong’o provides a flux of emotions at each interval found in Freytag’s pyramid. The concept of mood intervals is seen in greater detail the climax.

As we continue chronologically through Freytag’s pyramid, we encounter the climax. At first Kamau’s exhilaration during the rising action is reflected as confidence. He expects a “hero’s welcome” (195) from his fellow villagers not only because he had fought for their land, but also because he has “always been a favorite all along the ridge” (195). Kamau even has to resist the temptation to run and shout with joy. However, this happy attitude does not last. His happiness ebbs and a feeling of sorrow and unfortunate realization replace his euphoria. His greeting to some women receives no response; instead, they “[look] at him mutely as if his greeting [is] of no consequence…His spirits [are] damped as he feebly [asks]: ‘Do you not remember me’?” (196). To be faced with silence results in abject disappointment. It makes Kamau feel that he was not worthy of a response. Furthermore, the fact that he “feebly” asks, conveys to the reader that Kamau is sensitive, weak, and in this situation, feeling out of place. To add to his suffering, “they stared at him with cold, hard looks; like everything else, they seemed to be deliberately refusing to know or own him” (196). At this point, Kamau is singled out and treated like an outcast, not the hero that he imagined he would be. “Cold, hard looks” imply he was unwanted and the fact they “deliberately [refused]” to know him emphasizes this fact. It is a cruel reaction that results in Kamau “feeling embittered and cheated” (196). It is an apropos decision on his part, to turn his back on those who turned against him. The whole encounter leaves him feeling alienated and betrayed.

Similarly to the rising action, Thiong’o portrays Kamau as innocent. He shows no sign of hostility against his people, even though they’ve failed to remember him. During the climax, the reader sees Kamau as the prey in this situation. Thiong’o conveys this idea through his word choice; for example, feeble equates to weakness and timidity. It is not often that the weak are seen as predators. In contrast to the rising action, Kamau’s new feelings are quite the opposite – with his initial happiness he had anticipated success and peace, but at his arrival he was met with a sense of rejection that was the basis for his sorrow and dejection.

The falling action is composed of many individual emotions, as well as smaller plots. Directly after he leaves the scene with the women, he remembers his past, “And suddenly he felt a strong nostalgia for his old home, friends and surroundings. He thought of his father, mother and – and – he dared not think about her. But for all that, Muthoni, just as she had been in the old days, came back to his mind” (196). After noticing that a new village had developed, pleasant memories flood his mind and he has no time for sorrowful thoughts. He thinks about his family, a normal thought for anyone who has been separated from loved ones. Yet only a few lines later his hope and happiness is converted to disappointment. Kamau thinks of his wife, who he had left when the “colonial forces” (196) forced him into detention camp. He remembers: “Another detainee put in: ‘For me, I left my woman with a baby. She had just been delivered. We were all happy. But on the same day, I was arrested…’ And so they went on. All of them longed for one day – the day of their return home. Then life would begin anew” (196). At this point, he empathizes and feels the same pain; “Kamau himself had left his wife without a child” (196). The cause of his pain is the result of his own actions, so he can easily relate to their emotions. Kamau’s empathy and sadness is with him as he continues on to find his family. During his journey back home, he meets new faces but now they do not faze him. He is not surprised, nor is he angered. He has already experienced the flood of emotions at his earlier encounter with the ladies. That experience helped him grow accustomed to a new thinking. Once again, the joyous spirit returns to Kamau as he arrives at the “entrance to the yard and breathed hard and full. This was the moment of his return home. His father sat huddled on a three-legged stool. He was now very aged and Kamau pitied the old man. But he had been spared – yes, spared to see his son’s return” (197). Kamau’s first sight of his father generates a strong feeling of happiness. Of course, he is elated, to be finally reunited with his family after years of separation at the detention camp. However, this feeling of happiness doesn’t last long. Once again, his words are met with silence, and he breaks down; “’Father, don’t you remember me?’ Hope was sinking in him. He felt tired. Then he saw his father suddenly start and tremble like a leaf. He saw him stare with unbelieving eyes. Fear was discernible in those eyes” (197). At the conclusion of the falling action, he is met with deep sorrow and lack of hope. This is evident in the line “hope was sinking in him.” From his point of view, his desired happiness is slipping away. To be face-to-face with his own family who appear reluctant to respond to him is devastating. One of his last hopes, his family, seem to be deserting him. His sadness is magnified when he learns that his wife, one of the few people he looked forward to unite with, had gone away. And then, “Kamau felt something cold settle in his stomach” (198). To be confronted with this information, Kamau was left feeling completely hopeless and deeply sorrowful. After numerous explanations from his mother, he still wasn’t mollified. “He was not listening; the coldness in his stomach slowly changed to bitterness. He felt bitter against all, all the people including his father and mother. They had betrayed him” (198). His sorrow is converted into anger as he is faced with the same scenario once again. Similar to the way he had felt when the women on the ridge had ignored him and he had felt betrayed.

The reader’s perspective is dramatically altered here, clearly sending the idea that Kamau is the victim. It seems as though everything is happening to Kamau; first he is forgotten by the village, then by his family, and lastly his wife leaves him. Thiong’o organized his falling action into subplots, each with their own corresponding emotions.

As we progress further into Freytag’s pyramid, we arrive at the resolution. Kamau at last resorts not to his family, but instead to the land, the only element that is consistent and unchanging; “And standing at the bank, he saw not the river, but his hopes dashed on the ground instead” (198). His hopeless attitude morphs its way into the first part of the conclusion of the story. When he arrives at the bank, his last hope is put to rest. Astonishingly, Kamau’s emotions change quickly: “And above, the moon shone bright. He tried to remove his coat, and the small bundle he had held on to so firmly fell…He did not know why, but somehow he felt relieved. Thoughts of drowning himself dispersed” (198). Here, we get this idea of a man dropping his bag of troubles into the river in the darkness of night. This bag contained his past, items that reminded him of his wife—all gone, flowing through the river. The bag represents his troubles and worries, all washed away with the “monotonous murmurs” (198) of the Honia River and now with his troubles behind him, he is reborn by these events. His depressing emotions throughout the story resolve into a single emotion of relief.

The emotions Kamau experiences throughout the story strongly influence the reader’s interpretation. The third person omniscient point of view used in the narration limits the reader to the information Thiong’o gives us. It leads us to believe that Kamau is the victim in all of these situations, because  the reader is restricted to only Kamau’s thoughts and emotions. Thus, the reader’s interpretation becomes biased, seeing the story solely through his perspective.

Works Cited

Wa Thiong’o, Ngugi. “The Return.” English I. Ed. Edwards and deGravelles. San Diego, CA:

            University Readers, 2012. 195-198. Print.

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Akbar ...

Dr. ...

Block 1

12^th December, 2012

Structured Emotions (Original)

In “The Return,” Ngugi Wa Thiong’o uses a clever technique to express the main character’s, Kamau’s, emotions, which ultimately influences the reader’s perspective. Thiong’o developed his story so meticulously that at every interval of Freytag’s pyramid Kamau experiences a new sentiment. Because the story revolves around him in a third person limited omniscient perspective, the reader’s interpretation of the events is altered. Kamau’s biased views make it seem as though the audience is looking through his eyes albeit a little blurred. With a few exceptions, development of Kamau’s emotions follow Freytag’s pyramid, with a few exceptions.

Strangely enough, the exposition is hidden throughout the rising action. We are not immediately given the setting or the characters – they are later found within the text. For this reason, the rising action instantly begins. It starts with a feeling of excitement upon Kamau’s release from the “hardships of the years spent in detention camps” (195) and his exhilaration at the prospect of returning home. This idea is the product of a few explanations within the context. For example, “he looked straight ahead as if he would, any time now; see a familiar object that would hail him as a friend and tell him that he was near home” (195). In this situation, Kamau’s head is up rather than looking down, diligently searching for some source of motivation. Seeing a “familiar object” would further strengthen his enthusiasm and lead him home, which is his obvious goal. One line later his determination and happiness is expressed; “He made quick, springing steps…” (195). The word “quick” emphasizes his desperation to reach home, whereas “springing steps” brings the thought of a child, skipping along the way void of any worry. Evidently, Kamau is strongly influenced by his happy emotions. In addition to the evidence already presented, the next lines will confirm and clearly state his emotions: “…his eyes brightened a little as he went along the path that would take him down the valley and then to the village. At last home was near and, with that realization, the faraway look of a weary traveler seemed to desert him for a while” (195). The first sentence strongly communicates his excitement. Thiong’o uses optimistic wording, like in “eyes brighten” to portray hope in Kamau. As the quote progresses, Thiong’o creates an initial image of Kamau with that similar to a “weary traveler” (195). Now that he is aware of his location, near home, this image diminishes and reveals a different Kamau.

The entire attitude of the rising action is joyful and without worry for the most part, which makes the narration biased. The reader is forced into reading what is provided by this narrator. Normally, the atmospheres of stories do not dramatically change in a short period of time as doing so would disrupt the organization of “The Return” and confuse the readers. But instead of doing that, Thiong’o adjusts the mood at intervals which can be found in Freytag’s pyramid. The concept of mood intervals can be seen in more detail after discussion of the climax.

As we continue chronologically through Freytag’s pyramid, we encounter the climax. At first, Kamau’s exhilaration from the rising action is converted into confidence. He expects a “hero’s welcome” (195) from his fellow villagers not only because he had fought for their land, but also because he has “always been a favorite all along the ridge” (195). Kamau even has to resist the temptation to run and shout at his appearance. However, this happy attitude does not last. When Kamau’s happiness ebbs, a feeling of sorrow and unfortunate realization replaces his euphoria. His greeting to some women receives no response; instead, they “[look] at him mutely as if his greeting [is] of no consequence…His spirits [are] damped as he feebly [asks]: ‘Do you not remember me’?” (196). To be faced with silence results in abject disappointment. It made Kamau feel that he was not worthy of a response. Furthermore, the fact that he “feebly” asks, informs the reader that Kamau is sensitive, weak, and in this situation, out of place. To add to his suffering, “they stared at him with cold, hard looks; like everything else, they seemed to be deliberately refusing to know or own him” (196). At this point, Kamau is singled out and treated like an outcast, not the hero that he imagined he would be. “Cold, hard looks” imply he was unwanted and the fact they “deliberately [refused]” to know him emphasizes this fact. Though it is a cruel and inhuman act, it still leads to the conclusion that “he left them, feeling embittered and cheated” (196). It is an apropos decision, to turn his back on those who turned against him. The whole encounter leaves him feeling alienated and betrayed.

Similarly to the rising action, Thiong’o portrays Kamau as innocent. He shows no sign of hostility against his people, even though they’ve failed to remember him. During the climax, the reader sees Kamau as the prey in this situation. Thiong’o conveys this idea through his word choice; for example, feeble equates to weakness and timidity. It is not often that the weak are seen as predators. In contrast to the rising action, Kamau’s new feelings are quite the opposite – with his happiness he anticipated success and peace, but at his arrival he was met with a sense of rejection that was the basis for his sorrow and anxiety.

The falling action is composed of many individual emotions as well as smaller plots. Directly after he leaves the scene with the women, he remembers his past, “And suddenly he felt a strong nostalgia for his old home, friends and surroundings. He thought of his father, mother and – and – he dared not think about her. But for all that, Muthoni, just as she had been in the old days, came back to his mind” (196). After noticing a new village had developed, pleasant memories flood his mind and he has no time for sorrowful thoughts. He thinks about his family, a normal thought for anyone who has been separated from loved ones. Only a few lines later his disappointment is converted back into hope and happiness. Kamau thinks of his wife, who he had left when the “colonial forces” (196) forced him into detention camp. He remembers: “Another detainee put in: ‘For me, I left my woman with a baby. She had just been delivered. We were all happy. But on the same day, I was arrested…’ And so they went on. All of them longed for one day – the day of their return home. Then life would begin anew” (196). At this point, he feels the same pain and empathy; “Kamau himself had left his wife without a child” (196). The cause of his pain is the result of his own actions—he can easily relate to their emotions. Kamau’s emotion of empathy and, once again, sadness, leads him onto his next goal—finding his family. During his journey back home, he meets new faces but they do not faze him. He is not surprised, nor is he angered. Joyous spirits returned to Kamau as he arrived at the “entrance to the yard and breathed hard and full. This was the moment of his return home. His father sat huddled on a three-legged stool. He was now very aged and Kamau pitied the old man. But he had been spared – yes, spared to see his son’s return” (197). Kamau’s first sight of his father generates a strong feeling of happiness. Of course, he is taken away by the whole moment, to finally reunite with his family after years of detention camp. However, this feeling of happiness doesn’t last long. Once again, his words are met with silence, and he breaks down; “’Father, don’t you remember me?’ Hope was sinking in him. He felt tired. Then he saw his father suddenly start and tremble like a leaf. He saw him stare with unbelieving eyes. Fear was discernible in those eyes” (197). To end the falling action, he is met with deep sorrow and lack of hope. This is evident in the line “hope was sinking in him.” From his view, his desired future is slipping away. To be face-to-face with his own family who appeared reluctant to respond to him is a devastating situation. One of his last hopes, his family, seemed to be deserting him. His sadness is magnified when he learns that his wife, one of the few people he looked forward to unite with, had gone away. “Kamau felt something cold settle in his stomach” (198). To be confronted with this information, Kamau was left feeling completely hopeless and deeply sorrowful. After numerous explanations from his mother, he still wasn’t mollified. “He was not listening; the coldness in his stomach slowly changed to bitterness. He felt bitter against all, all the people including his father and mother. They had betrayed him” (198). His sorrow is converted into anger as he is faced with the same scenario once again, almost immediately after escaping it the first time. Similarly to the way he had felt when he met the women on the ridge, he feels betrayed.

The reader’s perspective is dramatically altered here, clearly sending the idea that Kamau is the victim. It seems as though everything is happening to Kamau; first he is forgotten by the village, then by his family, and lastly his wife leaves him. Thiong’o organized his falling action into subplots, each with their own corresponding emotions.

As we progress further into Freytag’s pyramid, we arrive at the resolution. Kamau at last resorts not to his family, but instead to the land, the only element that is consistent and unchanging; “And standing at the bank, he saw not the river, but his hopes dashed on the ground instead” (198). His hopeless attitude morphs its way into the first part of the conclusion of the story. When he arrives at the bank, his last hope is put to rest. Astonishingly, Kamau changes emotions quickly; “And above, the moon shone bright. He tried to remove his coat, and the small bundle he had held on to so firmly fell…He did not know why, but somehow he felt relieved. Thoughts of drowning himself dispersed” (198). From the text, we get this idea of a man dropping his bag into a river in the darkness of night. This bag contained his past, items that reminded him of his wife—all gone, flowing through the river. The bag represents his troubles and worries, all washed away with the “monotonous murmurs” (198) of the Honia River and now with his troubles behind him, he is reborn by these events. His depressing emotions throughout the story all end up with a single emotion, relief.

The emotions Kamau experiences throughout the story strongly influence the reader’s interpretation. Because of the third person limited omniscient point of view, the reader is restricted to the information Thiong’o gives us. His narration leads us to believe that Kamau is the victim in all of these situations. Because of the way Thiong’o limits the reader to only Kamau’s thoughts and emotions the reader’s interpretation becomes biased, seeing the story through his perspective.

Works Cited

Wa Thiong’o, Ngugi. “The Return.” English I. Ed. Edwards and deGravelles. San Diego, CA:

            University Readers, 2012. 195-198. Print.

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Favorite Hobby (Poem):

The high squeaks shrieked with every spin

The piano cackled with every tip-tap

Swift, yet precise clicks of his fingers

Made the window flash and shimmer with

Two boxes synchronizing its glimmer

By dropping deep sounds of bass

Which, in turn, helped him score the ace

A slim grin fell upon his face

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Akbar ...

Dr. ...

English I

29 May, 2013

Analysis of Rhetorical Situation

In my writing remix, one of my blog posts became a fluid poem. The post’s familiar subject led me to transform the contents into a poem. In it, my experiences as a gamer are recreated through symbolism, rhymes, some slang, and a tad bit of thought. In my eyes, my poem successfully creates a scene that specific readers can appeal to.

My blog post and poem vary greatly in terms of audiences. The blog creates a scene everyone can relate to, whereas the poem can leave readers clueless. The beginning of my poem introduces a common scene for everyone. A chair, keyboard, mouse, and monitor are hidden within symbols throughout the first four lines. However, as the poem continues, the wording starts appealing to fewer and fewer audiences. Those who listen to the music genre “dubstep” will understand the phrase “deep sounds of bass.” The next line further limits my audience to only those who play League of Legends, a videogame: “…which in turn helped him score the ace.” At first glance, most readers understand the scenario, however, progression through the poem reveals information that narrows down the audience.

To fully comprehend the poem, readers must understand certain phrases and wording, like those mentioned above. This poem shares my personal moments with other fellow gamers and hopefully creates a connection between my poem and their understanding. The fact the audience is specified further reinforces the purpose of “Favorite Hobby,” to unite gamers. In comparison to my blog, both pieces of literature share a common experience of a number of people.

During my writing process, I incorporated several features within the text. I approached this task with a very deep and reasonable thought process. This poem has many aspects of symbolism, rhymes, and characteristics that make it apply to a single intended group. My original piece contained none of these techniques. It was extremely shallow and used common language.

It’s very clear poems are associated with sophistication and deep meaning, whereas playing games requires little thought, if any. I took two opposites and mended them together to create one ironic piece. Through this method, I can somewhat appeal to both sides. The genre I chose, poetry, is well known for clever techniques hidden beneath the text. In mine, I incorporated several features that demonstrated my artistry, like symbolism, rhythm, and language. This piece originated from a blog post, which had none of these features.

Simplicity of vernacular writing and the sophistication of poetry collide to create a very unique piece illustrated in my poem. 

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Hits and Misses:

I really enjoyed making my “Song Analysis” blog post. I am also very proud of my literary analysis.

My “Poem: Place” blog post showed very little effort. “Who are you?” poorly represented me as a writer.