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Skip to: Navigation Content Sidebar Footer How Are Online Colleges Different From Traditional Colleges? How Do I Know Whether Online College Is Right for Me? What Are the Benefits of Going to College Online? What Do I Need to Know About Online College Accreditation? Although plenty of students do community service, the number of students who volunteer is dropping at a rapid rate. Nearly three-fourths of students are missing out on an incredibly enriching experience that can benefit them not just personally, but professionally as well. Why is this such a big deal? Students who participate in community service learning tend to do better in school. It's believed that community service is somewhat of a missing link for students, giving them the chance to apply what they've learned in the classroom to real human needs. Volunteering is a great way to follow up on and supplement subjects that have been covered in the classroom. Students who do community service work learn that they can actually make a difference with what they do. This helps students better understand their own competence, leading to more self-confidence and a can-do attitude that can spread to their work and academic pursuits. Youths who take part in volunteering activities become more involved in their communities, and as a result, tend to care more about what happens in those communities. Often, students who have participated in community service will grow up to become young voters and remain involved in their communities throughout their lives. Students participating in community service are often faced with challenges and tough problems to tackle. By working through them as a volunteer, they learn how to better solve problems, and enjoy the satisfaction of overcoming a hurdle. Creating a lifelong habit of community service can help students become more healthy over the course of a lifetime. Taking part in community service teaches students skills that are valuable to employers, like problem solving, teamwork, and the ability to follow instructions. Volunteering is especially valuable when it is related to a student's future career. Community service opens students up to a wealth of networking opportunities, allowing them to build new relationships within their community as they contribute. Students can meet new people, work with new organizations, and strengthen their ties to the community. As students work within their community, they learn that they can be responsible for making great things happen. This helps to build a sense of responsibility in students, and a sense of pride when they see what they've done is actually helping others. Volunteering allows students to take what they've learned and apply it beyond the classroom. This offers the opportunity for enrichment and a great way for them to see how concepts they've learned work in the real world. Participating in community service allows students to build upon their existing skill sets. As students work in a real-life setting, they can use volunteering projects to explore and improve upon existing skills. Students can explore potential careers and find out what they need to develop in order to work in the field. Students who participate in volunteering opportunities may be able to find more scholarships than they would without such experience. As community service offers students a way to build their network, they'll be creating connections with more people who can write letters of recommendation, and often, certain community service organizations offer their own scholarship opportunities. As students work in community service programs, they'll learn how to better work in teams. Often, students will also learn to develop leadership skills as well. This is valuable not just for schoolwork, but for higher education, careers, and further community involvement. Criminal Law and Justice. How Are Online Colleges Different From Traditional Colleges? Service learning has been associated with academic gain :. Students often experience an increased sense of self-efficacy :. Students who participate in community service are more likely to grow up to become voters :. Community service is a great problem-solving skill builder :. Volunteering has health benefits :. Volunteering makes students more attractive to potential employers :. Students can enjoy excellent networking opportunities :. Students find a sense of responsibility and pride :. Community service brings learning beyond the classroom :. Volunteering offers an opportunity for skill building :. Volunteering may lead to scholarships :. Volunteering is one big team building opportunity :. Share this page with your friends.
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In honor of the occasion, we're taking a look at exemplary social justice-focused journalism from last. Fifty-four union вЂ¦ Read More. By Roy Peter Clark. Let me try one. It involves my father, Ted Clark, who used to have the annoying habit of sucking on ice cubes, which he was doing one day, sitting in his recliner in front of the television set. My mother was in the basement doing the laundry, when she heard a great thump above her. She rushed upstairs and found my father unconscious on the bathroom floor. It turned out that an ice cube had lodged in his windpipe, cutting off his air supply, knocking him out as he staggered toward the bathroom. Fortunately, his body heat melted the ice cube, restoring the flow of oxygen, and saving his life. He's never sucked on an ice cube again. I think any discussion of story length should measure a story not just by the number of words or column inches, but how long it takes the average person to read it. I found this gem in a collection of radio reports from the great Edward R. Murrow of CBS News. It involves two controversial American icons and a bit of technological trivia. Here's the whole report: Western Union has delivered about sixty thousand telegrams to Congress and the White House, most of them in favor of General MacArthur. Republican Senator McCarthy, of Wisconsin, says, 'It was a victory for Communism and shows the midnight power of bourbon and Benedictine. Reports say it was a table model. A table model, rather than a console! In other words, the man was kind enough not to strike his wife with a big piece of furniture. That ART is good to know as I consider with my editors whether to publish it as a special section, in four daily parts, or over a greater number of days. If you want to write shorter, or if your editor wants you to, I've got some tips that I've gathered from the best wordsmiths in the business. You can write short without sacrificing your news values or your literary sensibilities. That's the good news. The bad news is that you can't do it alone. Well, maybe that's also good news. Find models of short writing from every genre and medium. Let the writers of those works become your teachers. Start off with three story collections--all published by Norton. The first is called "Radios: Short Takes on Life and Culture," by the late writing professor of Florida State University, Jerome Stern. These are printed versions of public radio commentaries. For some real fun, enjoy Jerome Stern's edition of "Micro Fiction. Then she swallowed Donald Trump. She pointed the one at the other. Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. Never was there a summary of complex news more carefully crafted or more beautifully expressed. Perhaps a reporter for the London Globe would have written it this way: A pair of teenaged lovers died Thursday, the result of a failed plot to bring their warring families together. Romeo Montague and Juliet Capulet, both of Verona, were pronounced dead from what appeared to be self-inflicted dagger wounds. Of course, the How is about to be experienced: the "two hours' traffic of our stage," the narrative of the play. Shakespeare wrote short poems and long plays. Like other writers, he was guided by knowing from the beginning the technical limits of his genre. Just remember to keep it short. This advice comes from editor Rick Zahler at The Seattle Times. If you thaw them out, the narrative begins to flow. One of the great reporters of his day was Meyer Berger of The New York Times. He wrote it on deadline and at great length. But he also was the master of the short human interest feature. Clare's Hospital in East Seventy-first Street from a Bowery flophouse. The first instrument to reach the hospital was a gift from the Lighthouse, the institution for the sightless. It was delivered by a blind man. A nun took it to the octogenarian. He played it a while, tenderly and softly, then gave it back. He said: 'This is a fine old violin. Tell the owner to take good care of it. It is a gift. Tom Wolfe argued that the tools of fiction writing could be adapted for nonfiction, as long as the reporting was deep and careful. Those tools include setting scenes, using dialogue, drawing details that define character, and revealing the world through various points of view. Although we associate these tools with long forms of journalism, such as the narrative reconstruction of events, they can work in short forms as well. Notice the miniature scene created by Meyer Berger above. A nun enters the room with the violin. She engages in dialogue with the blind man. Some, however, notably those resembling the short story form of writing, begin with details and reserve their climax until the last. These two types of stories may be compared to two triangles, one resting on its base and the other on a point. Professor Bastian might have added a third form in which the two triangles are joined at their points, forming a structure that looks like an hourglass. Many stories lend themselves to an informational beginning, with the key facts stacked in the order of importance. But the story can then take a turn "Police and witnesses gave the following account of what happened. Experiment with the forms of short writing that already exist: the headline, the tease, the photo caption, the brief, the "brite," the notes column. There is no more underdeveloped writing form in American journalism than the photo caption or cutline. Here Jeffrey Page of The Record in New Jersey shows the storytelling potential of the form. Frank Sinatra has just died, so imagine a one-column photo of him. It shows Sinatra from the waist up. He's wearing a tux with a black bow tie. He's got a mike in his hand. Caption: If you saw a man in a tux and black bow tie swagger on stage like an elegant pirate, and if you had been told he would spend an hour singing Cole Porter, Gershwin, and Rodgers and Hart, and if when he opened his mouth you heard a little of your life in his voice, and if you saw his body arch back on the high notes the ones he insisted you hear and feel and live with him , and if his swing numbers made you want to bounce and be happy and be young and be carefree, and if when he sang 'Try a Little Tenderness' and got to the line about a woman's wearing the same shabby dress it made you profoundly sad, and if years later you felt that his death made you a little less alive, you must have been watching this man who started as a saloon singer in Hoboken and went on to become the very definition of American popular music. Jeffrey Page explains: "I know, I know, it violates every damned rule. They keep telling us to take chances, right? Sometimes little drips of writing can turn into puddles, into streams, into rivers. But the process can work the other way around. Consider this paragraph from an essay titled "Proofs," by Richard Rodriguez: You stand around. You are wearing your two shirts, two pants, two underpants. Jesus says, if they chase you throw that bag down. Put it in your pocket. The last hour of Mexico is twilight, the shuffling of feet. A fog is beginning to cover the ground. Jesus says they are able to see in the dark. They have X-rays and helicopters and searchlights. Jesus says wait, just wait, till he says. You can feel the hand of Jesus clamp your shoulder, fingers cold as ice. All the rest happens without words. Your feet are tearing dry grass, your heart is lashed like a mare. You trip, you fall. You are now in the United State of America. You are a boy from a Mexican village. You have come into the country on your knees with your head down. You are a man. This is the central act of the writing craft. Ultimately, we focus all other parts of the process. We focus the idea or assignment. We focus the reporting. We focus the lead. We select to support the focus. The focus is the cornerstone for building a structure. We revise to eliminate that which fails to support the focus. Good questions helps us find the focus and keep the story short. What is this story about? What do I want my reader to learn? What's the heart or nut of the story? What is the news? What is the point? What is the theme? What's the most important question answered by the story? Can I describe story in a single paragraph? A humorous radio commentary by the late Jerome Stern makes fun of the way famous athletes and celebrities talk about themselves in the third person: "Meryl Streep," says Meryl Streep, "resents her loss of privacy. We're as good, we're as complicated, we're as important. These celebrities, they have fame, fortune--should they have all the proper nouns, too? Turn lumps of coal into little diamonds. Accept the challenge of transforming a routine assignment into something special: an obit, a spelling bee, a high school graduation, daylight savings time, the new phone book. Famous for his long narratives, Ken Fuson was assigned to do a quick hit on the first day of spring. So, it turned out, Ken Fuson could write a short story. Smart editors who crave short writing must find a place in the newspaper where such stories can flourish. Writers need and deserve praise--and good play--to encourage them to turn their epic hands to an occasional sonnet, and maybe, on one glorious day, a haiku. A century of excellence. Image courtesy of Pabak Sarkar. Tools for Mobile Journalism. Here's the whole report:. Western Union has delivered about sixty thousand telegrams to Congress and the White House, most of them in favor of General MacArthur. She swallowed Gore Vidal. Know from the beginning whether you're writing a sonnet or an epic. One of my favorite sonnets begins Shakespeare's Romeo and Juliet :. Perhaps a reporter for the London Globe would have written it this way:. A pair of teenaged lovers died Thursday, the result of a failed plot to bring their warring families together. In his sonnet lead, Shakespeare includes the basic elements of news telling, usually referred to as the Five W's and H. Then he wrote a sequel:. Remember the basics of storytelling. Turn the pyramid right side up. Or use the hourglass. Two Important Types of Narratives вЂ” Most news stories, and indeed most news paragraphs, begin with their climax, or most important and most newsy feature, and then proceed to detail and amplify. If you saw a man in a tux and black bow tie swagger on stage like an elegant pirate, and if you had been told he would spend an hour singing Cole Porter, Gershwin, and Rodgers and Hart, and if when he opened his mouth you heard a little of your life in his voice, and if you saw his body arch back on the high notes the ones he insisted you hear and feel and live with him , and if his swing numbers made you want to bounce and be happy and be young and be carefree, and if when he sang 'Try a Little Tenderness' and got to the line about a woman's wearing the same shabby dress it made you profoundly sad, and if years later you felt that his death made you a little less alive, you must have been watching this man who started as a saloon singer in Hoboken and went on to become the very definition of American popular music. Think of chapters, segments, vignettes, slices of life. Even a very long work, such as the Bible, can be divided into books, chapters, and verses. Consider this paragraph from an essay titled "Proofs," by Richard Rodriguez:. This piece appeared the next morning on the front page of The Des Moines Register :. What to read next.. He has served the Institute as its first full-time faculty member, dean, vice-president, and senior scholar. He contributes regularly to on topics such as writing, reporting, editing, coaching writers, reading, language and politics, American culture, ethics, and the standards and practices of journalism. He is the author or editor of eighteen books. His most recent include Writing Tools, The Glamour of Grammar, Help! For Writers, How to Write Short, and The Art of X-ray Reading. News Editor - Melville, NY. Associate Managing Editor, CQ Researcher - Washington DC. Associate Managing Editor - Melville, NY. Video Editor - Mellville, NY. Program Assistant, Columbia Journalism School - New York. Content Marketing Specialist - Miami, FL. 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White and his dog Minnie. If it also happens that you attend Cornell, whose first president was Andrew D. White and to his friends as Andy. Andy and Katharine White. Andy and Katharine have been married for forty years, and in that time they have been separated so rarely that I find it impossible to think of one without the other. The Whites have shared everything, from professional association on the same magazine to preoccupation with a joint ill health that many of their friends have been inclined to regard as imaginary. What a mountain of good work they have accumulated in that fashion! Certainly they have been the strongest and most productive unhealthy couple that I have ever encountered, but I no longer dare to make fun of their ailments. What did we tell you? Andy White is small and wiry, with an unexpectedly large nose, speckled eyes, and an air of being just about to turn away, not on an errand of any importance but as a means of remaining free to cut and run without the nuisance of prolonged good-byes. Crossing the threshold of his eighth decade, his person is uncannily boyish-seeming. Though his hair is grey, I learn at this moment that I do not consent to the fact: away from him, I remember it as brown, therefore it is brown to me. Katharine White is a woman so good-looking that nobody has taken it amiss when her husband has described in print as beautiful, but her beauty has a touch of blue-eyed augustness in it, and her manner is formal. With Andy, this would pass for a compliment, because in the tyranny of his modesty he would always choose to be a Ford instead of a Rolls, but it would be closer to the truth to describe him as a Rolls Royce mind in a Rolls Royce body that unaccountably keeps bumping to a stop and humming to itself, not without infinite pleasure to others along the way. What he achieves must cost him a considerable effort and appears to cost him very little. His speaking voice, like his writing voice, is clear, resonant, and invincibly debonair. Clues to the bold and delicate nature of those steps are to be discovered in every line he writes, but the man and his work are so nearly one that, try as we will, we cannot tell the dancer from the dance. So many critics equate the success of a writer with an unhappy childhood. Can you say something of your own childhood in Mount Vernon? As a child, I was frightened but not unhappy. My parents were loving and kind. We were a large family six children and were a small kingdom unto ourselves. Nobody ever came to dinner. My father was formal, conservative, successful, hardworking, and worried. My mother was loving, hardworking, and retiring. We lived in a large house in a leafy suburb, where there were backyards and stables and grape arbors. I lacked for nothing except confidence. I suffered nothing except the routine terrors of childhood: fear of the dark, fear of the future, fear of the return to school after a summer on a lake in Maine, fear of making an appearance on a platform, fear of the lavatory in the school basement where the slate urinals cascaded, fear that I was unknowing about things I should know about. I was, as a child, allergic to pollens and dusts, and still am. I was allergic to platforms, and still am. It may be, as some critics suggest, that it helps to have an unhappy childhood. If so, I have no knowledge of it. At what age did you know you were going to follow a literary profession? Was there a particular incident, or moment? I never knew for sure that I would follow a literary profession. I was twenty-seven or twenty-eight before anything happened that gave me any assurance that I could make a go of writing. I had done a great deal of writing, but I lacked confidence in my ability to put it to good use. I went abroad one summer and on my return to New York found an accumulation of mail at my apartment. I took the letters, unopened, and went to a Childs restaurant on Fourteenth Street, where I ordered dinner and began opening my mail. From one envelope, two or three checks dropped out, from The New Yorker. I suppose they totaled a little under a hundred dollars, but it looked like a fortune to me. It was a good feeling and I enjoyed the meal. What were those first pieces accepted by The New Yorker? Did you send them in with a covering letter, or through an agent? I never submitted a manuscript with a covering letter or through an agent. I used to put my manuscript in the mail, along with a stamped envelope for the rejection. This was a matter of high principle with me: I believed in the doctrine of immaculate rejection. I never used an agent and did not like the looks of a manuscript after an agent got through prettying it up and putting it between covers with brass clips. I now have an agent for such mysteries as movie rights and foreign translations. A large part of all early contributions to The New Yorker arrived uninvited and unexpected. They arrived in the mail or under the arm of people who walked in with them. For a number of years, The New Yorker published an average of fifty new writers a year. Magazines that refuse unsolicited manuscripts strike me as lazy, incurious, self-assured, and self-important. There may be some justification for a technical journal to limit its list of contributors to persons who are known to be qualified. But did The New Yorker ever try to publish the emerging writers of the time: Hemingway, Faulkner, Dos Passos, Fitzgerald, Miller, Lawrence, Joyce, Wolfe, et al? The New Yorker had an interest in publishing any writer that could turn in a good piece. It read everything submitted. Hemingway, Faulkner, and the others were well established and well paid when The New Yorker came on the scene. They were selling to The Saturday Evening Post and other well-heeled publications, and in general were not inclined to contribute to the small, new, impecunious weekly. I believe we published something by Fitzgerald. He was looking for the ones that were found by turning over a stone. What were the procedures in turning down a manuscript by a New Yorker regular? Was this done by Ross? The manuscript of a New Yorker regular was turned down in the same manner as was the manuscript of a New Yorker irregular. It was simply rejected, usually by the subeditor who was handling the author in question. Ross did not deal directly with writers and artists, except in the case of a few old friends from an earlier day. Ross disliked rejecting pieces, and he disliked firing peopleвЂ”he ducked both tasks whenever he could. Feuds did not threaten The New Yorker. The only feud I recall was the running battle between the editorial department and the advertising department. Ross was determined not to allow his magazine to be swayed, in the slightest degree, by the boys in advertising. As far as I know, he succeeded. When did you first move to New York, and what were some of the things you did before joining The New Yorker? Were you ever a part of the Algonquin group? I lived at home, with my father and mother in Mount Vernon, and commuted to work. I held three jobs in about seven monthsвЂ”first with the United Press, then with a public relations man named Wheat, then with the American Legion News Service. I landed in Seattle six months later, worked there as a reporter on the Times for a year, was fired, shipped to Alaska aboard a freighter, and then returned to New York. My friends in those days were the fellows already mentioned. Also, Peter Vischer, Russell Lord, Joel Sayre, Frank Sullivan he was older and more advanced but I met him and liked him , James Thurber, and others. I was never a part of the Algonquin group. I never was well acquainted with Benchley or Broun or Dorothy Parker or Woollcott. I did not know Don Marquis or Ring Lardner, both of whom I greatly admired. I was a younger man. I was never a voracious reader and, in fact, have done little reading in my life. There are too many other things I would rather do than read. In my youth I read animal storiesвЂ”William J. Long and Ernest Seton Thompson. I have read a great many books about small boat voyagesвЂ”they fascinate me even though they usually have no merit. In the twenties, I read the newspaper columns: F. I tried contributing and had a few things published. As a child, I was a member of the St. Nicholas League and from that eminence was hurled into the literary life, wearing my silver badge and my gold badge. My reading habits have not changed over the years, only my eyesight has changed. In order to read, one must sit down, usually indoors. I am restless and would rather sail a boat than crack a book. Except that I write for a living. The affinity with nature has been very important to you. This seems a contradiction considering the urbanity of The New Yorker and its early contributions. There is no contradiction. New York is part of the natural world. I love the city, I love the country, and for the same reasons. The city is part of the country. When I had an apartment on East Forty-eighth Street, my backyard during the migratory season yielded more birds than I ever saw in Maine. Or the white-throated sparrow, the brown thrasher, the jay, the kinglet. John Kieran has recorded the immense variety of flora and fauna within the limits of Greater New York. But it is not just a question of birds and animals. The urban scene is a spectacle that fascinates me. People are animals, and the city is full of people in strange plumage, defending their territorial rights, digging for their supper. I admire anybody who has the guts to write anything at all. When I should be reading, I am almost always doing something else. It is a matter of some embarrassment to me that I have never read Joyce and a dozen other writers who have changed the face of literature. But there you are. I picked up Ulysses the other evening, when my eye lit on it, and gave it a go. I stayed with it only for about twenty minutes, then was off and away. It takes more than a genius to keep me reading a book. But when I latch onto a book like They Live by the Wind, by Wendell P. Bradley, I am glued tight to the chair. It is because Bradley wrote about something that has always fascinated and uplifted meвЂ”sailing. He wrote about it very well, too. It may well be the book by which the human race will stand or fall. I enjoyed Speak, Memory by Nabokov when I read itвЂ”a fine example of remembering. I have no special interest in any of the other arts. I know nothing of music or of painting or of sculpture or of the dance. I would rather watch the circus or a ball game than ballet. My house has a living room that is at the core of everything that goes on: it is a passageway to the cellar, to the kitchen, to the closet where the phone lives. A girl pushing a carpet sweeper under my typewriter table has never annoyed me particularly, nor has it taken my mind off my work, unless the girl was unusually pretty or unusually clumsy. My wife, thank God, has never been protective of me, as, I am told, the wives of some writers are. In consequence, the members of my household never pay the slightest attention to my being a writing manвЂ”they make all the noise and fuss they want to. If I get sick of it, I have places I can go. A writer who waits for ideal conditions under which to work will die without putting a word on paper. Delay is natural to a writer. He is like a surferвЂ”he bides his time, waits for the perfect wave on which to ride in. Delay is instinctive with him. He waits for the surge of emotion? I have no warm-up exercises, other than to take an occasional drink. I am apt to let something simmer for a while in my mind before trying to put it into words. I walk around, straightening pictures on the wall, rugs on the floorвЂ”as though not until everything in the world was lined up and perfectly true could anybody reasonably expect me to set a word down on paper. You said you often went to zoos rather than write. Can you say something of discipline and the writer? Kenneth Roberts wrote historical novels. He knew just what he wanted to do and where he was going. He rose in the morning and went to work, methodically and industriously. This has not been true of me. The things I have managed to write have been varied and spottyвЂ”a mishmash. Except for certain routine chores, I never knew in the morning how the day was going to develop. I was like a hunter, hoping to catch sight of a rabbit. There are two faces to discipline. If a man who writes feels like going to a zoo, he should by all means go to a zoo. He might even be lucky, as I once was when I paid a call at the Bronx Zoo and found myself attending the birth of twin fawns. It was a fine sight, and I lost no time writing a piece about it. The other face of discipline is that, zoo or no zoo, diversion or no diversion, in the end a man must sit down and get the words on paper, and against great odds. This takes stamina and resolution. This varies from one time to maybe twenty. Does the finished product need a gestation periodвЂ”that is, do you put a finished work away and look at it a month hence? It depends on what kind of product it is. Many a poem could well use more than nine months. The story had taken me two years to write, working on and off, but I was in no particular hurry. I took another year to rewrite it, and it was a year well spent. If I write something and feel doubtful about it, I soak it away. The passage of time can be a help in evaluating it. But in general, I tend to rush into print, riding a wave of emotion. Do you revise endlessly? How do you know when something is right? Is perhaps this critical ability the necessary equipment for the writer? I revise a great deal. I know when something is right because bells begin ringing and lights flash. Some writers are equipped with extrasensory perception. Some are equipped with humorвЂ”although not nearly as many as think they are. Some are equipped with a massive intellect, like Wilson. Neither have a lot of other writers. An accomplished reporter usually places himself in the background. An experienced novelist usually does. But certainly nobody would want B. I live by my wits and started at an early age to inject myself into the act, as a clown does in the ring. This is all very well if you can get away with it, but a young writer will find that it is better discipline to stay in the background than to lunge forward on the assumption that his presence is necessary for the success of the occasion. Since your interest with Strunk on style, have there been any other such books you would recommend? It cost me a year out of my life, so little did I know about grammar. Style results more from what a person is than from what he knows. But there are a few hints that can be thrown out to advantage. They would be the twenty-one hints I threw out in Chapter V of The Elements of Style. There was nothing new or original about them, but there they are, for all to read. The magazine has published an enormous volume of stuff, written by a very long and varied roster of contributors. Commas in The New Yorker fall with the precision of knives in a circus act, outlining the victim. This may sometimes have a slight tendency to make one writer sound a bit like another. But on the whole, New Yorker writers are jealous of their own way of doing things and they are never chivied against their will into doing it some other way. Do you think media such as television and motion pictures have had any effect on contemporary literary styles? Television affects the style of childrenвЂ”that I know. White, My name is Donna Reynolds. My remark about the ingredient of luck in English usage merely referred to the bog hole that every writer occasionally steps into. He begins a sentence, gets into the middle of it, and finds there is no way out short of retracing his steps and starting again. Writing funny pieces is a legitimate form of activity, but the durable humor in literature, I suspect, is not the contrived humor of a funnyman commenting on the news but the sly and almost imperceptible ingredient that sometimes gets into writing. I think of Jane Austen, a deeply humorous woman. I think of Thoreau, a man of some humor along with his bile. Dorothy Parker said that S. Perelman is our dean of humor, because he has set such a high standard of writing and has been at it so long. His virtuosity is unchallenged. It does not seem to cover the situation. Perelman is a satirist who writes in a funny way. Satire is a most difficult and subtle form of writing, requiring a kind of natural genius. Any reasonably well-educated person can write in a satirical vein, but try and find one that comes off. You were also an artist. What did Thurber and the other New Yorker artists think of your drawings and New Yorker covers? I did turn in a cover and it was published. I gave it to Jed Harris. What he did with it, knows God. The drawing landed on my desk for recaptioning, and I abandoned the theme of the Rose caption and went off on my own. Perhaps it struck a responsive chord with parents who found it true of children, or, more likely, true of what they liked to think a child might say under such circumstances. Many people have said that your wife, Katharine S. Ross, though something of a genius, had serious gaps. In Katharine, he found someone who filled them in. No two people were ever more different than Mr. She complemented him in a way that, in retrospect, seems to me to have been indispensable to the survival of the magazine. Ross was a high school dropout. She quickly discovered, in this fumbling and impoverished new weekly, something that fascinated her: its quest for humor, its search for excellence, its involvement with young writers and artists. Katharine was soon sitting in on art sessions and planning sessions, editing fiction and poetry, cheering and steering authors and artists along the paths they were eager to follow, learning makeup, learning pencil editing, heading the Fiction Department, sharing the personal woes and dilemmas of innumerable contributors and staff people who were in trouble or despair, and, in short, accepting the whole unruly business of a tottering magazine with the warmth and dedication of a broody hen. During the day, I saw her in operation at the office. At the end of the day, I watched her bring the whole mess home with her in a cheap and bulging portfolio. The light burned late, our bed was lumpy with page proofs, and our home was alive with laughter and the pervasive spirit of her dedication and her industry. In forty-four years, this dedication has not cooled. It is strong today, although she is out of the running, from age and ill health. Perhaps the nearest thing to an adequate glimpse of her role with the magazine is a collection of books in our upstairs sitting room. They are the published works of the dozens of fiction writers and poets she edited over the years, and their flyleaves are full of words of love and admiration and gratitude. Everyone has a few lucky days in his life. Angell stepped off the elevator, all ready to go to work. Do you write to a particular age group? Anybody who shifts gears when he writes for children is likely to wind up stripping his gears. There is a difference between writing for children and for adults. I am lucky, though, as I seldom seem to have my audience in mind when I am at work. Anyone who writes down to children is simply wasting his time. You have to write up, not down. They are the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth. They accept, almost without question, anything you present them with, as long as it is presented honestly, fearlessly, and clearly. I handed them, against the advice of experts, a mouse-boy, and they accepted it without a quiver. This emasculates the prose and, I suspect, bores the reader. Children are game for anything. I throw them hard words, and they backhand them over the net. They love words that give them a hard time, provided they are in a context that absorbs their attention. We have a lot in common. You have written so much The Wild Flag, etc. A writer should concern himself with whatever absorbs his fancy, stirs his heart, and unlimbers his typewriter. I feel no obligation to deal with politics. He should tend to lift people up, not lower them down. Writers do not merely reflect and interpret life, they inform and shape life. For a number of years, I was thinking almost continuously about the needless chaos and cruelty of a world that is essentially parochial, composed of more than a hundred parishes, or nations, each spying on the others, each plotting against the others, each concerned almost solely with its own bailiwick and its own stunt. Today, although I seldom discuss the theme, I am as convinced as I ever was that our only chance of achieving an orderly world is by constructing a governed world. I regard disarmament as a myth, diplomacy as a necessary evil under present conditions, and absolute sovereignty as something to outgrow. Can you suggest something about the present state of letters, and, perhaps, the future of letters? In general, I have no objection to permissiveness in writing. Permissiveness, however, lets down the bars for a whole army of non-writers who rush in to say the words, take the profits, and foul up the room. Shocking writing is like murder: the questions the jury must decide are the questions of motive and intent. In a country such as ours, which has become increasingly enamored of and dependent upon science and technology, what role do you see for the writer? Science and technology have perhaps deepened his responsibility but not changed it. But it is not easy to communicate anything of this nature. Much writing today strikes me as deprecating, destructive, and angry. There are good reasons for anger, and I have nothing against anger. But I think some writers have lost their sense of proportion, their sense of humor, and their sense of appreciation. I am often mad, but I would hate to be nothing but mad: and I think I would lose what little value I may have as a writer if I were to refuse, as a matter of principle, to accept the warming rays of the sun, and to report them, whenever, and if ever, they happen to strike me. One role of the writer today is to sound the alarm. The environment is disintegrating, the hour is late, and not much is being done. Instead of carting rocks from the moon, we should be carting the feces out of Lake Erie. How extensive are the journals you have kept and do you hope to publish them? Could you tell us something of their subject matter? They occupy two-thirds of a whiskey carton. How many words that would be I have no idea, but it would be an awful lot. The journals are callow, sententious, moralistic, and full of rubbish. They are also hard to ignore. They were written sometimes in longhand, sometimes typed single spaced. They contain many clippings. Extensive is the word for them. I do not hope to publish them, but I would like to get a little mileage out of them. After so many years, they tend to hold my attention even though they do not excite my admiration. I have already dipped into them on a couple of occasions, to help out on a couple of pieces. In most respects they are disappointing. Where I would like to discover facts, I find fancy. Where I would like to learn what I did, I learn only what I was thinking. They are loaded with opinion, moral thoughts, quick evaluations, youthful hopes and cares and sorrows. Occasionally, they manage to report something in exquisite honesty and accuracy. This is why I have refrained from burning them. But usually, after reading a couple of pages, I put them aside in disgust and pick up Reverend Robert Francis Kilvert, to see what a good diarist can do. I still think it is funny. My dreams have never been kept within reason. And Faulkner was rightвЂ”all of us failed. Here I think you are asking me to be specific, or explicit, about something that is essentially vague and inexpressible. When I start to write, my mind is apt to race, like a clock from which the pendulum has been removed. I think there are writers whose thoughts flow in a smooth and orderly fashion, and they can transcribe them on paper without undue emotion or without getting too far behind. When you consider that there are a thousand ways to express even the simplest idea, it is no wonder writers are under a great strain. Writers care greatly how a thing is saidвЂ”it makes all the difference. So they are constantly faced with too many choices and must make too many decisions. We reached the car, and I held the door open for him, but he didn't climb in right away. Since early in her career, she has crossed the lines of genre, creating books as unified projects rather than loose collections, peeling back the surface of the moment to get at the complexities underneath. I met Rankine over three Fridays in July at her home in Claremont, California. Just a few months after we spoke, she was awarded a MacArthur Fellowship, which she plans to use to found the Racial Imaginary Institute. In conversation, she is thoughtful and focused, speaking softly, with an edge of urgency. That the history to which she refers is both personal and collective is, of course, the point. If we go back to the killing of Michael Brown in Ferguson, there was a feeling, at least for white people, that suddenly they were seeing into black lives and how these lives played out in encounters with the police and the justice system. Then we saw the lack of indictment. Then we saw what happened in Baton Rouge, we saw what happened in Minnesota. And yet, poetryвЂ”all writingвЂ”begins as a private act between the writer and her material. What is the relationship, for you, between these two modes? The relationship between public engagement and private thought are inseparable for me. I wrote the first piece in response to Hurricane Katrina. I was profoundly moved by the events in New Orleans as they unfolded. John and I taped the CNN coverage of the storm without any real sense of what we intended to do with the material. But for me, there is no push and pull. When I am working privately, my process includes a sense of what is happening in the world. Today, for example, I feel incredibly drained. And probably you do, too. You make work in private, but once it goes public, readers make it their own. They define the workвЂ”and, by extension, youвЂ”in terms of who they are, what they want or believe. It felt like the first time I could actively be involved in a public discussion about race, in a discussion that, to me, is essential to our well-being as a country. It was also an opportunity for me to learn what others really thought and felt. The responses were various. One man said he was moved by a reading I gave and wanted to do something to help me. And all of a sudden I was like, What? I thought you wanted to help me! A white woman, a professor, told me that what I was calling racism was really bias against overweight black women. You might think they were just a defensive man and a crazy professor, but again and again I was coming up against what was being framed as understanding and realizing that it was not that. They came and they engaged. I have a lot more patience and curiosity than I used to for following those arguments, for seeing where they will go. Often somebody will be interrupted by another member of the audience, who will jump in to shut that person down. Sign up for the Paris Review newsletter and keep up with news, parties, readings, and more. White, The Art of the Essay No. Interviewed by George Plimpton and Frank H. The Plot to Save the World. One Sunday in Spain. The Art of Fiction No. The Art of the Essay No. Five Weeks of Poems to Marilyn. Some Talk Of Us. These Anemones, Their Song Is Made Up As They Float Along. You Might Also Like. Our Spring issue with вЂ¦ Walter Mosley, Harry Mathews, Peter Cole вЂ¦and more. Get this issue now! He stood there rocking on his crutch, gazing off at the sky and the fields and the fall trees starting to go the color of sherbet. Join the writers and staff of The Paris Review at our next event. Visit our store to buy archival issues of the magazine, prints, T-shirts, and accessories.
Example of an Effective Critical Response Essay - Duration: Stacey Pounsberry views В· 1:46.
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