(eBook PDF) The Writer's World:

Paragraphs and Essays With Enhanced

Reading Strategies 5th Edition
Visit to download the full and correct content document:
https://ebooksecure.com/download/ebook-pdf-the-writers-world-paragraphs-and-essa
ys-with-enhanced-reading-strategies-5th-edition/
A01_GAET5384_05_SE_FM.indd 1 5/22/17 6:49 PM
  vii

Avoid Clichés 414 Popular Culture and College Life

Standard English Versus Slang 415 ◆◆ “Being a Hyphenated American”

33 Spelling and Commonly ◆◆

by Zaina Arafat
“ Domains of Sacred Consumption”
487

Confused Words 418 by Michael R. Solomon 489

Spelling Rules 418 ◆◆ “Emojis” by Celine Cooper 492
120 Commonly Misspelled Words 424 ◆◆ “This Boat Is My Boat” by Drew Hayden Taylor 494
Look-Alike and Sound-Alike Words 427 ◆◆ “It’s Class, Stupid!” by Richard Rodriguez 497
◆◆ “ Why Diversity on Campus
Section 8: Punctuation and Mechanics Matters” by Matthew Lynch 500
Theme: The Workplace
Psychology and Health Care
34 Commas 433 ◆◆ “The Catcher of Ghosts” by Amy Tan 502
What Is a Comma? 433 ◆◆ “The Sanctuary of School” by Lynda Barry 505
Commas in a Series 434 ◆◆ “Planting False Memories” by Sarah Barmak 508
Commas After Introductory Words and Phrases 435
Commas Around Interrupting Words and Phrases 436 Our Environment and The Workplace
Commas in Compound Sentences 437 ◆◆ “Mother Nature’s Melting Pot” by Hugh Raffles 512
Commas in Complex Sentences 438 ◆◆ “Aunt Tee” by Maya Angelou 514
Commas in Business Letters 440 ◆◆ “ Advertising Appeals” by Michael R. Solomon,
Greg W. Marshall, and Elnora W. Stuart 517
35 The Apostrophe, ◆◆ “The Beeps” by Josh Freed 519
Quotation Marks, and Titles 445 ◆◆ “ Of Rags and Riches—and Social
The Apostrophe (’) 445 Responsibility” by Dorothy Nixon 522
Quotation Marks (“ ”) 450
Punctuation of Titles 452
Spies and Hackers and The Legal World
◆◆ “ My Father Taught Me to Love Guns”
36 Capitalization and Other by Tricia Braun 524
Punctuation Marks 457 ◆◆ “ The Criminal Justice Process”
by John Randolph Fuller 529
Capitalization 457 ◆◆ “How Spies Are Caught” by Anonymous 533
Other Punctuation Marks 459 ◆◆ “ The Real Reason Crime Is Falling”
Section 9: Editing Practice by Zoe McKnight 535

37 Editing Paragraphs and Essays 464 Appendices

Appendix 1 Grammar Glossary 538
Appendix 2 Irregular Verbs 540
Copyright © 2018 by Pearson Education

Part V Reading Strategies Appendix 3 A Quick Guide to Verb Tenses 542

and Selections 471 Appendix 4 Combining Ideas in Sentences 543

Appendix 5 Punctuation and Mechanics 544
38 Reading Strategies 472 Appendix 6 Writing Paragraphs and Essays
in Exams 547
An Overview of the Reading Process 472
Appendix 7 Spelling, Grammar, and Vocabulary
Previewing 473 Logs 552
Reading Actively 475 Credits 556
Understanding Difficult Words 476 Index 558
Making Inferences 483
Inside Back Cover
39 Reading Selections 485
Revising Checklist for a Paragraph
The Link Between Reading and Writing 485 Revising Checklist for an Essay
Reading Selections 486 Editing Checklist
Revising and Editing Symbols

A01_GAET5384_05_SE_FM.indd 7 2/28/17 11:53 AM

 Readings Listed by Rhetorical
Mode
Illustration
“Comics as Social Commentary” by Nicolas Slayton (page 178)
“What’s in an African Name” by Ryan Lenora Brown
(page 180)
“Domains of Sacred Consumption” by Michael R. Solomon
(page 489)
“Mother Nature’s Melting Pot” by Hugh Raffles (page 512)
“Advertising Appeals” by Michael R. Solomon, Greg W.
Marshall, and Elnora W. Stuart (page 517)
“The Beeps” by Josh Freed (page 519)
“The Criminal Justice Process” by John Randolph Fuller
(page 529)
”Planting False Memories” by Sarah Barmak (page 508)
“Emojis” by Celine Cooper (page 492)
“Why Diversity on Campus Matters” (page 500)
Narration
“My Prison Story” by Yirga Gebremeskel (page 183)
“Laughing Through the Fog” by Eileithyia Marshall
(page 184)
“Being a Hyphenated American” by Zaina Arafat
(page 487)
“The Catcher of Ghosts” by Amy Tan (page 502)
“The Sanctuary of School” by Lynda Barry (page 505)
“Aunt Tee” by Maya Angelou (page 514)
“My Father Taught Me to Love Guns” by Tricia Braun
(page 524)
Description
“Roaring Waves of Fire” by Christi Lester (page 188)
“Chicken Hips” by Catherine Pigott (page 189)
“The Catcher of Ghosts” by Amy Tan (page 502)
“The Sanctuary of School” by Lynda Barry (page 505)
“Aunt Tee” by Maya Angelou (page 514)
“My Father Taught Me to Love Guns” by Tricia Braun
(page 524)
Process
“The Wonders of PowerPoint” by Karine Godin (page 193)
“How I Overcame My Panic Attacks” by Rohan Healy (page 194)
“The Criminal Justice Process” by John Randolph Fuller
(page 529)
“How Spies Are Caught” by Anonymous (page 533)
“Of Rags and Riches—and Social Responsibility” by Dorothy
Nixon (page 522)
Definition
“Homophobia” by Dominic Chartrand (page 197)
“What Is Luck?” by Matthew Hutson (page 198)
“Being a Hyphenated American” by Zaina Arafat (page 487)
“How Spies Are Caught” by Anonymous (page 533)
“Domains of Sacred Consumption” by Michael R. Solomon
(page 489)
“Emojis” by Celine Cooper (page 492)
Classification
“Origins of Names” by Cleavon Henry (page 201)
“The Purpose of Pets” by W. Stephen Damron (page 202)
viii
A01_GAET5384_05_SE_FM.indd 8
“Advertising Appeals” by Michael R. Solomon, Greg W.
Marshall, and Elnora W. Stuart (page 517)
“Emojis” by Celine Cooper (page 492)
“Domains of Sacred Consumption” by Michael R. Solomon
(page 489)
Comparison and Contrast
“Cuban Schools and American Schools” by Reina Lopetequi
(page 205)
“Just Say No” by Mark Milke (page 207)
“Being a Hyphenated American” by Zaina Arafat (page 487)
“This Boat Is My Boat” by Drew Hayden Taylor (page 494)
“It’s Class, Stupid!” by Richard Rodriguez (page 497)
“Mother Nature’s Melting Pot” by Hugh Raffles (page 512)
“Aunt Tee” by Maya Angelou (page 514)
“The Beeps” by Josh Freed (page 519)
“Of Rags and Riches—and Social Responsibility” by Dorothy
Nixon (page 522)
“My Father Taught Me to Love Guns” by Tricia Braun
(page 524)
“The Real Reason Crime Is Falling” by Zoe McKnight
(page 535)
Cause and Effect
“Why Small Businesses Fail” by Jim Baek (page 210)
“Don’t Worry, Act Happy” by Albert Nerenberg (page 211)
“This Boat Is My Boat” by Drew Hayden Taylor (page 494)
“The Catcher of Ghosts” by Amy Tan (page 502)
“Mother Nature’s Melting Pot” by Hugh Raffles (page 512)
“The Beeps” by Josh Freed (page 519)
“The Criminal Justice Process” by John Randolph Fuller
(page 529)
“How Spies Are Caught” by Anonymous (page 533)
“The Real Reason Crime Is Falling” by Zoe McKnight
(page 535)
“Domains of Sacred Consumption” by Michael R. Solomon
(page 489)
“Why Diversity on Campus Matters” by Matthew Lynch
(page 500)
“Planting False Memories” by Sarah Barmak (page 508)
Argument
“The Importance of Music” by Christine Bigras (page 214)
“Robot Ethics” from The Economist (page 215)
“Why Diversity on Campus Matters” by Matthew Lynch
(page 500)
“This Boat Is My Boat” by Drew Hayden Taylor (page 494)
“It’s Class, Stupid!” by Richard Rodriguez (page 497)
“Advertising Appeals” by Michael R. Solomon, Greg W.
Marshall, and Elnora W. Stuart (page 517)
“Emojis” by Celine Cooper (page 492)
“Planting False Memories” by Sarah Barmak (page 508)
“Of Rags and Riches—and Social Responsibility” by Dorothy
Nixon (page 522)
“My Father Taught Me to Love Guns” by Tricia Braun
(page 524)
“The Real Reason Crime Is Falling” by Zoe McKnight
(page 535)
2/28/17 11:53 AM
 Preface
T
hank you for making The Writer’s World series
a resounding success. We are delighted that
Paragraphs and Essays has been able to help so many
students produce writing that is technically correct and
richly detailed whether students have varying skill levels,
are native or nonnative speakers of English, or learn more
effectively using visuals.
When we started writing the first edition, we set
out to develop practical and pedagogically sound
approaches to these challenges. We began with the idea
that collaboration is crucial. So we met with more than
forty-five instructors from around the country, asking for
their opinions and insights regarding (1) the challenges
posed by the course, (2) the needs of today’s ever-changing
student population, and (3) the ideas and features we were
proposing in order to provide a more effective teaching
and learning tool. For that first edition and every edition
since, Pearson also commissioned dozens of detailed
reviews from instructors, asking them to analyze and
evaluate each draft of the manuscript. These reviewers
identified numerous ways in which we could refine and
enhance our key features. Their invaluable feedback has
been incorporated throughout The Writer’s World. This text
is truly the product of a successful partnership between
the authors, publisher, and more than one hundred
developmental writing instructors.
What’s New in the Fifth
Edition?
NEW Revel™ for The Writer’s World
Copyright © 2018 by Pearson Education
Educational Technology Designed for the Way Today’s
Students Read, Think, and Learn
When students are engaged deeply, they learn more
effectively and perform better in their courses. This simple
fact inspired the creation of Revel: an interactive learning
environment designed for the way today’s students read,
think, and learn.
Revel enlivens course content with media interactives
and assessments—integrated directly within the authors’
narrative—that provide opportunities for students to
read, practice, and study in one continuous experience.
This immersive educational technology replaces the
textbook and is designed to measurably boost students’
understanding, retention, and preparedness.
A01_GAET5384_05_SE_FM.indd 9
Learn more about Revel at http://www.pearson
highered.com/revel/.
Enhanced Reading Support
Brimming with insightful readings and vocabulary tips,
The Writer’s World series has always drawn attention
to the strong connection between reading and writing.
This edition goes a step further by offering extra reading
strategies in a new Chapter 38, such as skimming and
scanning, using context clues, and making inferences.
Students build their reading skills as they work on dozens
of sample paragraphs, essays, and practices. By enhancing
their reading skills, students are also better equipped to
do research for essay writing.
2016 Modern Language Association
(MLA) Updates
In Spring 2016, the Modern Language Association (MLA)
published updates to their writing and documentation
guidelines. Chapter 15, “Enhancing Your Writing with
Research” has related content to reflect the new in-text
citation and Works Cited formats.
Updated Model Writing and New
Essays and Readings
Approximately thirty percent of this text has updated
examples, sample paragraphs, writing practices, Writer’s
Desk topics, and grammar practices. We’ve added new
student and professional essays to the essay patterns
covered in Chapter 14. All are annotated to highlight the
components of each essay (e.g., thesis statements, topic
sentences, and concluding sentences). Each student essay
is followed by a professional essay and a set of questions
that deepen students’ understanding of the different essay
patterns. In Chapter 39, seven new thought-provoking
readings relate to the themes presented in the grammar
chapters.
New Images
This edition presents new dynamic and vibrant images—
photos of exotic locales and pop culture icons, as well
as images from independent and mainstream films and
television shows—that will engage students and prompt
critical thinking.
ix
2/28/17 11:53 AM
 x Preface

New Grammar Themes and instructors in our focus groups and the reviewers at
every stage not only to critique our ideas but to offer their
Practices suggestions and recommendations for features that would
Many grammar practices in Part IV: The Editing Handbook enhance the learning process of their students. The result
are new, providing updated grammar instruction through has been the integration of many elements that are not
the lens of topical and culturally relevant content. All found in other textbooks, including our visual program,
of the themes were chosen to appeal to developmental coverage of nonnative speaker material, and strategies
writing students of any background. New topics include: for addressing the varying skill levels students bring to
Online and app-based Consumer protection Click-bait online the course.
shopping journalism
Body altering practices The rise in plastic Popular diet fads
surgery for men The Visual Program
Wrestling, the oldest Basketball’s rise in Rock climbing
A stimulating full-color book with more than 140 photos,
sport popularity
The Writer’s World recognizes that today’s world is a
Idolizing professional Silicon Valley Mindfulness
athletes visual one, and the book encourages students to become
Human behavior: The Personality: Influence Links: emotional and better communicators by responding to images. Chapter-
Blue/Brown-Eyed of Carl Jung physical health opening visuals in Parts I, II, III, and IV help students
Experiment
think about the chapter’s key concept in a new way. For
Bystander apathy Childrearing practices CIA psychiatrist:
Donald Ewan example, in the Chapter 9 opener, a photograph of a
Cameron mechanic’s tool case sets the stage for classification. Tools
Government espionage Social media privacy Online security are grouped by type, which helps students understand
measures
the premise of classification. In Part IV, chapter-opening
Digital tracking Online hacking in Preparing for college
photos help illustrate the theme of the examples and
financial institutions entrance exams
exercises. These visual aids can also serve as sources for
Teaching overseas Unpaid internships U.S. and global
college fees writing prompts.
Chico Mendes and the Climate change California’s longest The visuals in Part II provide students with another
Amazon’s rubber trees drought set of opportunities to write in response to images,
Chernobyl nuclear Accidental explosion Student debt with Media Writing activities that encourage them to
disaster at Texas’ West for healthcare
Fertilizer Company professions respond using particular paragraph and essay patterns.
Food contamination and International response Holistic medicine Throughout The Writer’s World, words and images work
inspection practices to the Ebola virus together to encourage students to explore, develop, and
History of acupuncture Rewarding college The “open office” revise their writing.
degrees trend
Building a start-up Online entrepreneurs: Oscar Wilde’s “The
company A clothing delivery
service
Model Millionaire” Seamless Coverage for Nonnative
Electronic music (e.g., Unauthorized file Tesla’s Elon Musk Speakers
Daft Punk) sharing and his innovations
Instructors in our focus groups consistently note the
Youth social and political Drug testing and trials Paying NCAA athletes
growing number of nonnative/ESL/ELL students
movements
enrolling in developmental writing courses. Although
some of these students have special needs relating to the
A Fresh Look writing process, many native speakers in courses have
An updated, clean, and modern design streamlines more traditional needs that must also be satisfied. To
instruction and increases usability, allowing students to address this rapidly changing dynamic, we have carefully
more effectively find and retain the information covered. implemented and integrated content throughout to assist
And, of course, our signature “sunglasses” are back on the these students. The Writer’s World does not have separate
cover by popular demand! ESL boxes, ESL chapters, or tacked-on ESL appendices.
Instead, information that traditionally poses a challenge

How The Writer’s World to nonnative speakers is woven seamlessly throughout

the book. In our extensive experience teaching writing
Meets Students’ Diverse to both native and nonnative speakers of English, we

Needs have learned that both groups learn best when they are
not distracted by ESL labels. With the seamless approach,
We created The Writer’s World to meet your students’ nonnative speakers do not feel self-conscious and
diverse needs. To accomplish this, we asked both the segregated, and native speakers do not tune out detailed

A01_GAET5384_05_SE_FM.indd 10 2/28/17 11:53 AM


explanations that may also benefit them. Many of these
traditional problem areas receive more coverage than you
would find in other textbooks, arming the instructor with
the material to effectively meet the needs of nonnative
speakers. Moreover, the Annotated Instructor’s Edition
provides more than seventy-five ESL Teaching Tips
designed specifically to help instructors better meet the
needs of their nonnative speaking students.
Issue-Focused Thematic Grammar
In surveys, many of you indicated that one of the primary
challenges in teaching your course is finding materials
that are engaging to students in a contemporary context.
This is especially true in grammar instruction. Students
come to the course with varying skill levels, and many
students are simply not interested in grammar. To
address this challenge, we have introduced issue-focused
thematic grammar in The Writer’s World.
Each chapter centers on a theme that is carried out
in examples and activities. These themes include topics
related to popular culture, psychology, spies and hackers,
college life, the environment, health care, the legal world,
and the workplace.
The thematic approach enables students to broaden
their awareness of subjects important to American life,
such as understanding advertising and consumerism and
thinking about health care issues and alternative medicine.
The thematic approach makes reading about grammar
more engaging. And the more engaging grammar is, the
more likely students will retain key concepts—raising their
skill level in these important building blocks of writing.
We also think that it is important to teach grammar in the
context of the writing process. Students should not think that
grammar is an isolated exercise. Therefore, each grammar
chapter concludes with a warm-up writing activity.
Learning Aids to Help Students Get
the Most from The Writer’s World
Copyright © 2018 by Pearson Education
Overwhelmingly, focus group participants and
reviewers asked that both a larger number and a greater
diversity of exercises and activities be incorporated into
The Writer’s World. In response, we have developed and
tested the following learning aids in The Writer’s World.
We are confident they will help your students become
better writers.
Hints In each chapter, Hint boxes highlight important
writing and grammar points. Hints are useful for all
students, but many will be particularly helpful for
nonnative speakers. For example, in Chapter 12, one
Hint encourages students to state an argument directly
A01_GAET5384_05_SE_FM.indd 11
Preface xi
and a second Hint points out the need to avoid circular
reasoning. In Chapter 22, a Hint discusses checking for
consistent voice in compound sentences. Hints include
brief discussions and examples so that students will
see both concept and application.
Vocabulary Boost Throughout Part II of The Writer’s
World, Vocabulary Boost boxes give students tips to
improve their use of language and to revise and edit
their word choices. For example, a Vocabulary Boost
in Chapter 4 asks students to replace repeated words
with synonyms, and the one in Chapter 5 gives specific
directions for how to vary sentence openings. These
lessons give students concrete strategies and specific
advice for improving their diction.
The Writer’s Desk Parts I, II, and III include The
Writer’s Desk exercises that help students get used to
practicing all stages and steps of the writing process.
As the chapter progresses, students warm up with a
prewriting activity and then use specific methods for
developing, organizing (using paragraph and essay
plans), drafting, and revising and editing to create a
final draft.
Paragraph Patterns at Work To help students
appreciate the relevance of their writing tasks,
Chapters 4–12 highlight an authentic writing sample
from work contexts. Titled Illustration at Work,
Narration at Work, and so on, this feature offers a
glimpse of how people use writing patterns in different
workplace settings.
Reflect On It Each Reflect On It is a chapter-review
exercise. Questions prompt students to recall and
review what they have learned in the chapter.
The Writer’s Room The Writer ’s Room contains
writing activities that correspond to general, college,
and workplace topics. Some prompts are brief to allow
students to freely form ideas while others are expanded
to give students more direction.
There is something for every student writer in
this end-of-chapter feature. Students who respond
well to visual cues will appreciate the media writing
exercises in The Writer ’s Room in Part II: Paragraph
Patterns. Students who learn best by hearing through
collaboration will appreciate the discussion and group
work prompts of selected The Writer ’s Rooms. To
help students see how grammar is not isolated from
the writing process, there are also The Writer ’s Room
activities at the end of sections 1–8 in Part IV: The
Editing Handbook.
2/28/17 11:53 AM
 xii Preface
How We Organized The
Writer’s World
The Writer’s World is separated into five parts for ease of
use, convenience, and ultimate flexibility.
Part I: The Writing Process teaches students
how to (1) formulate ideas (Exploring); (2) expand,
organize, and present those ideas in a piece of writing
(Developing); and (3) polish their writing so that they
convey their message as clearly as possible (Revising
and Editing). The result is that writing a paragraph or
an essay becomes far less daunting because students
have specific steps to follow.
Part II: Paragraph Patterns gives students a solid
overview of the patterns of development. Using
the same easy-to-understand process (Exploring,
Developing, and Revising and Editing), each chapter
in this section explains how to convey ideas using one
or more writing patterns. As they work through the
practices and write their own paragraphs and essays,
students begin to see how using a writing pattern can
help them fulfill their purpose for writing.
Part III: The Essay covers the parts of the essay and
explains how students can apply the nine patterns
of development to essay writing. This section also
discusses the role research plays in writing and
explains some ways that students can incorporate
research in their essays.
Part IV: The Editing Handbook is a thematic
grammar handbook. In each chapter, the examples
correspond to a theme, such as popular culture,
college life, and work. As students work through the
chapters, they hone their grammar and editing skills
while gaining knowledge about a variety of topics.
In addition to helping build interest in the grammar
practices, the thematic material provides a spark that
ignites new ideas that students can apply to their
writing.
Part V: Reading Strategies and Selections offers
tips, detailed reading strategies to help students
improve their reading skills, as well as interesting and
relevant essays and follow-up questions. Students
learn how to write by observing and dissecting what
they read. The readings relate to the themes found in
Part IV: The Editing Handbook, thereby providing
more fodder for generating writing ideas.
A01_GAET5384_05_SE_FM.indd 12
Pearson Writing Resources
for Instructors and
Students
Book-Specific Ancillary Material
Annotated Instructor’s Edition for The Writer’s World:
Paragraphs and Essays, 5/e ISBN 9-780-13431159-3
The AIE offers in-text answers, marginal
annotations for teaching each chapter, and links
to the Instructor’s Resource Manual It is a valuable
resource for experienced and first-time instructors
alike.
Instructor’s Resource Manual for The Writer’s World:
Paragraphs and Essays, 5/e ISBN 9-780-13431160-9
The material in the IRM is designed to save
instructors time and provide them with effective
options for teaching their writing classes. It offers
suggestions for setting up their course; provides a
lot of extra practice for students who need it; offers
quizzes and grammar tests, including unit tests;
furnishes grading rubrics for each rhetorical mode;
and supplies answers in case instructors want
to print them out and have students grade their
own work. This valuable resource is exceptionally
useful for adjuncts who might need advice in
setting up their initial classes or who might be
teaching a variety of writing classes with too many
students and not enough time.
PowerPoint Presentation for The Writer’s World: Paragraphs
and Essays, 5/e ISBN 9-780-13431260-6
PowerPoint presentations to accompany each
chapter consist of classroom-ready lecture outline
slides, lecture tips and classroom activities, and
review questions. The PPT slide set is available for
download from the Instructor Resource Center.
Answer Key for The Writer’s World: Paragraphs and Essays,
5/e ISBN 9-780-13431263-7
The Answer Key contains the solutions to
the exercises in the student edition of the text.
Available for download from the Instructor
Resource Center.
2/28/17 11:53 AM

MyWritingLab
MyWritingLab, a complete online learning resource,
provides additional practice exercises and engaging
animations for developing writers. It accelerates learning
through layered assessment and a personalized learning
path using the Knewton Adaptive Learning PlatformTM,
which customizes standardized educational content. With
over eight thousand exercises and immediate feedback to
answers, the integrated learning aids of MyWritingLab
reinforce learning throughout the semester.
Additional Resources
Pearson is pleased to offer a variety of support materials to
help make teaching writing easier for teachers and to help
students excel in their coursework. Many of our student
supplements are available free or at a greatly reduced
price when packaged with The Writer’s World: Paragraphs
and Essays, 5/e. Visit www.pearsonhighereducation.com,
contact your local Pearson sales representative, or review
a detailed listing of the full supplements package in the
Instructor’s Resource Manual for more information.
Acknowledgments
Many people have helped us produce The Writer’s World.
First and foremost, we would like to thank our students
for inspiring us and providing us with extraordinary
feedback. Their words and insights pervade this book.
We also benefited greatly from the insightful
comments and suggestions from over one hundred
instructors across the nation, all of whom are listed in
the opening pages of the Annotated Instructor’s Edition.
Our colleagues’ feedback was invaluable and helped
shape The Writer’s World series content, focus, and
organization.
Reviewers
Copyright © 2018 by Pearson Education
The following reviewers provided insight and assistance
in the latest revision of The Writer’s World series:
Tia Adger, Piedmont Technical College; Phillip
Bannowsky, University of Delaware; Betty Benns,
Orangeburg-Calhoun Technical College; Justin Bonnett,
Saint Paul College; Cheryl Borman, Hillsborough CC,
Ybor City Campus; Adam Carlberg, Tallahessee CC;
Judith L. Carter, Amarillo College; Connie Caskey,
A01_GAET5384_05_SE_FM.indd 13
Preface xiii
Jefferson State CC; Zoe Ann Cerny, Horry-Georgetown
Technical College; Cathy J. Clements, State Fair CC;
Michael F. Courteau, St. Paul College; Cynthia Dawes,
Edgecombe CC; Mary F. Di Stefano Diaz, Broward
College; Claudia Edwards, Piedmont CC; Stephanie
Fischer, Southern Connecticut State University;
Paul Gallagher, Red Rocks CC; Kim Allen Gleed,
Harrisburg Area CC; Ellen Hernandez, Camden CC;
Karen Hindhede, Central Arizona College; Schahara
Hudelson, South Plains College; Nikkina Hughes,
Tarrant CC; Dianna W. Hydem, Jefferson State CC; Stacy
Janicki, Ridgewater College; Patrice Johnson, Dallas
County CC District; Jennifer Johnston, Hillsborough
CC; Julie Keenan, Harrisburg Area CC; Patricia A.
Lacey, Harper College; Nicole Lacroix, Red Rock CC;
Ruth K. MacDonald, Lincoln College of New England;
Joy McClain, Ivy Technical CC, Evansville; Heather
Moulton, Central Arizona College; Ellen Olmstead,
Montgomery College; Deborah Peterson, Blinn
College; Rebecca Portis, Montgomery College; Sharon
Race, South Plains College; Lisa M. Russell, Georgia
Northwestern Technical College; Stephanie Sabourin,
Montgomery College; Sharisse Turner, Tallahassee
CC; Samantha Vance, Chattahoochee Valley CC; Jody
Wheeler, Saint Paul College; Julie Yankanich, Camden
County College
We are indebted to the team of dedicated professionals
who have helped make this project a reality. They
have boosted our spirits and have believed in us every
step of the way. Special thanks to Veronica Tomaiuolo
for developing this series and to Matthew Wright for
trusting our instincts and enthusiastically propelling us
forward. Also, we’d like to thank Diego Pelaez-Gaetz for
writing contemporary and thought provoking grammar
practices. We appreciate Kathleen Reynolds for her help
finding articles for this new edition. We owe a deep debt
of gratitude to Yolanda de Rooy, whose encouraging
words helped ignite The Writer’s World project. Ohlinger
Publishing Services helped keep us motivated and on
task during the production process. Thanks to everyone’s
efforts, The Writer’s World is an even better resource for
both instructors and students.
Finally, we would like to dedicate this book to our
families who supported us and who patiently put up
with our long hours on the computer. Manu and Murray
continually encouraged us, as did Diego, Rebeka, Kiran,
and Meghana.
2/28/17 11:53 AM
 xiv Preface
A Note to Students
Your knowledge, ideas, and opinions are important. The
ability to clearly communicate those ideas is invaluable in
your personal, academic, and professional life. When your
writing is error-free, readers will focus on your message,
and you will be able to persuade, inform, entertain, or
Lynne Gaetz in Morocco
A01_GAET5384_05_SE_FM.indd 14
inspire them. The Writer’s World includes strategies that
will help you improve your reading skills and your written
communication. Quite simply, when you become a better
reader and writer, you become a better communicator. It
is our greatest wish for The Writer’s World to make you
excited about learning. Enjoy!
Lynne Gaetz & Suneeti Phadke
Suneeti Phadke in India
2/28/17 11:53 AM
 Part I
The Writing Process

An Overview
The writing process is a series of steps that most writers follow to get from thinking
about a topic to preparing the final draft. Generally, you should follow the process step
by step; however, sometimes you may find that steps overlap. For example, you might
do some editing before revising, or you might think about your main idea while pre-
writing. The important thing is to make sure that you have done all of the steps before
preparing your final draft.
Before you begin the chapters that follow, review the steps in the writing process.

CHAPTER 1 EXPLORING
• Think about your topic.
• Think about your audience.
• Think about your purpose.
• Try exploring strategies.

CHAPTER 2 DEVELOPING
• Narrow your topic.
• Express your main idea.
• Develop your supporting ideas.
• Make a plan or an outline.
• Write your first draft.

CHAPTER 3 REVISING AND EDITING

• Revise for unity.
• Revise for adequate support.
• Revise for coherence.
• Revise for style.
• Edit for technical errors.

M01A_GAET5384_05_SE_P01.indd 1 2/16/17 10:14 AM

 2 Part I
Topic sentence
Supporting ideas
Concluding sentence
The introduction contains a
thesis statement.
Each body paragraph has a
topic sentence that supports
the thesis statement.
Concluding paragraph
M01A_GAET5384_05_SE_P01.indd 2
The Paragraph and the Essay
Most of the writing that we do—email messages, work reports, college papers—is made
up of paragraphs and essays. A paragraph is a series of sentences that are about one
central idea. Paragraphs can stand alone, or they can be part of a longer work such as an
essay, a letter, or a report. An essay is a series of paragraphs that are about one central
idea. Both the paragraph and the essay are divided into three parts.
Characteristics of a Paragraph Characteristics of an Essay
• The topic sentence introduces the subject • The introduction engages the reader’s
of the paragraph and shows the writer’s interest and contains the thesis statement.
attitude toward the subject. • The body paragraphs each support the
• The body of the paragraph contains details main idea of the essay.
that support the topic sentence. • The conclusion reemphasizes the thesis
• The paragraph ends with a concluding and restates the main points of the essay. It
sentence. brings the essay to a satisfactory close.
Review the following paragraph and essay, written by college student Anthony
Coffman.
The Paragraph
A worthwhile place to visit is the Indianapolis Motor Speedway. Built in 1909, it is
home to the greatest spectacle in racing: the Indianapolis 500 Indy races. The stadium
showcases the apex in automotive design. In addition to the Indy car races, there are
Brickyard 400 NASCAR races, Grand Prix events, and GP moto-race events. Races can
be expensive; a more wallet-friendly alternative is to attend qualifying time trials or to take
a tour and visit the museum on the grounds during the non-race times of the year. Visiting
the Indianapolis Motor Speedway provides fun for the whole family.
The Essay
Born in Indiana, I’ve lived here most of my life. Often, I hear fellow Indianans (often
called “Hoosiers”) say there’s not much to do here. In fact, visitors and local citizens
can visit many great entertainment venues, including state parks, museums, and the
Indianapolis Motor Speedway.
Indiana provides twenty-five recognized state parks that provide a variety of activities.
Visitors can camp, fish, cycle, and see natural and historic sites. Some of the best parks
include Turkey Run, Brown County, White River, Whitewater Memorial, and McCormick’s
Creek. I have had the opportunity to visit the grounds of Turkey Run, Brown County, and
White River and had a wonderful time while hiking.
Another great activity to do in Indiana is visit museums. The Indianapolis Children’s Museum
offers educational exhibits including Dinosphere and the Anne Frank Peace Park with exhibits
of the Seven Wonders of the World. The Indianapolis Museum of Art has over fifty thousand
artworks and is home to the Virginia B. Fairbanks Art and Nature Park, which provides an
urban oasis of woodlands, wetlands, lakes, and meadows. On the museum grounds, the
Oldfield’s-Lilly House gives visitors a glimpse into a country estate in the early twentieth century.
A worthwhile place to visit is the Indianapolis Motor Speedway. Built in 1909, it is
home to the greatest spectacle in racing: the Indianapolis 500 Indy races. The stadium
showcases the apex in automotive design. In addition to the Indy car races, there are
Brickyard 400 NASCAR races, Grand Prix events, and GP moto-race events. Races can
be expensive; a more wallet-friendly alternative is to attend qualifying time trials or to take
a tour and visit the museum on the grounds during the non-race times of the year. Visiting
the Indianapolis Motor Speedway provides fun for the whole family.
Indiana has so much to offer. Enjoy scenic landscapes in the great outdoors of our
state parks or artistic landscapes in the great halls of our museums. And for those with the
need for speed, who can resist the spectacle of watching cars whiz by at nearly 200 miles
per hour? I can’t imagine living anywhere else!
2/16/17 10:14 AM
 1 Exploring
Learning
Objectives

1.1 Define exploring.

1.2 Identify your topic.
1.3 Identify your
­audience.
1.4 Identify your
­purpose.
1.5 Practice exploring
strategies.
1.6 Practice journal and
portfolio writing.

Before creating a final image, an artist takes the time to consider what to create. Similarly, before
developing a draft, a writer needs to explore the topic.

What Is Exploring?
1.1 Define exploring.
Have you ever been given a writing subject and then stared at the blank page, thinking,
“I don’t know what to write”? Well, it is not necessary to write a good paragraph or
essay immediately. There are certain things that you can do to help focus on your topic.

Understanding Your Assignment

As soon as you are given an assignment, make sure that you understand the task.
Answer the following questions about the assignment.

• How many words or pages should I write?

• What is the due date for the assignment?
• Are there any special qualities my writing should include?

After you have considered your assignment, follow the four steps in the exploring
stage of the writing process.

Exploring ESSAY LINK

When you plan an essay, follow the
four exploring steps in the same way.

STEP 1 Think about your topic. Determine what you will write about.
STEP 2 Think about your audience. Consider your intended readers and what
interests them.

M01B_GAET5384_05_SE_C01.indd 3 2/17/17 1:03 PM

 4 Chapter 1

STEP 3 Think about your purpose. Ask yourself why you want to write.
STEP 4 Try exploring strategies. Experiment with different ways to generate ideas.

Topic
1.2 Identify your topic.
Your topic, or subject, is what you are writing about. When an instructor gives a topic
for your writing, narrow the topic and find an angle that interests you. For example,
if your instructor asks you to write about travel, you can take many approaches to the
topic. You might write about the dangers of travel or explain what people can learn
when they travel. Try to narrow the topic to suit your interests. When thinking about
your topic, ask yourself the following questions.

• What special knowledge do I have about the topic?

• What subtopics are most relevant to me?
• What aspect of the topic arouses my emotions?

Audience
1.3 Identify your audience.
Your audience is your intended reader. Your audience might be your instructor, your
classmates, your boss, your coworkers, and so on. Remember to adapt your language
and vocabulary for a specific audience. For example, in a report written for your business
class, you might use specialized accounting terms that would not be appropriate in an
essay for another class. When you think about your audience, ask yourself the following
questions.

• Who will read my assignment? Will the reader be my instructor, or will other
­students also read it?
• What does my audience already know about the topic?
• What information will my readers expect?
• Should I use formal or informal language?

HINT: Instructor as the Audience

Your instructor represents a general audience. Such an audience will expect you to
use correct grammar and to reveal what you have learned or understood about the
topic. Do not leave out information because you assume that your instructor is an
expert in the field. Your ideas should be presented in a clear and organized manner.

Purpose
1.4 Identify your purpose.
Your purpose is your reason for writing. Sometimes you may have more than one
purpose. When you consider your purpose, ask yourself the following questions.

• Is my goal to entertain? Do I tell a personal story or anecdote?

• Is my goal to persuade? Do I convince the reader that my point of view is correct?
• Is my goal to inform? Do I explain something or present information?

M01B_GAET5384_05_SE_C01.indd 4 2/17/17 1:03 PM

 Exploring 5

HINT: General and Specific Purpose

Your general purpose is to entertain, inform, or persuade. Your specific purpose
is your more precise reason for writing. For example, imagine that you have to
write about music. You can have the following general and specific purposes.
General purpose: to inform
Specific purpose: to explain how to become a better musician

Practice 1
Read text messages A and B. Then answer the questions that follow.

Text Message A Text Message B

whaddup? how ru? can’t cu at 3 cuz
forgot about doc appt. wanna meet
later? im prob free 2nite. anyway ttyl
I will not be able to work as scheduled
tomorrow afternoon because I have a
medical appointment at 3:00 pm. If
you would like me to work the late
shift instead, I could do that. Please let
me know. Thanks!

1. Who is the intended audience for text message A?

friend           boss
What language clues helped you determine the audience?

2. Who is the intended audience for text message B?

friend           boss
What language clues helped you determine the audience?
Copyright © 2018 by Pearson Education

Practice 2
Read each selection carefully. Underline any words or phrases that help you iden-
tify its source, audience, and purpose. Then answer the questions that follow each
selection.

EXAMPLE:
I’m totally psyched about learning the drums. It’s taken me a while to get used to Slang
keeping up a steady beat, but I think I’m getting it. My drum teacher is cool, and
he’s pretty patient with me. I try to practice, but it bugs the neighbors when I hit Slang, informal tone
the cymbals.

M01B_GAET5384_05_SE_C01.indd 5 2/17/17 1:03 PM

 6 Chapter 1
air: song (also known as aria)
M01B_GAET5384_05_SE_C01.indd 6
What is the most likely source of this paragraph?
a. website article b. textbook c. email
What is its purpose? To inform
Who is the audience? Friend or family member
1. The nationalist movement in music was first felt in Russia, where music had
been dominated entirely by foreign influence. Starting in the middle of the
nineteenth century, Russian composers began to write operas in their own
language, on Russian themes, and they often based their librettos on literary
works by the great Russian writers of the time.
What is the most likely source of this paragraph?
a. short story b. textbook c. email
What is its purpose?
Who is the audience?
2. When dealing with club managers, it is imperative that you act
professionally. Get all the details of a gig in advance. Doing so will eliminate
any confusion or miscommunication that could result in a botched deal.
It will also instantly set you apart from the legions of flaky musicians that
managers must endure on a daily basis. That’s a good thing.
What is the most likely source of this paragraph?
a. website article b. novel c. email
What is its purpose?
Who is the audience?
3. We are rather a musical family, and when Christiana sees me, at any time, a
little weary or depressed, she steals to the piano and sings a gentle air she
used to sing when we were first betrothed. So weak a man am I, that I cannot
bear to hear it from any other source. They played it once, at the Theatre,
when I was there with Little Frank; and the child said wondering, “Cousin
Michael, whose hot tears are these that have fallen on my hand!”
What is the most likely source of this paragraph?
a. short story b. textbook c. email
What is the purpose?
Who is the audience?
Practice 3
View the following cartoon on the next page. What is the topic? Who is the audi-
ence? What is the purpose? Does the cartoon achieve its purpose?
2/17/17 1:03 PM
 Exploring 7

John McPherson/Distributed by Universal Uclick via

www.CartoonStock.com

Exploring Strategies
1.5 Practice exploring strategies.
After you determine your topic, audience, and purpose, try some exploring ­strategies—
also known as prewriting strategies—to help get ideas flowing. The four most common
strategies are freewriting, brainstorming, questioning, and clustering. It is not necessary
to do all of the strategies explained in this chapter. Find the strategy that works best
for you.
You can do both general and focused prewriting. If you have writer’s block and do
not know what to write, use general prewriting to come up with possible topics. Then,
after you have chosen a topic, use focused prewriting to find an angle of the topic that
is interesting and that could be developed in your paragraph.

HINT: When to Use Exploring Strategies

Copyright © 2018 by Pearson Education

You can use exploring strategies at any stage of the writing process.
• To find a topic
• To narrow a broad topic
• To generate ideas about your topic
• To generate supporting details

Freewriting
Freewriting is writing for a limited period of time without stopping. The point is to
record the first thoughts that come to mind. If you have no ideas, you can indicate that
in a sentence such as “I don’t know what to write.” As you write, do not be concerned
with your grammar or spelling. If you use a computer, let your ideas flow and do not
worry about typing mistakes.

M01B_GAET5384_05_SE_C01.indd 7 2/17/17 1:03 PM

 8 Chapter 1
TECHNOLOGY LINK
On a computer, try typing without
looking at the screen or with the
screen turned off. Don’t worry about
mistakes. You can also try using the
dictation notetaking function on your
smartphone as a freewriting tool. Talk
thoughts out freely into the microphone
to help generate ideas. You can then
refer to those notes when writing.
M01B_GAET5384_05_SE_C01.indd 8
TIA’S FREEWRITING
College student Tia Clement did freewriting about her favorite place. During her
freewriting, she wrote everything that came to mind.
Don’t know. The coffee shop? The snacks are good. Friends hang there.
What else? The beach. Love that sand. My bedroom is really cozy. Calm
colors. I can relax there. Feel safe in my room. I listen to music. Songs
help me sleep. Nature. Love trees and flowers in the park. Feel free when
I’m outdoors in a natural place. Love grass under my bare feet. Feels
awesome.
TIA’S FOCUSED FREEWRITING
After Tia did her general freewriting, she underlined ideas that she thought she could
expand into a complete paragraph. Then she developed one of her underlined ideas.
Her purpose was to describe, so she decided to do focused freewriting about the
beach.
The beach. It is a joyous place. The houses and hotels are around it. Gotta
love the sound of the ocean. So peaceful. Water never ends it goes on
and on. When does it stop? Goes forever. Smells like salt. What else? The
bright sun reflects off the water. So warm on my skin. I love the ­feeling
of sand between the toes. Hot sand burns my feet. Lots of sounds. Kids
­playing, birds. Adults chatting. The air feels thick. And damp. A feeling of
happiness.
The Writer’s Desk: Freewriting
Choose one of the following topics and do some freewriting. Remember to write without
stopping.
Stress Nature Sports
Brainstorming
Brainstorming is like freewriting except that you create a list of ideas, and then stop
and think about what’s on the list. As you think about the topic, write down words or
phrases that come to mind. Do not be concerned about grammar or spelling. The point
is to generate ideas.
JIN’S BRAINSTORMING
College student Jin Park brainstormed about health issues. He made a list of general
ideas.
—lack of health care
—obesity
—fast food
—not enough exercise
JIN’S FOCUSED BRAINSTORMING
Jin chose “not enough exercise” as his topic, and then he did focused brainstorming.
—gaming and game apps
—parents worry about dangers on streets
—sports activities (e.g., football) cost a lot for fees, equipment, etc.
—too much sitting at school
—not enough physical education time
—need more community sports programs
2/17/17 1:03 PM
 Exploring 9

The Writer’s Desk: Brainstorming

Choose one of the following topics and brainstorm. Create a list of ideas.

Ceremonies Gossip Good or bad manners

Questioning
Another way to generate ideas about a topic is to ask yourself a series of questions
and write responses to them. The questions can help define and narrow a topic. One
common way to do this is to ask who, what, when, where, why, and how questions. Like
other exploring strategies, questioning can be general or focused.

RACHEL’S QUESTIONING
College student Rachel Jubinville used a question-and-answer format to generate ideas
about family.

What is a family? —a unit of people tied by blood or legal

Can friends be considered like
family?
What are problems in families?
How do families stay together?
When can families connect the
best?
Why is our family important?
documents
— maybe long-time friends become part of an
extended family
—abuse, bankruptcy, grudges, divorce, jealousy
—love, patience, withholding judgment, listening
to each other, acceptance of differences
—holidays, weddings, funerals, weekly dinners
—provides support and connection, helps during
times of crisis

The Writer’s Desk: Questioning

Choose one of the following topics and write questions and answers. Ask who, what, when,
where, why, and how questions.

Technology Patriotism Celebrities

Copyright © 2018 by Pearson Education

Clustering
Clustering is like drawing a word map; ideas are arranged in a visual image. To
begin, write your topic in the middle of the page and draw a box or a circle around it.
That idea will lead to another, so write the second idea and draw a line connecting it
to your topic. Keep writing, circling, and connecting ideas until you have groups, or
“clusters,” of them on the page. You can use clustering to get ideas about a general or
a specific topic.

M01B_GAET5384_05_SE_C01.indd 9 2/17/17 1:03 PM

 10 Chapter 1

MAHAN’S CLUSTERING
College student Mahan Zahir used clustering to explore ideas about crime. He ­identified
some main topics.

White-collar
crimes

Reasons Who should pay

people commit crimes for crimes?
CRIME

Celebrity How to
criminals punish criminals

MAHAN’S FOCUSED CLUSTERING

Mahan decided to write about the reasons that people commit crimes. He added ­clusters
to that topic.

stagnant
minimum
wage influence
of luxurious
advertising tastes

poverty
greed
cuts to
social services

REASONS PEOPLE
COMMIT CRIMES alcohol
impairs
gangs
judgment
drugs or
peer pressure alcohol

addicts
desire to steal to buy
dares drugs
look cool

The Writer’s Desk: Clustering

Choose one of the following topics and use clustering to explore it on a separate sheet of
paper. Begin by writing the key word in the middle of the space. Then connect related ideas.

Jobs Health Relationships

M01B_GAET5384_05_SE_C01.indd 10 2/17/17 1:03 PM

Another random document with
no related content on Scribd:
Unless when he bawled, “Jamie, haud oot yer han’!”
Then I gloom’d and say, “Imph-m,”
I glunch’d, and say, “Imph-m,”
I wasna owre proud, but owre dour to say—A-y-e!

Ae day a queer word, as lang-nebbits’ himsel’,

He vow’d he would thrash me if I wadna spell,
Quo I, “Maister Quill,” wi’ a kin’ o’ swither,
“I’ll spell ye the word if ye’ll spell me anither;
Let’s hear ye spell Imph-m,
That common word Imph-m,
That auld Scotch word Imph-m, ye ken it means A-Y-E!”

Had ye seen hoo he glour’d, hoo he scratched his big pate,

An’ shouted, “Ye villain, get oot o’ my gate!
Get aff to your seat! yer the plague o’ the schule!
The de’il o’ me kens if yer maist rogue or fule!”
But I only said, Imph-m,
That pawkie word, Imph-m,
He couldna spell Imph-m, that stands for an A-y-e!

An’ when a brisk wooer, I courted my Jean—

O’ Avon’s braw lasses the pride an’ the queen—
When ’neath my gray pladdie, wi’ heart beatin’ fain,
I speired in a whisper if she’d be my ain,
She blushed an’ said, Imph-m,
That charming word, Imph-m,
A thousan’ times better an’ sweeter than A-y-e!

Just ae thing I wanted my bliss to complete—

Ae kiss frae her rosy mou’, couthie an’ sweet—
But a shake o’ her head was her only reply—
Of course, that said No, but I ken she meant A-y-e,
For her twa een said Imph-m,
Her red lips said, Imph-m,
Her hale face said Imph-m, an’ Imph-m means A-y-e!
 GRADING THE STREET
By Mistur Malooney

’Twas mesilf thin as bot me a swate little lot,

Wid monies I digged for six years in the mines;
An’ I builded an’ plastered a duck o’ a cot,
Which Biddy soon kivird wid crapers and vines,
Wid a backyard and garding convanyent and neat,
Where the childer and pig could kape out o’ the street.

I warked wid the hod an’ had plinty to do,

An’ a stitch in my back ne’er minded at all;
Our childer was healthy and Biddy was true,
And I sung ’neath the load as I mounted the wall.
For I knew when at sundown my work was complete,
My supper was ready, all smoking and sweet.

’Twas down in a valley secure from the wind,

A sandhill a north and a sandhill a south;
I thought that dame nature to me was so kind
She opened her jaws an’ we lived in her mouth.
Biddy oft at the sand would objection and grete,
But I tould her ’twould stop whin they graded the street.

Bad luck to the day thin—one Saturday night

I came back from working two month and a week;
Och! sorry an inch o’ my cot was in sight,
’Twas kivered wid sand an’ all livil and sleek;
I thought that an earthquake had made the hills meet,
Till poor Biddy cried out, “They’ve graded the street!”

“Bad luck to their sowls, thin,” I cried in my hate;

“I’ll sue them for spoiling my cottage an’ land,”
Whin Biddy sobbed out, “Dear Pat, ye are late,
’Tis a bill agin us that I hould in my hand.”
In trouble I looked at the figgers complete,
And saw four hundred dollars for grading the street!
Poor Biddy was faithful, an’ didn’t repine;
Her cousin the childer an’ her had took in,
’Til I could wid our lavings another house find;
Wid a few pots an’ kettles a new life begin;
But exparience had taught me a lesson I weet,
Ne’er to live in a valley beside o’ the street.

So I wint to the highest o’ hills I could find,

An’ rinted a place that commanded a view,
An’ got oursilves sittled so much to our mind,
I soon earned the monies, an’ paid for it, too;
’Twas not so convanyent, but still it was neat,
Tho’ my bones ached at night, as I toiled up the street.

The young uns grew healthy, the air was so good,

An’ Biddy her clothes dried in half o’ the time;
Fur to help me to pay for our vittals an’ food,
The poor girl by washing earned many a dime,
An’ she kept things so tidy, complaicint an’ sweet,
I nivir drudgid climin’ that hill o’ a street.

Thin I wint to the mines for six months it may be,

An’ wid goold in my pockit I hurried me back;
Whin I got to the hill, nary hill could I see;
’Twas gone, an’ some lumber obstructed my track—
I saw in an instant my ruin complete—
Och! faith and Saint Peter, They’d graded the street!

DOT GOOD FOR NODINGS DOG

By Fred Emerson Brooks

You vant to buy my dog? Ah, vell,

Dere vasn’t much of him to sell.
His eye vas broke, his leg vas out,
Und ven you ask his pedigree,
Dot make her laugh come out o’ me—
It vas a madder, I be blamed,
About der vich he vas ashamed.
His breed vasn’t in der Catalogue,
He vas a good for nodings dog.

It vas a day I don’t forgot,

Mit rain und sleet und dings like dot,
Dis homely dog he comed along
Und sing me such a hungry song,
I said: “Come in und take a seat
Und have some scraps und tings to eat!”
I smile mit him, he smile mit me,
Und look like he vas glad to be,
Although not in der Catalogue,
But yust a good for nodings dog.

Each time I come around, you bet

He vag dot tail already yet;
Und show me plain from either end,
He always vant to be my friend.
No madder I say yes! or no!
Where’er I gone he bound to go.
Und ven he lost me, runs around
Und smells me out upon der ground,
Den yumps yust like he vas a frog—
Und not a good for nodings dog.

My Meenie vas a leedle tot,

Yust big enough to be like dot;
Und run about und have some play
Yust mit der dog, until von day
I call her, und she vasn’t dere;
I couldn’t find her anyvere;—
“Dot dog gone off,” my vife, she say,
“Und lead dot leedle girl avay:—
He vas a good for nodings dog,
Und vasn’t vorth der Catalogue!”
My leedle Meenie lost! Mine Got!
I never tink I cry like dot!
But ven I found dot leedle pet,
I cry me more as effer yet:—
Dot’s funny, ven a man feels glad
He cries, yust like ven he feel bad;
Der tears vas yust der same; oh, my,
But vat a difference in der cry!
Dere Meenie sat upon der log
Und pet dot good for nodings dog.

Und ven my senses all got clear,

I ask me: “Vot’s der matter here?”
Und looking vere my Meenie said,
Dere lay a great big vildcat dead!
“Dot dog he killed him,” said my vife,
“Und save dot leedle Meenie’s life!”
I never saw her eyes more vet,
Und vile I hug dot leedle pet
She hug dot good for nodings dog,
Vot vasn’t vorth der Catalogue!

You vant to buy dot dog? Ah, vell,

Nobody’s here who vants to sell.
My vife she say, “You couldn’t buy
Von look of kindness oud his eye!”
Und as for me—dere’s not for sale,
Not e’en der vaggin’ of his tail!
Und Meenie told you plendy quick,
“In all dis vorld you got your pick
Of dose vot’s in der Catalogue,
But not dot good for nodings dog.”

—Copyright by Forbes & Co., Chicago, and used by kind

permission of author and publisher.

SHE LIKED HIM RALE WEEL

 Anonymous

The Spring had brought out the green leaf on the trees,
An’ the flowers were unfolding their sweets tae the bees,
When Jock says tae Jenny, “Come, Jenny, agree,
An’ say the bit word that ye’ll marry me.”
She held doon her heid like a lily sae meek
An’ the blush o’ the rose fled awa’ frae her cheek.
But she said, “Gang awa’, man, your heid’s in a creel.”
She didna let on that she liked him rale weel—
Oh, she liked him rale weel,
Aye, she liked him rale weel,
But she didna let on that she liked him rale weel.

Then Jock says, “Oh, Jenny, for a twalmonth an’ mair,

Ye ha’e kept me just hangin’ twixt hope an’ despair,
But oh, Jenny, last night something whispered tae me
That I’d better lie doon at the dyke-side and dee.”
Tae keep Jock in life, she gave in tae be tied:
An’ soon they were booked, and three times they were cried.
Love danced in Jock’s heart, and hope joined the reel—
He was sure that his Jenny did like him rale weel—
Oh, she liked him rale weel,
Aye, she liked him rale weel,
But she never let on that she liked him rale weel.

When the wedding day cam’ tae the manse they did stap,
An’ there they got welcome frae Mr. Dunlap,
Wha chained them to love’s matrimonial stake,
Syne they took a dram an’ a mouthfu’ o’ cake,
Then the minister said, “Jock, be kind tae your Jenny,
Nae langer she’s tiead to the string o’ her minnie;
Noo, Jenny, will ye aye be couthie an’ leal?”
And she vowed that she would, for she liked him rale weel—
Aye, she liked him rale weel,
Oh, she liked him rale weel,
At last she owned up that she liked him rale weel.
 S-H-H-H!
Anonymous

My maw—she’s upstairs in bed,

An IT’S there wif her.
It’s all bundled up and red—
Can’t nobody stir;
Can’t nobody say a word
Since It came to us.
Only thing ’at I have heard,
’Ceptin’ all It’s fuss,
Is S-h-h-h!

That there nurse she shakes her head

When I come upstairs.
“S-h-h-h!” she sez—’at’s all she’s said
To me anywheres.
Doctor—he’s th’ man ’at brung
It to us to stay—
He makes me put out my tongue,
’Nen says “S-h-h-h!”—’at way;
Just “S-h-h-h!”

I goed in to see my maw,

’Nen clumb on the bed.
Was she glad to see me? Pshaw!
“S-h-h-h!”—’at’s what she said.

’Nen It blinked and tried to see—

’Nen I runned away
Out to my old apple tree,
Where no one could say
“S-h-h-h!”

’Nen I layed down on the ground

An’ say ’at I just wish
I wuz big. An’ there’s a sound—
 ’At old tree says “S-h-h-h!”
’Nen I cry an’ cry an’ cry
Till my paw he hears,
An’ comed there an’ wiped my eye
An’ mop the tears—
’Nen says “S-h-h-h!”

I’m goin’ to tell my maw ’at she

Don’t suit me one bit—
Why do they all say “S-h-h-h!” to me
An’ not say “S-h-h-h!” to IT?

A FEW WORDS FROM WILHELM

By Wallace Irwin

Man vants put leedle hier pelow

Und vants dot leedle Dutch—
Der vishes vich I vish, I know,
Are nicht so fery much:
Choost Europt, Asia, Africa,
Der Vestern Hemishpere
Und a coaling-station in Japan—
Dot vill pe all dis year.

Hi-lee, hi-lo, der winds dey plow

Choost like “Die Wacht am Rhein;”
Und vat iss mein pelongs to Me,
Und vat iss yours iss mein!

Jah also, ven I vloat aroundt

Mitin mein royal yacht
I see so much vat iss nicht Dutch
Dot—ach, du lieber Gott!—
It gif me such a shtrange distress
I gannot undershtand
How volks gan lif in happiness
 Mitout no Vaderland!

Hi-lee, hi-lo, der winds dey plow

As I sail around apout
To gif der Nations good advice
Und sausages und kraut.

Each hour I shange mein uniform,

Put I never shange mein mindt,
Und efery day I make ein spooch
To penefit mankindt:
Race Soosancide, der Nation’s Pride,
Divorce and Public Sins—
I talk so much like Rosenfeldt
I dink ve must pe tvins!

Hi-lee, hi-lo, der vinds dey plow

Der maxim Rule or Bust—
You gannot wreck our skyndicate
Ven Gott is in der Trust!

Being ein kviet Noodral Power,

I know mein chob, you bet—
I pray for Beace, und hope for War
Und keep mein powder wet;
Put ven I’ve nodings else to do,
Put shtandt around und chat,
Den der Right Divine talks nonsense t’rough
Mein military hat.

Hi-lee, hi-lo, der vinds dey plow

Und softly visper dis:
“Der Kaiser he iss more as yet
Und all iss right vat Iss!”

AT GRANDMA’S
Anonymous
I went to visit Grandma
One cold Thanksgiving day;
I shookt and freezed and chattered
All along the way.
Grandma was knitting stockings,
So I tried to knit;
I pulled the string the wrong way,
And unmade every bit.

Next day I tried to tackle

A piggy for a horse,
And tumbled in the pig-pen—
And wasn’t Grandma cross!
I’m sure it wasn’t my fault
That my new dress was white,
If mamma had made it pig-color
It wouldn’t have shown a mite.

My Grandma has a brick room

Filled up with pans of milk.
One day I took in pussy,
She’s just as soft as silk—
She’s a drefful funny pussy—
All along the shelf she ran,
And with her little nosey
Made blue holes in every pan.
My grandma’s dreffully stingy,
She drove us both away,
And said she’d half a mind
To send me home that day.

Sometimes this pussy’s naughty—

One time she catched a mouse;
She teased and scratched and bited it
All up and down the house.
I whipped her with the tater-masher
Every time she made a turn,
And got away poor mousey
And hid him in the churn.

Who ever knew that milk would drown?

I thought ’twas only rivers.
But when Grandma churned,
My mousey was drowned all to shivers.
I saw a tub of milk onct,
We have ours in a dish.
I thought ’twas good for nothing
So I’d try to fish.

I just got settled down there,

My legs were nearly freezed,
When Grandma came in screaming—
“O that girl is in my cheese.”
She jumped me out I tell you
Right on the cold stone floor,
And called my new boots dirty,
And locked the dairy door.

She gave the butter to the pigs,

And put me straight to bed.
And whipped poor pussy dreffully
Right on her little head.
I’s been drefully good to Grandma,
Not made a bit of muss.
But I’s going home to-morrow
Cause, cause Grandma says I must.

A CHILD’S ALMANAC
By J. W. Foley

My mamma says ’at w’en it rains

’Eyre washin’ Heaven’s window-panes,
An’ careless angels ’ist do fill
’Eir pails too full an’ ’atway spill
Some water down on us. ’At’s w’y
It rains some days w’en maybe I
Would like to play. An’ ’en she says
It’s ’ist ’em angels’ carelessness
’At makes ’em raindrops fall ’at way
At picnics an’ on circus day.

My mamma says ’at w’en it snows

’Eyre angels pickin’ geese, she knows,
An’ ’stead o’ usin’ ’em t’ stuff
’Eir pillow-cases, ’ey ’ist puff
An’ blow an’ don’t clear up ’eir muss
Till all ’em feathers fall on us.
An’ she says ’ey ’ist pick ’atway
Cuz ’ey want geese f’ Tristmas day.
An’ ’at’s w’y ’eres e’ mostes’ snow
Right close t’ Tristmas time, you know.

My mamma says w’en e’ wind ’ist roars

An’ blows, ’at’s w’en e’ angel snores,
But w’en it lightnings, she says, w’y
’Eyre scratchin’ matches on the sky,
An’ w’en it rumbles ’bove our heads
’Ey’re movin’ furniture an’ beds
Up ’ere, an’ cleanin’ house, an’ shakes
’Eir moth-balls out an’ ’at’s w’at makes
It hail. An’ weather, she ’ist ’clares
Is ’ist w’at angels does upstairs.

DOT LONG HANDLED DIPPER

By C. F. Adams

Der poet may sing of “Der Oldt Oaken Pooket,”

Und in schweetest langvich its virtues may tell,
Und how, ven a poy, he mit eggsdasy dook it,
 Vhen dripping mit coolness it rose from der well:
I don’t take some stock in dot manner of drinking,
It vas too much like hosses and cattle, I dink,
Dher vas more sadisfaction in my way of drinking
Mit dot long-handled dipper that hangs py der sink.

“How schweet vrom der green mossy brim to receive it—”

Dot would sound pooty good, eef it only vas true,
Der water schbills ofer, you petter believe it,
Und run down your schleeve und schlop indo your shoe:
Den down on your nose comes dot oldt iron handle,
Und make your eyes water so quick as a wink!
I dells you dot bookit don’t hold by a candle
To dot long-handled dipper dot hangs py der sink.

How nice it musd be in der cold vinter vedder,

Vhen it settles right down to a cold, freezin’ rain,
To haf dot rope coom oup so light as a feather
Und find dat der bookit vas broke off der chain!
Den down in der well you go off a-fishing,
While into your back comes an oldt fashioned kink!
I bet you mine life all der time you vas vishing
For dot long-handled dipper dot hangs py der sink.

Dhen give oup der bookit at vonce to der horses,

Off mikrobes und tadpoles schust give dem their fill,
Gife me dat pure vater dot all der time courses
Droo dose pipes dot run from der schpring on der hill:
Und eef der goot dings of dis vorld I get rich in,
Und friends all around me dheir glasses schuld clink,
I still vill remember dot old country kitchen
Und dot long-handled dipper dot hangs py der sink.

DE FUST BANJO
By Irwin Russell
Go ’way, fiddle! folks is tired o’ hearin’ you a-squawkin’,
Keep silence fur yo’ betters!—don’t you heah de banjo talkin’?
About the ’Possum’s tail she’s qwine to lecter—ladies, listen!—
About de ha’r whut isn’t dar, an’ why de ha’r is missin’:

“Dar’s gwine to be a’ oberflow,” said Noah, lookin’ solemn—

Fur Noah tuk the “Harald,” an’ he read the ribber column—
An’ so he sot his hands to wuk a-cl’arin’ timber-patches,
An’ ’lowed he’s gwine to build a boat to beat the steamah Natchez.

Ol’ Noah kep’ a-nailin’ an’ a-chippin’ an’ a-sawin’;

An’ all de wicked neighbors kep’ a-laughin’ an’ a-pshawin’;
But Noah didn’t min’ ’em, knowin’ whut wuz gwine to happen:
An’ forty days an’ forty nights de rain it kep’ a-drappin’.

Now Noah had done cotched a lot ob ebry sort o’ beas’es—

Ob all de shows a-trabbelin’, it beat ’em all to pieces!
He had a Morgan colt an’ sebral head o’ Jarsey cattle—
An’ druv ’em ’board de Ark as soon’s he heered de thunder rattle.

Den sech anoder fall ob rain! it comes so awful hebby,

De ribber riz immejitly, an’ busted troo de lebbee;
De people all wuz drownded out—’cep’ Noah an’ de critters,
An’ men he’d hired to work de boat—an’ one to mix de bitters.

De Ark she kep’ a-sailin’ an’ a-sailin’ an’ a-sailin’;

De lion got his dander up, an’ like to bruk de palin’;
De sarpints hissed; de painters yelled; till whut wid all de fussin’,
You c’u’dn’t hardly heah de mate a-bossin’ ’roun’ an’ cussin’.

Now Ham, de only nigger whut wuz runnin’ on de packet,

Got lonesome in de barber-shop, an’ c’u’dn’t stan’ de racket;
An’ so, fur to amuse he-se’f, he steamed some wood an’ bent it,
An’ soon he had a banjo made—de fust dat wuz invented.

He wet der ledder, stretched it on; made bridge an’ screws an’ aprin;
An’ fitted in a proper neck—’twuz berry long an’ tap’rin’;
He tuk some tin, an’ twisted him a thimble fur to ring it;
An’ den de mighty question riz: how wuz he gwine to string it?

De ’possum had as fine a tail as dis dat I’s a-singin’;

De ha’r so long an’ thick an’ strong,—des fit fur banjo-stringin’;
Dat nigger shaved ’em off as short as wash-day-dinner graces;
An’ sorted ob ’em by de size, f’om little E’s to basses.

He strung her, tuned her, struck a jig,—’twas “Nebber min’ de

wedder,”
She soun’ like forty-lebben bands a-playin’ all togedder;
Some went to pattin’; some to dancin’; Noah called de figgers;
An’ Ham he sot an’ knocked de tune, de happiest ob niggers!

Now, sence dat time—it’s mighty strange—dere’s not de slightes’

showin’
Ob any ha’r at all upon de ’possum’s tail a-growin’;
An’ curious, too, dat nigger’s ways: his people nebber los’ ’em—
Fur whar you finds de nigger—dar’s de banjo an’ de ’possum!

THE MOO-COW-MOO
By Edmund Vance Cooke

My pa held me up to the moo-cow-moo

So clost I could almost touch,
En I fed him a couple of times, or two,
En I wasn’t a ’fraid-cat—MUCH.

But if my papa goes into the house,

En mamma she goes in, too,
I just keep still, like a little mouse,
Fer the moo-cow-moo might Moo!

The moo-cow-moo’s got a tail like a rope

En it’s raveled down where it grows;
En it’s just like feeling a piece of soap
All over the moo-cow’s nose.
En the moo-cow-moo has lots of fun
Just swinging his tail about;
En he opens his mouth and then I run—
’Cause that’s where the moo comes out!

En the moo-cow-moo’s got deers on his head

En his eyes sticks out of their place,
En the nose of the moo-cow-moo is spread
All over the end of his face.

En his feet is nothing but finger-nails

En his mamma don’t keep ’em cut,
En he gives folks milk in water-pails
Ef he don’t keep his handles shut.

’Cause ef you er me pulls the handles, why

The moo-cow-moo says it hurts,
But the hired man he sits down clost by
En squirts en squirts en squirts!

ENCOURAGEMENT
By Paul Laurence Dunbar

Who dat knockin’ at de do’?

Why, Ike Johnson—yes, fu’ sho’!
Come in, Ike. I’s mighty glad
You come down. I t’ought you’s mad
At me ’bout de othah night,
An’ was stayin’ ’way fu’ spite.
Say, now, was you mad fu’ true
W’en I kin’ o’ laughed at you?
Speak up, Ike, an’ ’spress yo’se’f.

’Tain’t no use a-lookin’ sad,

An’ a-mekin’ out you’s mad;
Ef you’s gwine to be so glum,
Wondah why you evah come.
I don’t lak nobidy ’roun’
Dat jes’ shet dey mouf an’ frown—
Oh, now, man, don’t act a dunce!
Cain’t you talk? I tol’ you once,
Speak up, Ike, an’ ’spress yo’se’f.

Wha’d you come hyeah fu’ to-night?

Body’d t’ink yo’ haid ain’t right.
I’s done all dat I kin do—
Dressed perticler, jes’ fu’ you;
Reckon I’d a’ bettah wo’
My ol’ ragged calico.
Aftah all de pains I’s took,
Cain’t you tell me how I look?
Speak up, Ike, an’ ’spress yo’se’f.

—Copyright by Dodd, Mead & Co., and used by arrangement.

WHEN DE CO’N PONE’S HOT

By Paul Laurence Dunbar

Dey is times in life when Nature

Seems to slip a cog, an’ go
Jes’ a-rattlin’ down creation,
Lak an ocean’s overflow;
When do worl’ jes’ stahts a-spinnin’
Lak a picaninny’s top,
An’ yo’ cup o’ joy is brimmin’
’Twell it seems about to slop,
An’ you feel jes’ lak a racah,
Dat is trainin’ fu’ to trot—
When yo’ mammy says de blessin’
An’ de co’n pone’s hot.

When you set down at de table,

Kin’ o’ weary lak an’ sad,
An’ you’se jes’ a little tiahed
An’ purhaps a little mad;
How yo’ gloom tu’ns into gladness,
How yo’ joy drives out de doubt
When de oven do’ is opened,
An’ de smell comes po’in out;
Why de ’lectric light o’ Heaven
Seems to settle on de spot,
When yo’ mammy says de blessin’
An’ de co’n pone’s hot.

When de cabbage pot is steamin’

An’ de bacon’s good an’ fat,
When de chittlins is a sputter’n’
So’s to show you whah dey’s at;
Tek away yo’ sody biscuit,
Tek away yo’ cake an’ pie,
Fu’ de glory time is comin’,
An’ it’s ’proachin’ mighty nigh,
An’ you want to jump an’ hollah,
Dough you know you’d bettah not,
When yo’ mammy says de blessin’
An’ de co’n pone’s hot.

I have hyeahd o’ lots o’ sermons,

An’ I’ve hyeahd o’ lots o’ prayers,
An’ I’ve listened to some singin’
Dat has tuck me up de stairs
Of de Glory-Lan’ an’ set me
Jes’ below de Mastah’s tr’one,
An’ have lef’ my hea’t a-singin’
In a happy aftah tone;
But dem wu’ds so sweetly murmured
Seem to tech de softes’ spot,
When my mammy says de blessin’,
An’ de co’n pone’s hot.
 —Copyright by Dodd, Mead & Co., New York, and used by
arrangement.

THE COURTIN’
By James Russell Lowell

God makes sech nights, all white an’ still

Fur’z you can look or listen.
Moonshine an’ snow on field an’ hill,
All silence an’ all glisten.

Zekle crep’ up quite unbeknown

An’ peeked in thru’ the winder,
An’ there sot Huldy all alone,
’Ith no one nigh to hender.

A fireplace filled the room’s one side

With a half a cord o’ wood in,—
There warn’t no stoves (tel comfort died)
To bake ye to a puddin’.

The wa’nut logs shot sparkles out

Towards the pootiest, bless her!
An’ leetle flames danced all about
The chiny on the dresser.

Agin the chimbley crook-necks hung,

An’ in amongst ’em rusted
The ole queen’s arm thet Gran’ the Young
Fetched back from Concord busted.

The very room, ’cause she was in,

Seemed warm from floor to ceilin’,
An’ she looked full ez rosy agin
Ez the apples she was peelin’.

’Twas kin’ o’ kingdom-come to look

 On sech a blessed cretur,
A dog-rose bloomin’ to a brook
Ain’t modester nor sweeter.

He was six foot o’ man, A-1,

Clean grit an’ human natur’;
None couldn’t quicker pitch a ton
Nor dror a furrer straighter.

He’d sparked it with full twenty gals,

He’d squired ’em, danced ’em, druv ’em,
Fust this one, an’ then thet, by spells,—
All is, he couldn’t love ’em.

But long o’ her his veins ’ould run

All crinky like curled maple,
The side she breshed felt full o’ sun
Ez a south slope in Ap’il.

She thought no v’ice had such a swing

Ez hisn in the choir;
My! when he made Ole Hundred ring,
She knowed the Lord was nigher.

An’ she’d blush scarlit, right in prayer,

When her new meetin’-bonnet
Felt somehow thru’ its crown a pair
O’ blue eyes sot upon it.

Thet night, I tell ye, she looked some!

She seemed to’ve got a new soul,
For she felt sartin’-sure he’s come,
Down to her very shoe-sole.

She heered a foot, an’ knowed it tu,

A-raspin’ on the scraper,—
All ways to once her feelin’s flew
Like sparks in burnt-up paper.