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3.2 Writing a Paragraph 52 INTERPRETING AN AD Burger King: “The Lunch

Topic Sentence 53 Battle Is Over” advertisement 80
Supporting Sentences 53 INTERPRETING A WEBSITE “NASA Web”
Transitions 54 page 82
Concluding Sentence 55 4.4 Logical Fallacies 83
Model Paragraph 56
STUDENT WRITING “The Body of an Olympian”
3.3 Writing an Essay 57 by Stacie Ross 87
Introductory Paragraph 57 Chapter Summary 88
Body Paragraphs 60 What I Know Now 89
Concluding Paragraph 61
MODEL ESSAY “In Praise of the F Word” by Part 2 Writing Strategies
Mary Sherry 61

Writing Attitude Survey 64 5> Describing and Narrating:

STUDENT WRITING “A Literary Genius I Am Memories 92
Not” by Matthew Ruffell 66
Learning Outcomes 92
Chapter Summary 67
What I Know Now 67 Writing Strategy Focus: Describing
and Narrating 93
5.1 Real-World Applications for Describing
4> The Critical Thinking, and Narrating 93
Reading, and Writing Writing Descriptive Narratives in College 93
Writing Descriptive Narratives in Your
Connection 68
Daily Life 93
Learning Outcomes 68 Writing Descriptive Narratives in Your
Thinking Critically 69 Career 93
5.2 How to Write an Effective Descriptive
4.1 Reading and Interpreting Written Narrative 95
Texts 69
1. Establish a Clear Purpose 95
1. Pre-read and Anticipate 69
2. Identify the Time and Place 96
2. Read and Analyze 70
3. Keep a Consistent Point of
3. Reread and Annotate 70 View 96
ANNOTATED MODEL ESSAY “Will New Female 4. Keep the Verb Tense Consistent 97
Rappers Shatter Hip Hop’s Glass Ceiling?” by 5. Include Plenty of Details and Sensory
Linda Laban 72 Appeal 97
4.2 Participating in Class Discussions about 6. Present the Details in a Logical
Readings 74 Sequence 98
7. Use Dialogue Effectively 98
4.3 Reading and Interpreting Visual 8. Include Visual Aids If Appropriate 98
Texts 75
9. End with a Thought-Provoking
INTERPRETING AN IMAGE “We Can Do It!” Conclusion 99
poster 77
CAREER-BASED DESCRIPTIVE NARRATIVE
INTERPRETING A GRAPH “The Health Effects WRITING “Case Narrative” by Kris Bishop,
of Social Media on Teens” graph 78 COTA/L 99

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CAREER-BASED DESCRIPTIVE NARRATIVE
WRITING “School Discipline Form” 102
5.3 Describing and Narrating in the
Context of Memories 104
READING AND REFLECTION: DESCRIPTIVE
NARRATIVE WRITING “From Incidents in the
Life of a Slave Girl” by Harriet Ann Jacobs 104
READING AND REFLECTION: DESCRIPTIVE
NARRATIVE WRITING “How Urban Myths
Reveal Society’s Fears” by Neal Gabler 107
READING AND REFLECTION: DESCRIPTIVE
NARRATIVE WRITING “Mother to Son” by
Langston Hughes 110
STUDENT WRITING “Adrenaline Rush” by
Claudia Martinez 111
STUDENT WRITING “The Ring” by Danielle
Malico 112
Options for Writing a Descriptive Narrative
Essay 114
Writing Assignment Options 114
Multimodal Assignment 114
INTERPRETING AN AD “Endless Sands. Pure
Waters” advertisement 115
WRITING ABOUT AN IMAGE Campsite Family
photo 116
Media Connection for Describing and
Narrating 116
5.4 Analyzing the Rhetorical Star for
Writing a Descriptive Narrative 117
5.5 Applying the Writing Process for
Describing and Narrating 118
Writer’s Checklist for Writing a
Descriptive Narrative 120
Chapter Summary 121
What I Know Now 121
6> Dividing and Classifying:
Media and Popular
Culture 122
Learning Outcomes 122
Writing Strategy Focus: Dividing and
Classifying 123
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6.1 Real-World Applications for Dividing
and Classifying 123
Writing to Divide and Classify in
College 123
Writing to Divide and Classify in Your
Daily Life 123
Writing to Divide and Classify in Your
Career 123
6.2 Qualities of Effective Division and
Classification Writing 125
1. Determine a Purpose for Your
Classification 125
2. Choose Distinct Categories Based on
Common Traits or Principles 125
3. Organize the Categories Logically 125
4. Use Relevant Details and Examples to
Explain Each Category and Support
Your Thesis 126
5. As You Analyze Each Category,
Make Comparisons to Other
Categories for Clarification 126
6. Conclude Your Essay Effectively 126
CAREER-BASED DIVISION AND
CLASSIFICATION WRITING “Massage:
Types of Responses to Treatment”
by William Prentice 127
6.3 Dividing and Classifying in the Context
of Media and Popular Culture 128
READING AND REFLECTION: DIVISION AND
CLASSIFICATION WRITING “Sorry, Your
Favorite ‘Space’ Movie Is Not Actually a
Space Movie” by Elahe Izadi 129
READING AND REFLECTION: DIVISION
AND CLASSIFICATION WRITING “Most
Popular Podcast Formats” by Christian
Cawley 131
READING AND REFLECTION: DIVISION AND
CLASSIFICATION WRITING “Fragment”
by Amy Lowell 135
STUDENT WRITING “A Glimpse into Four
Styles of Rap” by Tracie Ranew 136
Options for Writing a Division and
Classification Essay 139
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Writing Assignment Options 139
Multimodal Assignment 139
INTERPRETING AN AD Vintage Shoes
advertisement 140
WRITING ABOUT AN IMAGE Car Types
illustration 141
Media Connection for Dividing and
Classifying 141
6.4 Analyzing the Rhetorical Star for
Dividing and Classifying in Writing 142
6.5 Applying the Writing Process for
Dividing and Classifying 143
Writer’s Checklist for Writing a Division and
Classification Essay 145
Chapter Summary 146
What I Know Now 146
7> Explaining a Process:
Cultures and Traditions 147
Learning Outcomes 147
Writing Strategy Focus: Explaining a
Process 148
7.1 Real-World Applications for Explaining
Processes 148
Writing to Explain Processes in
College 148
Writing to Explain Processes in Your
Daily Life 148
Writing to Explain Processes in Your
Career 148
7.2 Qualities of Effective Process Analysis
Writing 150
1. Begin with a Clear Introduction 150
2. Include a List of Materials 150
3. Explain Each Step in Chronological
Order 150
4. Define Special Terms 151
5. Give Helpful Tips and Warnings as
Needed 151
6. Include Visual Aids as Needed 151
7. End with a Decisive Conclusion 151
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CAREER-BASED PROCESS WRITING “10 Ways
to Improve Your Office Etiquette” by Calvin
Sun 152
CAREER-BASED PROCESS WRITING
“Steps in Venipuncture” by Rose Farhat 154
CAREER-BASED PROCESS WRITING “How to
Feed a Nursing Home Resident” by Marissa
Scott 156
7.3 Explaining Processes in the Context of
Cultures and Traditions 157
READING AND REFLECTION: PROCESS
WRITING “A Picnic with the Dead” by Diana
López 157
READING AND REFLECTION: PROCESS
WRITING “Bringing Out the Flirt in You” by
Christine Ng 160
READING AND REFLECTION: PROCESS
WRITING “Take Me Out to the Ball Game”
Lyrics by Jack Norworth, Music by Albert
Von Tilzer 163
STUDENT WRITING “Cooking Oxtails,
Jamaican Style!” by Karen Ebanks 165
STUDENT WRITING “How to Make a Traditional
Hawaiian Lei” by Alexander Gehring 166
Options for Writing a Process Essay 168
Writing Assignment Options 168
WRITING ABOUT AN AD “Coexist” bumper
sticker 168
Multimodal Assignment 169
WRITING ABOUT AN IMAGE NASCAR photo 169
Media Connection for Explaining
Processes 170
7.4 Analyzing the Rhetorical Star
for Explaining a Process in
Writing 171
7.5 Applying the Steps for Writing about a
Process 173
Writer’s Checklist for Explaining a
Process 175
Chapter Summary 175
What I Know Now 176
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8> Comparing and READING AND REFLECTION: COMPARING

AND CONTRASTING “Technology” by Martin
Contrasting: Computers Dejnicki 192
and Technology 177
READING AND REFLECTION: COMPARING AND
Learning Outcomes 177 CONTRASTING “My Flamboyant Grandson” by
George Saunders 194
Writing Strategy Focus: Comparing and
Contrasting 178 STUDENT WRITING “Kindle vs. iPad” by
James Ingram, Amanda Laudato, and Daniel
8.1 Real-World Applications for Comparing Volpe 199
and Contrasting 178
Writing to Compare and Contrast in Options for Writing a Comparison and
College 178 Contrast Essay 200
Writing to Compare and Contrast in Writing Assignment Options 201
Your Daily Life 178 Multimodal Assignment 201
Writing to Compare and Contrast in INTERPRETING AN AD “iPad”
Your Career 178 advertisement 202

8.2 Qualities of Comparison and Contrast WRITING ABOUT AN IMAGE Computer Love
Writing 180 photograph 202
1. Begin by Identifying Elements You Media Connection for Comparing and
Are Comparing 180 Contrasting 203
2. Use a Block or Point-by-Point
8.4 Analyzing the Rhetorical Star for
Approach 180 Writing a Comparison and Contrast
3. Describe Your Subjects Fairly and Essay 203
Accurately 181
8.5 Applying the Qualities of Comparison
4. Consider Using an Analogy 181
and Contrast Writing 205
5. Use Transitions to Help Your Writing
Flow Smoothly 181 Writer’s Checklist for Comparison and
6. Conclude Logically 182 Contrast 207
Chapter Summary 208
8.3 Comparing and Contrasting in What I Know Now 208
the Context of Computers and
Technology 182
CAREER-BASED COMPARING AND 9> Analyzing Causes
CONTRASTING Block Pattern: “The Evolving and Effects: Health
Workplace” by Peter Cardon 183
and Medicine 209
Point-by-Point Pattern: “Characteristics of the
Learning Outcomes 209
Social Age” by Peter Cardon 184
Writing Strategy Focus: Explaining Causes
READING AND REFLECTION: COMPARING and Effects 210
AND CONTRASTING “Pros & Cons of
Alternative Medicine, Modern Medicine, 9.1 Real-World Applications for Explaining
and Traditional Medicine” by Krystina Causes and Effects 210
Ostermeyer 187 Writing to Explain Causes and Effects in
College 210
READING AND REFLECTION: COMPARING AND
CONTRASTING “Discarded Objects” by Nigel Writing to Explain Causes and Effects in
Warburton 190 Your Daily Life 210

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Writing to Explain Causes and Effects in
Your Career 210
9.2 Qualities of Effective Cause-and-Effect
Writing 212
1. Begin by Identifying the Cause or Effect
You Are Analyzing 212
2. Explain the Cause-and-Effect
Relationship Convincingly 212
3. Organize the Causes and/or Effects
Effectively 212
4. Use Sound Logic 214
5. Conclude Effectively 215
CAREER-BASED CAUSE-AND-EFFECT
WRITING “Accident Report” by the
Occupational Safety and Health Administration
(OSHA) 215
9.3 Analyzing Causes and Effects in the
Context of Health and Medicine 216
READING AND REFLECTION: CAUSE-AND-
EFFECT WRITING “Food: Your Body’s Natural
Healer” by Shirley Vanderbilt 217
READING AND REFLECTION: CAUSE-AND-
EFFECT WRITING “The Globalization of Eating
Disorders” by Susan Bordo 219
READING AND REFLECTION: CAUSE-
AND-EFFECT WRITING “Dietary
Recommendations for Carbohydrates”
by Charles B. Corbin 222
READING AND REFLECTION: CAUSE-AND-
EFFECT WRITING “Sonnet 147: My Love
Is As a Fever Longing Still” by William
Shakespeare 225
STUDENT WRITING “Get Fit with Wii” by Olivia
Covey 227
Options for Writing a Cause-and-Effect
Essay 228
Writing Assignment Options 229
Multimodal Assignment 229
INTERPRETING AN AD “Your Fitness in the
Balance” advertisement 230
WRITING ABOUT AN IMAGE Grey’s Anatomy
episode photo 231
Media Connection for Explaining Causes
and Effects 231
9.4 Analyzing the Rhetorical Star for Writing
a Cause-and-Effect Essay 232
9.5 Applying the Writing Process for
Explaining Causes and Effects 233
Writer’s Checklist for Causes and
Effects 235
Chapter Summary 235
What I Know Now 236
10 > Persuading:
Relationships 237
Learning Outcomes 237
Writing Strategy Focus: Persuading 238
10.1 Real-World Applications for
Persuading 238
Writing to Persuade in College 238
Writing to Persuade in Your Daily
Life 238
Writing to Persuade in Your Career 238
10.2 Qualities of Effective Persuasive
Writing 240
1. Introduce the Issue You Are
Debating 240
2. Make a Claim about Your
Subject 240
3. Support Your Claim with Evidence
That Appeals to Your Audience 241
4. Use Your Supporting Evidence Logically
and Ethically 243
5. Organize Your Supporting Evidence
Effectively 246
6. End Your Essay Effectively 247
CAREER-BASED PERSUASIVE
WRITING “Résumé of Kristin Starr” 248
CAREER-BASED PERSUASIVE WRITING
“Career Choice: Easy for Superheroes,
Hard for Us: Spider-Man and the Power of
Person-Environment Fit” by Bryan Dik 250
10.3 Persuading in the Context of
Relationships 251
Paired Readings 252

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READING AND REFLECTION: PERSUASIVE
WRITING “I’m a Disabled Teenager, and
Social Media Is My Lifeline” by Asaka
Park 252
READING AND REFLECTION: PERSUASIVE
WRITING “Is Technology Helping or
Hurting Your Relationship?” by Melissa
Scrivani 253
READING AND REFLECTION: PERSUASIVE
WRITING “Sex, Lies and Conversation: Why
Is It So Hard for Men and Women to Talk to
Each Other?” by Deborah Tannen 255
READING AND REFLECTION: PERSUASIVE
WRITING “The Importance of Social
Relationships Over the Life Course” by Mark C.
Pachucki 259
STUDENT WRITING “Mursing” by Thomas
James “TJ” Pinkerton 262
Persuasion and Marketing 264
Options for Writing a Persuasive Essay 265
Writing Assignment Options 265
Multimodal Assignment 266
INTERPRETING AN AD “MAC: Viva Glam IV”
and “Carlsberg: Togetherness”
advertisements 266
Writing about an Image 267
Media Connection for Persuading 267
10.4 Analyzing the Rhetorical Star for
Writing Persuasively 268
10.5 Applying the Writing Process for
Persuading 270
Writer’s Checklist for Persuading 271
Chapter Summary 272
What I Know Now 272
11 > Evaluating: Film and
the Arts 273
Learning Outcomes 273
Writing Strategy Focus: Evaluating 274
11.1 Real-World Applications for
Evaluating 274
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Writing to Evaluate in College 274
Writing to Evaluate in Your Daily Life 274
Writing to Evaluate in Your Career 274
11.2 Qualities of Effective Evaluative
Writing 276
1. Describe the Subject You Are
Evaluating 276
2. Make a Claim about the Subject You
Are Evaluating 276
3. Choose Several Criteria for Your
Evaluation 276
4. Make a Judgment about Each
Criterion 277
5. Support Your Judgments with Specific
Evidence 277
6. Be Fair with Your Judgments 278
7. End with a Final Claim about Your
Subject 278
CAREER-BASED EVALUATIVE
WRITING “Sample Employee Evaluation
Form” 278
11.3 Evaluating in the Context of Film and
the Arts 280
READING AND REFLECTION: EVALUATIVE
WRITING “Movie Review: Harry Potter and
the Deathly Hallows—Part 2” by Kenneth
Turan 281
READING AND REFLECTION: EVALUATIVE
WRITING “Review of Black Panther” by James
Berardinelli 283
READING AND REFLECTION: EVALUATIVE
WRITING “The Quirky Beauty of Ariana
Grande’s Sweetener” by Craig Jenkins 286
READING AND REFLECTION: EVALUATIVE
WRITING “The James Bond Movie” by May
Swenson 288
STUDENT WRITING “Adventures in Crime”
by Amanda Archer 290
Options for Writing an Evaluative
Essay 292
Writing Assignment Options 292
Multimodal Assignment 292
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INTERPRETING AN AD “The Battle for Middle
Earth” advertisement 293
WRITING ABOUT AN IMAGE Starry Night by
Vincent van Gogh 294
Media Connection for Evaluating 294
11.4 Analyzing the Rhetorical Star for
Writing an Evaluation 295
11.5 Applying the Writing Process for
Evaluating 296
Writer’s Checklist for Evaluating 298
Chapter Summary 298
What I Know Now 299
12 > Solving a Problem: Crime
and Justice 300
Learning Outcomes 300
Writing Strategy Focus: Solving a
Problem 301
12.1 Real-World Applications for Solving a
Problem 301
Writing to Solve a Problem in
College 301
Writing to Solve a Problem in Your Daily
Life 301
Writing to Solve a Problem in Your
Career 301
12.2 Qualities of Effective Problem-Solving
Writing 303
1. Identify a Problem and Demonstrate
That It Exists 303
2. Appeal to Your Audience 303
3. State Your Claim 303
4. Propose One or More Solutions to the
Problem 303
5. Organize Your Solution(s)
Effectively 304
6. Persuade Your Audience That Your
Solution or Solutions Are Feasible and
Worthwhile 305
7. End with a Call to Action 305
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CAREER-BASED PROBLEM-SOLVING
WRITING From “A Comprehensive Technical
Package for the Prevention of Youth Violence
and Associated Risk Behaviors” by the NCIPC
and the CDC 305
12.3 Solving a Problem in the Context of
Crime and Justice 307
READING AND REFLECTION: PROBLEM-
SOLVING WRITING “Facebook ‘Likes’
Not Protected Speech, Says Virginia Court”
by Lee E. Berlik 307
READING AND REFLECTION: PROBLEM-
SOLVING WRITING “Before, During, After
Prison: How Florida Should Reform Criminal
Justice” by Adrian Moore and Sal Nuzzo 310
READING AND REFLECTION: PROBLEM-
SOLVING WRITING “America’s Pretrial
System Is Broken. Here’s Our Vision to Fix It”
by Andrea Woods and Portia Allen-Kyle 312
READING AND REFLECTION: PROBLEM-SOLVING
WRITING “Trifles” by Susan Glaspell 314
STUDENT WRITING “Combating Juvenile
Delinquency” by Koray Easom 326
Options for Writing a Problem-Solving
Essay 329
Writing Assignment Options 329
Multimodal Assignment 329
INTERPRETING AN AD American Hustle
advertisement 330
WRITING ABOUT AN IMAGE Drug Raid
photograph 331
Media Connection for Solving a
Problem 332
12.4 Analyzing the Rhetorical Star for
Solving a Problem 332
12.5 Applying the Writing Process for
Solving a Problem 334
Writer’s Checklist for Solving a
Problem 335
Chapter Summary 336
What I Know Now 336
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Chapter Summary 357

Part 3 Research Guide What I Know Now 357

13 > Planning and Writing a 14 > Documenting a

Research Paper 338 Research Paper 358
Learning Outcomes 338
Learning Outcomes 358
13.1 Discovering a Research Topic 339
14.1 Avoiding Plagiarism 359
13.2 Narrowing a Research Topic 339 Examples of Informal Citations 359
13.3 Creating a Researchable 14.2 Determining When to Cite or Not Cite a
Question 339 Source 360
Sample Questions 340 What Doesn’t Need to Be Cited? 360
13.4 Writing a Preliminary Thesis What Does Need to Be Cited? 360
Statement 340
14.3 MLA Format 362
Sample Thesis Statements 341
MLA In-Text Citations 362
13.5 Locating Library and Internet MLA List of Works Cited 367
Sources 341 Books 368
Library Catalog 342 Printed Periodicals 373
Periodicals 343 Electronic Sources 376
Databases 343 Other Sources 380
Reference Works 343 MLA Research Paper Formatting
Internet Searches 344 Guide 383
Blogs and Social Media 344
Tips for Searching the Internet 346 STUDENT MLA RESEARCH PAPER “From
Stigma to Status” by Margaret Rowland 384
13.6 Evaluating Sources 346
14.4 APA Format 389
13.7 Taking Notes from Your Sources 347 APA In-Text Citations 389
Summarizing 348 APA References 393
Paraphrasing 348 Books 395
Quoting 349 Printed Periodicals 399
13.8 Conducting Primary Research 350 Electronic Sources 402
Surveys 351 Other Sources 406
Personal Interviews 352 APA Research Paper Formatting
Guide 408
13.9 Creating an Outline 354
STUDENT RESEARCH PAPER OUTLINE STUDENT APA RESEARCH PAPER “From
“How Scared Are You?” by Neil Harris 354 Stigma to Status” by Margaret Rowland 411

13.10 Composing Your Research Paper 355 Writer’s Checklist for a Research
Paper 419
STUDENT RESEARCH PAPER ROUGH
DRAFT “How Scared Are You?” by Neil Chapter Summary 420
Harris 355 What I Know Now 420

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15 > Delivering an Oral Fragments 446

Presentation or a Multimodal Run-Ons and Comma Splices 447
Mixed Constructions 449
Composition 421
Faulty Parallelism 450
Learning Outcomes 421 Active and Passive Voice 451
15.1 Planning a Presentation 422 B. Editing Words (Diction) 452
Developing the Introduction 422 Denotation and Connotation 452
Developing the Body 423 Jargon and Slang 453
Developing the Conclusion 423 Clichés 453
15.2 Choosing Visuals 425 Biased Language 455
Objects or Models 425 Wordiness 457
Posters, Flip Charts, and
C. Editing Grammar 458
Whiteboards 426
Pronouns 458
Slides 426
Verbs 461
Video Clips 427
Adjectives and Adverbs 466
Handouts 427
Dangling and Misplaced
15.3 Delivering a Presentation 427 Modifiers 468
STUDENT OUTLINE FOR A PRESENTATION D. Editing Punctuation 470
“Texting While Driving” by Anita Jitta 428
Commas (,) 470
Presenter’s Checklist 430 Semicolons (;) and Colons (:) 473
Observer’s Checklist 430 Quotation Marks (“ ”) and (‘ ’) 474
Ellipses (. . .) 475
15.4 Group Presentations 432
Apostrophes (’) 475
15.5 Creating a Multimodal Hyphens (-) and Dashes (—) 477
Composition 433 Parentheses ( ) and Brackets [ ] 478
1. Written/Linguistic Elements 434
E. Editing Mechanics 479
2. Nonverbal Elements 435
Capitalization 479
3. Visual/Digital Elements 435
Abbreviations 481
4. Audio Elements 441
Numbers 482
5. Spatial Elements 442
Italics and Underlining 483
Chapter Summary 442
What I Know Now 443 F. Editing Spelling 484
Commonly Misspelled Words 484
Homonyms 485
Part 4 Editing Guide
Glossary 488
Index 490
Editing Guide 446 Editing and Proofreading Marks 496
A. Editing Sentences 446

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Preface
WHY WRITE NOW?
College students taking the first-year composition course often wonder how what they are
learning will benefit them. From the beginning, Write Now has been designed to respond to
that question by demonstrating that being able to write effectively is essential for achieving
success and that writing can be a worthwhile and satisfying experience. Now in its thirdConfirming Pages
edition, Write Now gives students greater confidence as they approach writing for college,
for their careers, or for their everyday lives, while guiding them through the process of
exploring ideas, drafting, revising, and editing their work. The third edition offers students
plenty of practical, hands-on advice for dealing with any writing situation they might encounter,
whether they are writing as college students or as nurses, police officers, office managers,

1.2
or any other type of professional.
Analyze the Rhetorical
FEATURES OF The
Situation: WRITEStar
NOW Approach
A Focus
The on Writing
term rhetoric simply in Careers
refers to the —Not
art of only does Write Now
communicating teach students
effectively throughhowwrit-to write
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ing college, it shows
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Whether howareto transfer
writing antheir skillsfortoschool,
essay other environments, withboss,
a report for your a focus
oronanprofessional settings. In Part 1, students learn to recognize their rhetorical situations,
e-mail to your friend, your goal is to convey a message to the reader. You want
totobe
practice
sure thatwriting
yourprocesses that work for
reader understands thethem,
intentand to think,
of your read, and
message. write critically.
Therefore, every In
time you sit down to write, you need to consider five points of the rhetorical
Part 2, they learn specific strategies for writing—such as narration, process analysis, situa-and
tion: subject, audience, purpose, strategy, and design.
persuasion—through “how to” instruction and career-based selections organized around
These five points make up the “rhetorical star” (Figure 1.1). Each point of the
a theme. For example, in Chapter 9, “Analyzing Causes and Effects: Health and Medicine,”
star is an essential component of your final written product. Using the rhetorical
students learn how to explain causes and effects and are asked to analyze “An Accident
star will help to ensure that you communicate effectively.
Report” by the Occupational, Safety, and Health Administration (OSHA). This reinforces for
students how useful writing strategies and skills will be to their future careers.
Subject
For some writing projects, you will need to determine
what subject to cover. A subject is a general concept, F IGURE 1.1
Rhetorical
such as health,Star: A Toolortocrime.
technology, Reinforce
Choose an appro- The Rhetorical Star
the Writing
priate Situation
subject that —Write
fits within theNow guides of your
parameters
assignment
students through the process of writing,have
(Figure 1.2). After you selected a
revising, subject
broad
and editing their work with a unique five-pointa specific
subject, you will need to narrow it to
topic, such as rhetorical
approach—the nutritionalstar—that
shakes, focuses
tablet features, or
design audience
home security systems. Make sure your topic is nar-
them on their subject, audience, purpose,
row enough that you can adequately cover it in your RHETORICAL
strategy, and
document. Fordesign. Throughout
example, the text,
you wouldn’t be the
able to cover STAR
starentire
the reminds students
subject of to considerfit”
“staying theirinvarious
a short paper,
rhetorical
but situations
you could and provides
adequately cover athem
few with a fitness
specific
tool for analyzing
techniques. any type of writing and for strategy purpose
composing their own
As you consider written
what work.to say and how much
you want
detail you want to include, keep your purpose and audi-
ence in mind. You might think about what your read-
ers will already know about your subject and what they
might want to learn. Also, consider whether research is F IGURE 1.2 P reface   xvii
necessary for you to adequately cover your topic. See Subject
Chapter 2 for more details about discovering and nar-
rowing a topic for your paper. subject

Audience design audience

rus60348_fm_i-xxxii.indd xvii 12/10/19 08:57 PM
Consider the readers who make up your audience RHETORICAL
 Why or why not? indigo, and violet) or your own unique version
of a rainbow. For example, perhaps people

Considering Writing Strategies

1. The primary writing strategy that Lowell
uses to write “Fragment” is definition. How
does defining poetry as poetry help to make
this category distinct from other categories
of literature, such as novels, short stories,
and plays?
2. As noted in the preview to “Fragment,” Lowell
uses “imagism” in her poem. This means that
she includes a variety of images to get her
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who are indigo (blue) have a cool and mellow
personality and people who are red are ener-
getic and easily excitable. You might include
examples of well-known personalities as exam-
ples to support the categories you selected.
2. Write a division and classification essay about
some of the different types of music. Avoid
sticking to standard types, such as rock, rap,
country, and blues. Instead, come up with your
own categories, based on traits and principles
you feel are interesting or important. Include

A Wide Variety of Reading

point across. How does this approach affect examples of specific poems to support your
the meaning of the poem? classification system.

Selections—Carefully chosen to reflect

STUDENT WRITING
the theme of each chapter in Part 2 and Confirming Pages
Note: Tracie Ranew used the American Psychological Association (APA 7th edition)
to exemplify the qualities of each type of format to document her sources. Your instructor may require you to use APA or
perhaps the Modern Language Association (MLA) format if you use sources for
writing, the professional selections and your paper. Please see Chapters 13–14 for more details about research and docu-
mentation methods.
student essays
9. End with span numerous
a Thought-Provoking areas
Conclusion A Glimpse into Four Styles of Rap
of interest and disciplines,
to understand asproviding
Your descriptive narrative needs to make a significant point about something
that you learned or came a result of your experience. While
by Tracie Ranew

opportunities for don’t

students to apply criticalby stating,
the point doesn’t have to be earth shattering, it should strike readers as relevant
and interesting. However, make your ending sound mechanical S ince the 1970s, rap music has been entertain- significant categories of rap that have captured the
1
ing audiences all across the United States and hearts of music fans are oldschool, gansta, crunk,
beyond. While its origins were representative of the and alternative.
reading strategies as well as topics and
“The point of this story is . . .” or “The lesson I learned is. . . .” Instead, wrap up
your descriptive narrative in a natural way and end on a memorable note. Black community, particularly in the Bronx neighbor- The first category, oldschool rap, is pretty straight 2
For example, if your story is about the horrible calamities you suffered on a hood of New York City, rap is now popular among forward. Rappers tell stories by talking into the
models
primitive for their own writing.
camping trip in the wilderness, you might end by writing,
I am thrilled to have survived the challenges I faced in the Rocky Mountains,
“Although music lovers of many cultures. Some of the most microphone, with rhyming lyrics accompanied by

I’ve decided that my next vacation will be aboard a luxurious cruise ship.
Grand Cayman, here I come!”
136 Chapter 6 DIvIDING AND Cl ASSIf yING: MEDIA AND PoPul AR CulTuRE

Career-Based DESCRIPTIVE NARRATIVE WRITING

rus60348_ch06_122-146.indd 136 11/19/19 06:33 PM

[preview] KRIS BISHOP has an AA degree in rehabilitating assisting, which

combines the fields of occupational and physical therapy, a BS degree
in health services administration, and an MBA with a concentration in healthcare
management. Her passion is working with older patients, and her career in occupational
therapy has provided her with experience working with all age groups and in many Career-Based Writing Examples—
practice settings including acute care, rehabilitation hospitals, skilled nursing facilities,
and home care. Bishop wrote the following case narrative about a patient she treated, To emphasize the centrality of writing to
the world of work, each chapter in Part 2
Mrs. Thompson, who was in declining health after the death of her husband and needed
rehabilitation to increase her ability to manage several daily living skills.

includes at least one career-based writing

example, as well as a section explaining
Case Narrative by Kris Bishop, COTA/L

Each Wednesday the rehabilitation team mem-

bers of the 120-bed skilled nursing and rehabilita-
1 Patients who were admitted to this unit would be 2
tion facility meet to discuss patients’ progress and
challenges on the sub-acute rehabilitation unit.
Attending today’s meeting was Mary, a Registered
Nurse (RN); Sam, the Registered Physical Therapist
(RPT); Renee, a Registered Occupational Therapist
(OTR); Jeannie, the Discharge Planner; Betty,
the Registered Dietician (RD); Terry, the Speech
and Language Pathologist (SLP); and myself, a
Certified Occupational Therapy Assistant (COTA).
Facilitating the meeting was the Rehabilitation
Director, Allison.
scheduled for daily therapies as prescribed by their
how students will apply each writing
Physiatrist, a physician who specializes in physi-
cal medicine and rehabilitation, or a Gerontologist, strategy they are learning in school, in their
careers, and in their personal lives.
who specializes in aging adults. Most of the
patients who were discussed were meeting goals Confirming Pages
as identified on their individual care plans. Patients’
rehabilitative services and skilled nursing care are
reimbursed under a prospective payment system
which predetermines how much the facility will be
paid based upon diagnosis and other factors. This
system has a strong influence on when services are
5. Feel free to ask questions about areas of the text that are confusing or
provided and the length of time a beneficiary can
ambiguous (having more than one interpretation). If you have a question
about a text, you are probably not the only one in the class who does.
Part 2 WRITING STRATEGIES 99
6. Take notes during the discussion. You never know what might show up later
on a test or writing assignment.

rus60348_ch05_091-121.indd 99 Graduate
11/11/19 03:25 PM

SPOTLIGHT
Spotlights on Writing in
Jake Ellis, Media Designer
Jake Ellis is a media designer for a large entertain-

Professional Settings—Graduate ment and theme park company. He has a BFA degree
in sound design. Here’s what Ellis has to say about

Spotlights provide testimonials from real how he uses writing in his career:

“
©Courtesy of Jake Ellis

college graduates who emphasize the I work on a project team with members from across the globe, and we design
and create theme park rides and shows. When I need to communicate with someone

importance of writing skills in their careers. in California or overseas, then e-mail is the best method. I have to be sure to explain
what I am working on very clearly for the project to run smoothly. At the beginning of

Employer Spotlights give students a project, I write a scope document, which defines what our team expects to deliver
for a particular project. Our project managers and creative directors review the

additional insight into the importance of scope document to let us know if something needs to be added to our plan. Once the
scope document is finalized, it serves as a contract to communicate our team’s goals

writing in the work world. and exactly what needs to be done to complete the project. The scope document
also helps the team to get funding for the project, so it has to be well written. After
we complete a project, I write a technical report that explains everything we have
done. The technical report serves as a user guide, which includes details about how
to maintain a particular ride or show and whom to contact if there is a problem. This
guide is critical for ensuring that our attractions run smoothly so that our guests can

”
have a great time at our theme parks.

xviii  P reface 4.3 Reading and Interpreting

Visual Texts
Visual texts surround you on a daily basis. Sometimes visual texts accompany writ-
ten texts, and other times they appear alone. You find them in e-mail messages,
websites, magazines, television shows, films, billboards, textbooks, and newspapers.
Similar to written texts, visual texts are designed to serve a particular purpose and

Part 1 INTRODUCTION TO WRITING 75

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First Pages

6 Dividing and Classifying:

C HAPTER
Media and Popular
Culture
WHAT’S NEW IN THE THIRD
EDITION OF WRITE NOW?
First Pages
A New Chapter on Division and
Classification—Chapter 6, “Dividing
and
F Classifying:
13.2
IGURE Media and Popular
Keiser University Library Databases

Culture,” offers practical guidelines and

engaging reading selections that will help
students with a type of writing that is
essential for analysis and found frequently
in academic and workplace writing
contexts. Peathegee Inc/Blend Images LLC

In this chapter you will learn techniques for achieving these learning outcomes:
learning
outcomes 6.1 Identify real-world
applications for dividing and
classifying. p. 123
6.2 Understand the
qualities of division and
classification writing. p. 125
Keiser University
6.3 Interpret images and 6.5 Apply the qualities of
division and classification division and classification
readings about media and writing. p. 143
popular culture. p. 128
6.4 Analyze the rhetorical
star for dividing and
classifying. p. 142

122
Internet Searches
The Internet is a valuable research tool. You can access a great variety of sources by
using a search engine such as Google or Bing. Using a search engine will help you
to sift through the billions of web pages to find what you need. For
Search engine A computer pro- example, if you want to find websites that include information about
gram used to locate information
NASA and household products, then you might try a search such as
rus60348_ch06_122-146.indd 122 11/19/19 06:33 PM
on the Internet.
the one shown in Figure 13.3. Table 13.1 lists popular search engines.

Blogs and Social Media

Blogs and social media posts can add valuable perspectives to your research paper, More Help with Evaluating and
Citing Internet Sources—Students
but they are not necessarily the best sources for facts. As noted below, the quality
of the content depends on authorship, so be sure to evaluate each source carefully.
(See pp. 346–347 for advice on evaluating sources.)

Blogs A blog (short for web log) is a personalized online journal, a website or
need lots of help evaluating and citing
web page that the blogger updates regularly. Bloggers typically write in a conversa-
tional style that is less formal than, say, a news article. Blogs often feature advice
the enormous variety of potential sources
and opinions. Businesses, organizations, and individuals can create blogs. Typically,
almost anyone interested in the discussion at hand can post a comment to a blog. that are available, including social media
344 Chapter 13 Pl AnnInG AnD WRItInG A RESE ARCH PAPER sources. We have added a new section in
Chapter 13 on blogs and social media. In
addition, Chapter 14 has been expanded
rus60348_ch13_337-357.indd 344 11/25/19 06:43 PM
to include guidelines and models for citing
these and other types of online sources in
both MLA and APA styles.

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First Pages

Reading and Reflection EVALUATIVE WRITING Compelling New Reading

[preview]
Selections—The new edition includes
reading selections on high-interest
CRAIG JENKINS is a pop music critic for New York
Magazine and Vulture (where the following article originally appeared)
and has written for Pitchfork, Billboard, the New York Times, NoisyMusic,
Spin, and other publications. He studied English at Gordon College in
Massachusetts and is a resident of New York City. The following review
topics such as balancing college and
is of Ariana Grande’s Sweetener, her third number one album on the U.S.
Billboard 200. Grande is a Florida-born singer, songwriter, and actress
work, cultural identity and practices,
who performed in the Broadway musical 13, played the role of Cat
Valentine in the Nickelodeon television series Victorious, and took numer- space movies, alternative medicine,
ous other roles on camera and as a voice actress in animated television
and films. To learn more about Ariana Grande, go to arianagrande.com. and the impact of technology, along
with a new work-related selection
If possible, listen to or watch the video for “No Tears to Cry,” “R.E.M.” or
another song on the album before reading the review. Also, think of some
Kevin Mazur/Getty Images

on massage therapy. The readings

of your favorite albums. What criteria do you use to evaluate music?

The Quirky Beauty of Ariana Grande’s Sweetener

by Craig Jenkins
We’ve all had a wild year, but Ariana Grande
might’ve had the wildest. Since last spring, the
Floridian singer with the outsize voice had her
world rocked by a terror attack at her arena show
in Manchester. Just two weeks later, she made a
brave return to the stage for an uplifting perfor-
mance at One Love Manchester, a star-studded
benefit for victims of the bombing and their families.
Her romance with the rapper Mac Miller fizzled out,
and she later revealed that she was dating Saturday
Night Live’s Pete Davidson, and that the new
romance had quickly bloomed into an engagement.
Just a few months later, the singer is back with
album number four. On this month’s new Sweetener,
Grande spices up the expected array of Max Martin,
ILYA, and TB Hits productions that netted plati-
num certifications for Yours Truly, My Everything,
and Dangerous Woman with a half-dozen quirky
beats from Pharrell. The shift in personnel lends
the new album a deeper R&B cred than the three
before it, and that gives the singer ample opportu-
nity to gush about falling in love.
are now supplemented by over 80
1
2 Sweetener is serious enough in its commitment
reading selections, on a wide variety of
to break with the traditions of Ariana Grande albums
to serve three big, weird Pharrell collaborations
themes and from a range of disciplines,
right up front. “Blazed” is textbook Skateboard P,
all funky, ascending keys, and busy percussion.
that are available as part of Connect
“The Light Is Coming” features a capable Nicki Minaj
guest rap and chiptune affectations, and shifting Composition for Write Now.
tempos reminiscent of the last N.E.R.D. album, No
One Ever Really Dies. “R.E.M.” remakes a five-year-
old Beyoncé demo, keeping the original song’s gor-
geous doo-wop vocals but easing off of the hip-hop
verses. It’s a bold sequence of songs because Ari
albums have a tendency of dropping two mega-
ton hit records by track four (and because the last
person to schedule this many Pharrell beats on the
same album was Justin Timberlake, who didn’t do Rev. Confirming Pages
such a great job of it). Sweetener is an exercise in
world-building. It’s as interested in piecing together
a breezy, gregarious mood as it is in crafting hits.
There’s no EDM banger until “No Tears Left to Cry”
at track ten, and it’s the only one on the OPTIONS
album. FOR WRITING A DESCRIPTIVE NARRATIVE ESSAY
As a lead single, it’s a delectable fakeout, a promise

Multimodal Assignments—Writing
286 Chapter 11
situations in both the academic and
Now that you have read one or more examples of descriptive narratives, it’s time to write your own.
You may choose to write about one of the writing options that follow, the advertisement, the image,
E valuating: Film and thE arts or one of the media suggestions. Consider your rhetorical star and the qualities of an effective narrative
as you begin to compose your assignment.

work worlds now incorporate multimodal Writing Assignment Options

elements such as infographics,

rus60348_ch11_273-299.indd 286 Use 06:40
11/25/19 onePM
of the following topics to write a descriptive narrative essay recalling a memory.

PowerPoint, and audio clips. To prepare

1. A memorable childhood experience
2. An entertaining pet story

students for these situations and give 3. A scary or dangerous event you witnessed or experienced
4. Your best (or worst) vacation

them practice in responding to them, 5. A lesson you learned as a member of a team or in a club
6. Resisting or succumbing to peer pressure
we have added a multimodal option to 7. Your worst (or best) day on the job

the “Options for Writing” box in each

8. An event that led to a significant decision in your life
9. Meeting someone new or losing someone special

chapter in Part 2. In addition, Chapter 15, 10. A day that changed your life forever

“Developing an Oral Presentation or a Multimodal Assignment

Multimodal Composition,” now includes Using one of the readings, writing assignment options, or another topic, create a multimodal project using
the descriptive narrative writing strategy and at least two or more of the options in Table 5.1.
coverage of giving a multimodal Table 5.1
presentation. Multimodal Options

Artifact Images PowerPoint

Artwork Infographics Prezi

Audio clip Journal Video

blog Montage Website

Digital portfolio Podcast Wiki

Graphic organizer Poster Writing

(See Chapter 15 for more details about multimodal projects.)

114 Chapter 5 DEScRIbING AND NARR ATING: MEMoRIES

xx  P reface
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 Note: Access dates are provided for the online dictionary and wiki examples

MLA Format
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media profiles), providing the access date is a good idea because wikis can
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be edited at any time, making them unstable sources.

Periodical Article from an Online Database

Glock, Sabine, and Carrie Kovacs. “Educational Psychology: Using Insights

from Implicit Attitude Measures.” Educational Psychology Review,
vol. 25, no. 4, Dec. 2013, pp. 502-22. Academic Search Elite, doi:10.1007/
s10648-013-9241-3.

Enhanced Coverage of Note: Follow the mLA guidelines for the type of source you are citing, and then

Documentation—The sections
add the database information and source URL or DoI to the end of the citation.

on MLA and APA documentation

Online Audio Recording or Podcast
First Pages
Sheeran, Ed. “Perfect.” Divide, iTunes app, Warner/Asylum Records, 2017.
in Chapter 14 now include models

MLA Format
Note: the information that you listened to this song on an app is optional.
for new types of sources such as Van Nuys, David. “Thriving in the Aftermath of Trauma.”
social media postings and video. RadioShrinkrapradio.
Program Episode 628, 31 Jan. 2019, shrinkrapradio.com/

MLA Format
Additionally, more source-based 628-thriving-in-the-aftermath-of-trauma-with-ken-falke.
Meek, Podcast.
Miki. “Before Things Went to Hell.” This American Life, Produced by Ira

professional and student models

Glass, episode 665, 11 Jan. 2019, WBEZ Chicago, www.thisamericalife.org/
665/before-things-went-to-hell. Radio show. Part 3 RESEARCH GUIDE 379

are included throughout Part 2, e-Book (Novel)

Writing Strategies. Angelou, Maya. Mom & Me & Mom. Kindle ed., Random House, 2013.
rus60348_ch14_358-420.indd 379 11/29/19 04:09 PM

Email, Text Message, or Letter

Record, Michael. “Using the Online Writing Lab.” Received by the author, 20
Oct. 2019. Email.

Blog or Social Media Post

MLA Format Strayed, Cheryl. “The Broken Horses of My Youth.” Facebook, 30 Dec. 2018,
www.facebook.com/cherylstrayed.author. Social media post.

PositiveMindsetDaily. “What is coming is better than what is gone.” Instagram,

EVEN MORE SUPPORT FOR YOUR COURSE 30 Jan. 2019, www.instagram.com/p/BITACGBH8Gr/?utm_source=ig_

share_sheet&igshid=ID8geid5Cnx8.

Connect Composition for Your Course Note: the access date and label of "Social media post" are optional for social
media posts, which typically include publication dates. However, for social
media pages and profiles, and for wikis, sources that can be easily altered,
Connect Composition helps instructors use class time to focus on the highest course
it’s a good idea to include an access date.

expectations by offering their students meaningful,

YouTube Video, independent,
Online Movie or TV Show and personalized
learning, and an easy, efficient way
“Theto track
Problem and document
with Museums.” student
The Origins of Everything, performance
PBS Digital Studios, and
engagement.
12 Nov. 2019, YouTube, www.youtube.com/watch?v=Av_3tGceTvs&t=62s.
MLA Format

Video Game, Online Game, or Software

The following tools are available within Connect
Sugg, Darren. Composition.
Fortnite. Epic Games, 2017, www.epicgames.com/fortnite/en-us.
Video game.

Other Sources You may decide to use other types of sources in your research
FEATURE DESCRIPTION INSTRUCTIONAL VALUE
paper. Each type of source has its own unique format. Be sure to give readers enough

380 Chapter 14 DoCUmEntInG A RESE ARCH PAPER

Power of Process An online reader offers nearly 90 Guides students through

professional reading selections performance-based assessment
and a powerful user interface thatrus60348_ch14_358-420.indd 380
activities using the pedagogy of 11/29/19 04:09 PM

guides students through strategies strategies instruction. Students use

for Before, During, and After Reading strategies to read and respond to
assignments. Additionally, instructors the text, and instructors can assess
can upload their own readings or the students’ depth of engagement with
reading selections from each chapter the text.
of Write Now, including student Instructors may also choose from pre-
examples. built templates for guiding students
through Literal and Critical Reading as
well as Research and Writing.

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FEATURE DESCRIPTION
Writing Students can engage in peer review
Assignments through the writing tool, while
instructors can create rubrics and
assess student writing around
specific learning outcomes.
Adaptive Adaptive modules cover critical
Assessment reading, the writing process, research,
argument, paragraph development,
and sentence style. Grammar-focused
modules are aligned to each section in
the Editing Guide.
SmartBook® 2.0 SmartBook 2.0 highlights key
concepts and creates a personalized
study plan.
Handbook Connect includes a complete online
handbook for instructors to assign and
for students to refer to as needed.
The handbook includes chapters
on the writing process, argument,
research, and documentation as well
as grammar, punctuation, mechanics,
and help for multilingual writers.
For more information on any of these features, please e-mail a member of the
McGraw-Hill English team at english@mheducation.com.
xxii  P reface
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INSTRUCTIONAL VALUE
Students draft responses to writing
prompts and receive feedback from
instructors. Grammar checkers and
originality detection alert them to
issues before they hand in their work
and refer them to learning resources
to understand how to correct their
errors.
An available rubric provides
assessment transparency to students,
and allows them to see why they
got their grade and how to improve.
Instructors may also customize this
rubric, or create their own.
Provides students with adaptive
practice and additional learning
resources for important topics,
either before or after class, or in a
support course.
SmartBook 2.0 is an adaptive study
resource that transforms class time
from dull definitions to dynamic
debates. Find out more about the
powerful personalized learning
experience available in SmartBook 2.0
at www.mheducation.com/highered/
connect/smartbook.
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Custom Options for Using McGraw-Hill Create®

With McGraw-Hill Create, instructors can easily arrange chapters to align with their
syllabus, eliminating chapters they do not wish to assign and adding any of the
content available only from the McGraw-Hill Create platform to build one or more print
or eBook texts— including Connect Composition access codes—for their program.
Instructors can also add their own material, such as the course syllabus, course rubric,
course standards, or specific instruction, from which they want their students to
benefit. For more information, go to https://create.mheducation.com or contact your
McGraw-Hill representative.
Co-requisite Course Support
Write Now also comes with a pre-built Connect course that provides customizable
assignments for instructors to choose from, including support for co-requisite models.
Within the pre-built course, suggested assignment combinations provide students
with plenty of practice in critical reading and writing, as well as choosing correct style,
grammar, and punctuation.
In addition, co-requisite course support is now available in the Write Now
Instructor’s Manual. Within this resource, pacing guides for each chapter of the
text offer co-requisite class support activities, as well as a chart to help
instructors align co-requisite instruction with the goals of the composition course.
Please contact your sales representative, or a member of the McGraw-Hill English
team, at english@mheducation.com, for more information.
Learning for Everyone
McGraw-Hill works directly with Accessibility Services Departments and faculty to meet
the learning needs of all students. Please contact your Accessibility Services office and
ask them to e-mail accessibility@mheducation.com, or visit www.mheducation.com/
about/accessibility for more information.

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Teaching Resources
Karin Russell has more than twenty-five years’ experience teaching composition,
literature, developmental English, and business writing for various Florida schools.
She currently oversees curriculum development for a variety of writing, literature,
and communication courses. Drawing on her extensive teaching and administrative
background, she has prepared the instructor notes for the Annotated Instructor’s
Edition of Write Now as well as the Instructor’s Manual, with
Heather Burke of Hondros College of Nursing. 2. Identify the Tim
Grammar Window
POINT OF VIEW Somewhere in the early
ANNOTATED INSTRUCTOR’S EDITION: First person: I, me, my, mine, we, our,
rative you will need to
event occurred. If you ar
TEACHING TIPS RIGHT ON THE PAGE ours tant event in your life, yo
Second person: you, yours date and time as well as
The Annotated Instructor’s Edition includes classroom tips, tips Third person: he, she, they, their, theirs action took place. Keep i
for using SmartBook 2.0 and adaptive assessment, as well as The point of view needs to be consistent read like a list of diary en
classroom tips and answers to activities and Grammar Window within a sentence or paragraph or • Time: If you don’t w
exercises. It also provides tips for teaching co-requisite readers will become confused. Watch might just mention
for sentences where the point of view
sections of first-year composition. the eve of your nint
shifts for no reason. time of year may al
For example, hikin
INSTRUCTOR’S MANUAL Exercise ter is quite differen
Correct the shifts in point of view in the summer.
The Instructor’s Manual provides a wealth of material to draw following sentences: • Place: Telling whe
on, including the following: 1. I looked at the spider and you got will help readers b
really scared. Provide the reader
• Chapter outlines 2. You were driving along and they saw of the setting, inclu
• Lecture notes something furry cross the road. ment, building, roo
necessary for your
• Class activities events in your stor
• Pacing Guides for traditional and co-req classes
3. Keep a Consistent Point of View
• Sample assignments and writing topics
Although it is not appropriate in all types of academ
• Connect resources you write about yourself it is typically best to use
Be careful not to begin too many sentences with I
• Discussion questions for online/hybrid classes and approach. Also, generally it is better not to shif
• Graphic organizers that can be used as handouts view; however, sometimes authors use you intentiona
if they are right there in the story. If you do shift you
• Grading rubrics for each type of writing covered are doing so for a reason. A sentence such as “I wa
know what was going to happen next” can confuse y
• Peer review worksheets a narrative about someone else, then you should wr
• Co-req support view, using pronouns such as he, she, and they.

Activity Shifting Viewpoints

Write a one-paragraph descriptive narrative about you

view. Revise your narrative using the third person poin
xxiv  T each in g Reso u rces version might start as follows: “When I was in 10th gra
might start this way: “When Danielle was in 10th grade,
your paragraphs and discuss how each version might

96 Chapter 5 DEScRIbING AND NARR ATING: MEMoRIES

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A Word from Karin Russell

For more than twenty-five years, I have taught
college-level writing courses and observed
students and how they learn to become
better writers. I chose to create Write
Now because I felt there was a need for a
complete yet concise four-in-one (rhetoric,
reader, research guide, and handbook)
textbook that incorporates sound pedagogical
theory, appeals to students’ interests, and
demonstrates the relevance of being able to
write clear, effective documents. Write Now
emphasizes a process-oriented approach
to writing that focuses on revision and the
recursive nature of writing. One of the unique
features of Write Now is the Rhetorical
Star, which I developed to help students
analyze their rhetorical situation. Building on
Aristotle’s rhetorical triangle, the Rhetorical
Star guides students through each writing
assignment by encouraging them to consider
their subject, audience, purpose, strategy,
and design.
In addition to providing students with a variety
of engaging readings, images, and activities
to stimulate critical thinking and writing skills,
I have included Graduate Spotlights, Employer
Spotlights, and Career-Based Writing
examples to emphasize to students just how
important writing is, not only during their
college experience but also in their careers
and personal lives. Above all, Write Now
sends students the message that being able
to write effectively is essential for achieving
success and that writing well can be a
worthwhile and satisfying experience.

Acknowledgments
The third edition of Write Now would not be possible without the tremendous effort put
forth by the McGraw-Hill team. First of all, my thanks go to Mike Ryan, vice president
and general manager, and David Patterson, managing director for the skills group, for
their leadership. I’m very grateful to Erin Cosyn, portfolio manager for composition,
for her wisdom and guidance in shaping this edition. I’m also grateful to Kelly Villella,
director, English and College Readiness, for her expert advice and guidance as we
finalized the text. Thanks as well go to Ellen Thibault, product developer, for her vast
knowledge, attention to detail, high standards, and insightful suggestions for improving
every aspect of the text, as well as to Carla Samodulski, product development
manager, for her advice and support. I’m grateful as well to Alyssa Ennis for overseeing
the Instructor’s Manual and PowerPoints for the third edition. Mary Ellen Curley, lead
product developer, provided her expertise throughout the development of this edition.
I’d also like to thank Byron Kanoti, marketing manager for composition, for expertly
marketing the third edition. Susan Trentacosti, lead content project manager, has
attended to the many details necessary to get this edition ready. My thanks also go to
Sarah Flynn, content licensing specialist, for overseeing the photo research and text
permissions, and to Karen Sanatar, photo researcher, for giving me amazing options
for the new images that appear in this edition. I’d also like to thank Jessica Cuevas

Ack now le d g m ents   xxv

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Another random document with
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When the man who takes my part puts the face on, I will be there,
and this is how I will live among you. This man must carry a turtle
rattle and a stick, just as I do now.” Then he told them how to fix the
twelve carved faces on the posts of the Big House, and the faces on
the drumsticks, and taught them how to hold the ceremony.
Then he said:
“You must also give me hominy every year in the spring. I take
care of the deer and other game, that is what I am for. Wherever you
build the Big House, I will keep the deer close by, so that you can get
them when you need them.
“Never give up the Big House. If you do, there will be another
earthquake, or something else just as bad.
“The earthquake stopped that time; that is why the Delawares
have kept the Mĭsiʹngʷ' and the Big House ever since. The Mask is
left in charge of some family who will take good care of it, and burn
Indian tobacco for it from time to time.”
It will be seen that, according to the above tradition, the Mĭsiʹngʷ'
was, first of all, a personal helper, or guardian Spirit, that afterward
became more or less of a tribal deity, and that his cult became
engrafted on the Annual Ceremony among the Unami, the rites of
which were already ancient among them. That this engrafting really
took place seems possible from the fact that among the Minsi there
were no masked performers at the Big House ceremonies, and that,
while the central post of the temple was provided with carved faces,
the masks had an entirely different function among this people. The
innovation, if it took place at all, must have been before
Brainerd’s[52] time, however, for, as related in our first chapter, he
found the Mĭsiʹngʷ' and Big House in use, as among the Unami
today, as early as May, 1745, while traveling among the Delawares
living at that time on Susquehanna river.

MĬSIʹNGʷ' DANCE
 Besides the part taken by the Mĭsiʹngʷ' in the Annual Ceremony,
he has certain rites peculiar to himself which were held every spring.
As the Indians put it:
“When spring comes, the Delawares are glad, and they are
thankful that their helper, the Mĭsiʹngʷ' is still among them. For this
reason they give a feast and dance to make him happy too.”
Notification.—So at the time of the full moon (about May), the
keeper of the mask gives another Indian a yard of wampum to ride
around to all the Delaware houses, wearing the mask and bearskin
costume (pl. ii) to let the people know that the time for the Mĭsiʹngʷ'
dance (Mĭsingkĭʹnĭkä) is at hand. The Mĭsiʹngʷ' rides horseback, and
another man, also mounted, follows him to see that he comes to no
harm. At each house the impersonator dismounts and enters,
making known his errand by signs, but saying only “Hoⁿ-hoⁿ-hoⁿ,”
and everywhere they give him tobacco, which he puts in his sack. At
this time the people frighten disobedient children with the threat that,
unless they behave, the Mĭsiʹngʷ' will carry them away in a sack full
of snakes.
Preparations.—The dance-ground customarily used for this
purpose has meanwhile been put in order, a cleared place in the
woods selected for good shade and pleasant surroundings, and the
logs which serve as seats arranged to form the rectangle within
which the dance takes place. A great pot of hominy is also prepared;
this constitutes the main dish of the feast.
The Ceremony.—When the people have gathered on the night
appointed, and the impersonator has returned from the bushes
where he retired to dress, wearing the mask and bearskin suit (pl. ii),
the speaker addresses the people and relates the origin of the
dance, then addressing the Mĭsiʹngʷ', says, “Take care of us while
we are dancing, so that everything goes smoothly.” Then they have a
dance in which the Mĭsiʹngʷ' joins, but he dances around the outside
of the circle of people, not with them. When they have finished, he
dances twelve changes alone, which occupies the time until
morning. When daylight appears, the hominy is brought out and
everyone eats, including the Mĭsiʹngʷ', after which the speaker says,
“Now we have eaten with our Mĭsiʹngʷ'. We will have this dance
again next spring.” The people then disperse to their homes, the
Mĭsiʹngʷ' is put away and the impersonator paid a yard of wampum
for his dancing. At this dance the singers keep time by striking with
sticks on a dry deerhide rolled over and stuffed with dried grass, very
similar to the “drum” used in the Big House.
Adams’ Account.—The only account the writer has seen of this
ceremony is that of Adams’,[53] the chief inaccuracy of which is the
statement that the dance is “only for amusement.” It furnishes,
however, several additions to our knowledge of the “Solid Face.” It is
as follows:

“Messingq or Solid Face Dance or Devil Dance.—The

principal leader in this dance is the Messingq, an Indian, who
is dressed in a bearskin robe with a wooden face, one-half
red and one-half black. He has a large bearskin pouch and
carries a stick in one hand and a tortoise shell rattle in the
other. He is a very active person. The dance is only for
amusement, and men and women join in it. A large place is
cleared in the woods, and the ground is swept clean and a fire
built in the center. Across the fire and inside of the ring is a
long hickory pole supported at each end by wooden forks set
in the ground. On the east of this pole the singers stand; on
the west end is a venison or deer, which is roasted. About
daylight, when the dance is nearly over, all the dancers eat of
the venison. They have a dried deer hide stretched over some
hickory poles, and standing around it beat on the hide and
sing. The dancers proceed around the fire to the right, the
women on the inside next to the fire. After the dance is under
headway the Messingq comes from the darkness, jumps over
the dancers, and dances between the other dancers and the
fire. He makes some funny and queer gestures, kicks the fire,
and then departs. The Messingq is never allowed to talk, but
frequently he visits the people at their homes. He is a terror to
little children, and when he comes to a house or tent the man
of the house usually gives him a piece of tobacco, which the
 Messingq smells and puts in his big pouch, after which he
turns around and kicks back toward the giver which means
‘thank you,’ and departs. He never thinks of climbing a fence,
but jumps over it every time that one is in his way. The Devil
dance is what the white men call it, but the Delawares call it
the Messingq, or ‘solid face’ dance. The Messingq does not
represent an evil spirit, but is always considered a
peacemaker. I suppose that it is from his hideous appearance
that white men call him the devil.”

OTHER FUNCTIONS OF MĬSIʹNGʷ'

The Mĭsiʹngʷ' the Indians claim, “takes care of the children,” as
well as of the deer, for as before related if any Delaware has a child
who is weak, sickly, or disobedient, he sends for the Mĭsiʹngʷ' and
asks him to “attend to” his child. On his arrival it does not take the
impersonator long to frighten the weakness, sickness, or laziness out
of such children, so that “afterward they are well and strong, and
whenever they are told to do a thing, they lose no time in obeying.”
This is the only trace of the doctoring function of the mask found
among the Unami.
When the keeper of the Mĭsiʹngʷ' burns tobacco for him and asks
for good luck in hunting, “it turns out that way every time;” and the
Lenape say moreover that if anyone loses horses or cattle, either
strayed away or stolen, he can go to the keeper of the Mĭsiʹngʷ' with
some tobacco as a gift and get them back. He explains his errand to
the keeper, who in turn informs the Mĭsiʹngʷ' that they want him to
look for the horses or cattle. The loser then goes back home, and
after a few days the missing animals return, driven back by the
Mĭsiʹngʷ', who if they had been tied or hobbled by the thieves,
frightened them until they broke away and came home. When the
Big House meeting is held in the fall, the Mĭsiʹngʷ', as before related,
is seen going around among the tents of the Delawares assembled,
and in and out of the Big House, always coming from the woods,
where the impersonator has a place to change his clothes. The
Indians say:
 “He helps the people with their hunting, and also helps in the Big
House while the ceremonies are in progress. If he finds anyone there
who has not done right, he informs the three guards of the meeting,
who take that person and put him out. In all these ways the Mĭsiʹngʷ'
helps the Delawares.”

MASKS OF THE MINSI

The Minsi Miziʹnk (cognate with the Unami Mĭsiʹngʷ') was a mask
made of wood with copper or brass eyes and a crooked nose,
according to my informants at Munceytown; and judging by Peter
Jones’ drawings (pl. iii) they were provided also with hair, tufts of
feathers, and jingling copper cones or deer-hoofs. The Mizink at
Grand river was of Minsi type, judging by the specimen obtained by
the writer (fig. 4).
Such masks were made to represent Mizinkhâliʹkŭn, who was
“something like a person, but different from the Indians, and was
powerful. They saw him first among the rocks on a hill, and he spoke
to them and told them what to do to get his power. When a man put
on a Mizink he received the power of this person or spirit; he could
even see behind him, and could cure diseases.”
The Mask Society.—The men who owned these masks formed a
kind of society which Nellis Timothy says originally had twelve
members, but which, before it disbanded, dwindled to about five.
Sometimes only two appeared in costume.
The society had a meeting-house of its own where its dances,
Mizinkĭʹntĭka, were held, for, unlike the Unami custom, no Mizink ever
appeared in the Big House. The members appeared wearing their
masks and clad in rough bearskin and deerskin costumes, while
some, at least, were provided with a turtleshell rattle which they
would rub on a long pole, crying “Oⁿ-oⁿ-oⁿ!” the while.
Ceremonies.—While no consecutive account of their ceremonies
is now remembered, it was said that they sometimes put down their
rattles, heaped up the ashes from the two fires, then threw the ashes
all over the house to prevent the people assembled from having
disease.
Should any sick person appear, he or she would be especially
treated with ashes. Sometimes the performers would pick up live
coals and throw them about, frightening the people. At other times
the whole company of them would go around to the different houses
begging for tobacco, and would dance in any house where someone
was willing to sing for them.
Nothing was said among the Minsi about the Mizink bringing back
stray stock or driving deer, characteristic attributes of the Mask Being
of the Unami. The writer obtained but one mask among the
Canadian Lenape, and this was from the Grand River band (fig. 4); it
has been described by him[54] in the following words:

“But one mask (mizink) was obtained. It differed from those

of the Iroquois chiefly in being cruder, and also in decoration,
the lines being burnt into the wood instead of being painted or
carved. The original use of the mask had to do, in part at
least, with healing the sick, but Isaac Montour (Kaʹpyŭ'hŭm),
from whom I bought it, failed to make himself clear as to the
details.”

It will be seen that the Minsi beliefs and practices noted above
resemble those of the False Face Company of the Iroquois tribes
much more than they do the customs connected with Mĭsiʹngʷ'
among the Unami.
In fact, a vague tradition exists to the effect that the False Face
Company of the Cayuga once put a stop to an epidemic of cholera
among the Minsi. While this was not given to account for the origin of
the society among the Minsi, it at least shows that they were familiar
with the Iroquois practices in this line.
 CHAPTER VIII
Minor Ceremonies
THE DOLL BEING
The Doll Being, called by the Unami O'ʹdas and by the Minsi Naniʹtĭs,
has been already mentioned as a minor Lenape deity, and it now
remains only to relate the ceremonies and beliefs connected with it,
beginning with the myth accounting for its origin.

Myth of Origin

Long ago, the Lenape say, some children, playing with sticks,
decided to cut faces upon them, and were then very much surprised
to notice that the little dolls which they had thus made seemed to
have life. Their parents made them throw the dolls away when they
discovered this, and most of the children soon forgot what had
happened. One little girl, however, grieved for her doll; it bothered
her all the time, and finally she began to dream of it every night.
Then she told her parents of her trouble, and they realized that they
should not have compelled her to throw the doll away. One night the
doll appeared to the child and spoke to her, saying, “Find me and
keep me always, and you and your family will ever enjoy good
health. You must give me new clothing and hold a dance for me
every spring,” and then told her exactly what to do. The girl reported
this to her parents, who immediately looked for the doll and found it,
then dressed it, made some hominy, killed a deer, and held a dance
in its honor as they were instructed, and this rite has been continued
to the present day.

Preparations for the Ceremony

 When the family owning a doll of this kind is ready to conduct the
Doll Dance (O'ʹdas-kĭʹnĭkä), they select two men to gather firewood
and to clean up the dance-ground used every year, and to engage a
speaker and two singers, paying each of them with a yard of
wampum. The dance-ground is square, similar to that used for the
Mĭsiʹngʷ' dance, with logs ranged about for seats, in some pleasant
place out in the woods. A hunter is then selected, who calls on
several to help him get a deer, which, when brought in, is hung on
poles prepared for it at the dance-ground, where it remains over
night. The next morning they cook the deer and a kettle of hominy,
and are then ready for the ceremony.

The Doll Dance

About the middle of the afternoon the speaker rises and addresses
the people, telling them the story of the doll’s origin and explaining its
function; then he addresses the doll, which has now been fastened
on a pole, calling it “grandmother” and notifying it that they are about
to hold a dance in its honor, at the same time asking it to insure good
health to the family of its owner. When he finishes, the dance leader,
who should be a relative of the family owning it, takes the doll on its
pole, and then, as the drummers sitting in the center of the dance-
ground begin to strike the dry hide stuffed with grass that serves as a
drum, and to sing the song of the Doll dance, he commences to
dance, circling round the drummers, still carrying the doll, the people
falling in behind him, forming two circles, the men inside, next to the
drummers, and the women outside. When the leader finishes his
“set,” he passes the doll pole to the man behind him, who repeats
the process, and so on until the men dancers have carried it six
times, when it is transferred to the women, who, in their turn, dance
six sets, making twelve in all, the Lenape sacred number.
The twelve sets, or “changes,” lengthen the ceremony far into the
night, and this necessitates a large fire to give light. This is built near
the center of the dance-ground. Sometimes, if the crowd in
attendance is large, two such fires are built. Between the changes
the doll pole is stuck into the ground near the fire. When the twelfth
set is finished, the speaker announces, “The Doll Dance is over,” and
the feast of hominy and venison is served to everyone. Then the
speaker says: “If you want to dance the rest of the night, you may do
so, for many of you have come a long way from home and should
have a chance for more enjoyment. We will hold another Doll Dance
next year.” Then they put the doll away and amuse themselves with
various social dances until morning.

Minsi Doll Ceremony

Among the Minsi the beliefs concerning the Doll Being were
similar, but differed in detail. As to origin, Wolf told the writer that one
time a man lay ill, likely to die, and his family called in a medicine-
man, or “witch-doctor.” The shaman finally announced that the family
must make one of these dolls and care for it, and that the sick man
would then get well. This was done, and the doctor’s prediction
being realized, the Minsi have ever since made and used these
dolls, called in their dialect naniʹtĭs, which were transmitted from
parents to children. Wolf’s own mother had one, carved out of wood
in the form of a person, with a woman’s dress and moccasins (for as
a rule they represent women); and she always cared for it religiously,
in the belief that if well treated it would protect the family and give
them good health, but if neglected, someone would surely die. Every
year, in the fall, when the deer are in their best condition, Wolf’s
mother held a dance for it, called “Feeding the Naniʹtĭs;” but she did
more than feed it: she put new clothes on it, three sets, and new
moccasins every year. She believed that the image sometimes went
about of its own accord, although she kept it carefully in a box, for
the old dresses always seemed worn at the bottom and soiled, and
she found burrs clinging to them when she went to put new clothes
on “Naniʹtĭs.”
She hired a man especially to hunt a yearling doe for the
ceremony, which took place in her own dwelling. The details are lost,
but it is remembered that a man beat a little drum and sang while
she, as owner, danced around, carrying the doll in her hands,
followed by such of the other women present as wished to
participate. Said Wolf, “The Naniʹtĭs helped the Indians, that’s why
they fed it.”

PL. VIII

“NAHNEETIS THE GUARDIAN OF HEALTH”

(E. T. Tefft Collection, American Museum of Natural History)

 An Old Minsi “Doll.”—The writer was able to obtain but one old
specimen of this type (pl. viii), which was procured at the Grand
River reserve, Ontario, for the E. T. Tefft collection, now in the
American Museum of Natural History, and was described in the
writer’s article,[55] before cited, as follows:

“Perhaps the most interesting Delaware specimen of all is

the little wooden image, about eight inches high, bought of Dr.
Jones, which his father, Rev. Peter Jones, described and
illustrated in his book under the name ‘Nahneetis, the
Guardian of Health.’ He says:
“‘I have in my possession two family gods. One is called
Pabookowaih—the god that crushes or breaks down
diseases. The other is a goddess named Nahneetis, the
guardian of health. This goddess was delivered up to me by
Eunice Hank, a Muncey Indian woman, who with her friends
used to worship it in their sacred dances, making a feast to it
every year, when a fat doe was sacrificed as an offering, and
many presents were given by the friends assembled. She told
me she was now restored to worship the Christian’s God, and
therefore had no further use for it.’
“There can be no doubt in this case concerning the identity
of this specimen with the one illustrated in the book quoted. It
will be noticed however by those who are familiar with Peter
Jones’ illustration that Nahneetis, like many humans, has lost
her hair in her old age. An interesting feature of the specimen
is the primitive skirt, which is made apparently by belting a
blanket-like bit of cloth, bound at the edges, around
Nahneetis’ waist. A vestige of this method of making a skirt
survives, I think, in the form of the beaded strip running up
one of the vertical seams of the more modern Indian skirt,
among both the Delawares and the Iroquois.”

The writer afterward found such skirts still in use among the
Lenape in Oklahoma (pl. i, b).
 An Early Account of Naniʹtĭs.—Another early account of the
Naniʹtĭs among the Minsi may be found in the Wisconsin Historical
Collections, among the documents relating to the Stockbridge
Mission, written by the Rev. Cutting Marsh.[56] It reads as follows:

“Nov. 6th [1839]. A Munsee Indian who came to this place

over a year previous from Canada called upon me with an
interpreter in order to give up a family idol. This man whose
name is Big-Deer is upwards of 50 years of age, and since
removing to this place, thro’ the influence of this family above
mentioned has attended meetings constantly and gives some
evidence of a change of heart.
“The history of this idol was very interesting. He said that
his mother gave it to him before her death which occurred
about 29 years ago, and that he had worshipped it until within
a few years when he heard about Jesus Christ, but had never
given it up before. ‘Now he says I wish to give it up and follow
the Lord Jesus Christ, and I give this idol to you and you may
do what you are a mind to with it.’ It was indeed not only a
‘shameful thing,’ but a horribly looking object about the size of
a common doll; fantastically arrayed in Indian costume and
nearly covered with silver broaches and trinkets; and whilst
retained as an object of worship was kept wrapped up in
some 20 envelopments of broad-cloth trimmed with scarlet
ribbon. They called it their ‘Mother,’ it is more than a hundred
years old, and its late possessor was the fourth generation
which had worshipped it. The season for worshipping it was in
the fall after a hunt when they made a feast to it and danced
around it. ‘If they did not do this every fall they said, that is,
make the feast &c. it would be angry and destroy them by
some dreadful sickness.’ It was therefore an object of fear or
dread with them, but not one of love and compassion.”

BEAR CEREMONY
 We will now consider two ceremonies of the Unami which are
based on animal cults which show a considerable similarity not only
in their traditional origin, but also in their ritual.
The more important seems to be the one called Papasokwit'ʹlŭn,
which, although no part of a bear appears in its rites as practised
within recent years, was evidently a Bear ceremony in the days
when these animals were abundant. It also exhibits some features
suggesting the Annual Ceremony before described, but there is no
Mĭsiʹngʷ' and there are many other important differences.

Traditional Origin

The Indians say that a cub bear, kept as a pet by a Lenape family
long ago, became a great playmate of one of the little sons of the
family, but finally grew so large that the child’s parents decided to get
rid of it; so they tied a little bag of tobacco around its neck and told it
to go away. This it did, but the little boy, its playmate, soon fell ill, and
his parents searched in vain for a cure. After a long while one of the
Indian doctors told his parents that if they would hold a ceremony of
this kind and repeat it every two years, the child would recover and
would keep his health. This was done; the boy recovered, and his
family, who belong to the Wolf phratry, have continued to practise the
rites ever since, believing that it preserves their health.

Preparations.

This ceremony required a special house, which was made new for
it every two years, so the first thing the family did, when the time
approached, was to find a number of men, each of whom was paid a
yard of wampum to cut forks and poles and erect the building. This
was made by setting up a frame of poles in the form of a Big House,
but smaller, only seven paces wide and fifteen paces long, then
covering the top with brush and piling brush at the sides. Then to the
east of the house a pole was erected, upon which to hang the meat
for the feast, which, in old times, had to be a bear; but when bears
became scarce a black hog was substituted, and of late a hog of any
color has been used. The building finished, the hog was killed, and,
having been hung on the pole over night, was taken into the house
the next day, quartered, singed on a fire that had been built inside,
then carried out again, cut up, and cooked, all except the loose fat,
which was kept for a special purpose, as will appear later. When
done, the meat was kept in large baskets, with the exception of the
head, which, having been cooked whole, was placed in a large bowl
with two of the animal’s ribs in its mouth.

The Rites

When night came, the leader entered the brush house, taking with
him a turtle rattle similar to that used in the Annual Ceremony,
followed by the men who were to participate (no women being
allowed), and then made a speech, telling of the men who had
“brought in” this meeting, and explaining its origin, but making no
prayers to the Great Spirit or to any of the manĭʹtowŭk, his helpers.
He then threw half of the hog-fat upon the fire, and placed a string of
wampum around his own neck. At this juncture the cook brought him
the hog’s head in its bowl, and then, first announcing, “I am now
going to carry the head around,” the leader began to chant and to
walk about the house, making false motions to everyone as if to give
him the head, then withdrawing it and proceeding to the next. The
burden of the chant, the Indians say, was “what his dream helper told
him,” very much as in the Big House, but here the people kept time
to his chant orally, saying “Hu-hu-hu!” until he stopped. The
informant does not know who, if any one, shook the rattle. Probably
it was employed by the singers after the burning of the head. After
making the circuit twice, the leader hung his string of wampum upon
some old man of the Turkey phratry who had a “vision of power,”
who took the head and made his rounds in the same way. He finally
cut off the ears of the head, pulled the ribs from its mouth, and threw
it into the fire, bowl and all. The meat was then distributed to
everyone, whereupon the floor was open to any man who wished to
sing an account of his vision. A bucket of prepared drink was placed
at each end of the house for the refreshment of such singers, but the
head, of course, was gone. When the songs were finished, the
remainder of the fat, and finally the broth in which the meat had been
cooked, were thrown upon the fire, and in conclusion, six women
were called in and instructed to go out and give six times the prayer
cry, “Ho-o-o!”
Perhaps the following ceremony noted by Zeisberger[57] may have
been of this kind:

“A fourth kind of feast is held in honor of a certain voracious

spirit, who, according to their opinions, is never satisfied. The
guests are, therefore, obliged to eat all the bear’s flesh and
drink the melted fat. Though indigestion and vomiting may
result they must continue and not leave anything.”

OTTER CEREMONY
Similar to the Bear ceremony in many ways, both in traditional
origin and in rites, was the observance called A'ʹtcigamuʹltiⁿ, said to
mean “compulsory hog-eating,” held to propitiate the Otter spirit, a
cult whose paraphernalia the writer was fortunate enough to collect
for the Museum of the American Indian, Heye Foundation.

Myth of Origin

Many years ago, so runs the story, a little girl about ten years of
age was given a young otter for a pet, and this she kept and cared
for until it was well grown. About this time she began to feel that she
should keep him no longer, for she had come to realize that he was
piʹlsŭⁿ, meaning “pure” or “sacred,” and, like all wild things, belonged
to the Powers Above. The old people told her what she must do, so
she took her otter down to the creek, and, first tying a little bag of
tobacco on his neck, said to him: “Now I shall set you free. I have
raised you and cared for you until now you are full grown. Go, then,
and follow the ways of your kind.”
The otter disappeared into the waters, and the little girl returned to
her home, feeling that she had done well. But before a year had
passed, a sickness came upon her, which the Indian doctors told her
was caused by her pet otter, which wanted something to eat. The
only way for the child to get well, they said, was for her to have a hog
killed and cooked, and then to invite a number of men to eat it all, in
the name of the otter. This was done, and when the men finished
eating the hog and the soup, they said that the girl would recover,
and so she did. For this ceremony they took an otter-skin (fig. 16, a)
to represent the girl’s pet, which was used every two years, and
when the owner died was passed to the oldest survivor of the family
which owned it, and kept in the belief that it would benefit the health
of all of them. It was the only one of its kind in the tribe, and is called
“Kunuⁿʹxäs.”
Fig. 16.—a, Regalia of otter-skin used in the Otter Rite; b, Regalia as
worn. (Length of a, 56.5 in.)

The Ceremony
 The exact details and order of the ceremony were not
remembered by our informant, but it was certain that the family in
question “fed the otter” every two years in the spring, that being the
time of year when the little girl had been taken ill. Everyone was
invited, men and women, and a man was selected to cook the hog,
and another to supply wood and to cut the poles for swinging the
kettle, both of whom were paid with a yard of wampum. The fire was
kindled with a special flint-and-steel always kept with the outfit (fig.
17).

Fig. 17.—Flint and steel used in the Otter Rite. (Length of

a, 3 in.)

It will be observed that the otter-skin has a slit down the middle of
the neck, through which the owner thrust his head in such manner
that the otter’s nose lay under the wearer’s chin, while its body and
tail hung down his back. Wearing the skin in this manner (fig. 16, b),
himself impersonating the original otter, the owner would open the
ceremony by walking about the fire, chanting and shaking the turtle
rattle (fig. 18), which resembles those used in the Big House, while
the audience kept time to his song by uttering “Hu-hu-hu-hu!” The
nature of the song the writer was unable to learn, but, like the chants
of the Bear Ceremony, it probably was concerned with the singer’s
“dream helper.” When he had finished, another man put on the skin
and took up the chant, and so on until noon the next day, when the
ceremony was brought to a close and all joined in the feast. At this
time the skin is told, “We will feed you again in two years.”

Fig. 18.—Rattle of land-tortoise shell used in the Otter Rite. (Length, 3.9 in.)

BUFFALO DANCE
Such was the list of native Lenape ceremonies furnished by our
informants; but Adams[58] mentions several more, for which the
writer was unable to procure much in the way of data. One of these
was the Buffalo dance, which the writer feels should be included with
the Otter and Bear ceremonies, although Adams calls it a “pleasure
dance.” He admits, it will be observed, that it usually took place
before hunters started on the chase. His account follows:

“The Buffalo dance is a pleasure dance and always begins

in the morning and lasts all day. The ground is made clean in
a circle large enough to dance on, and in the center a fire is
built and a fork driven into the ground on each side, and a
pole placed across the fire east and west. On each side of the
fire is a large brass kettle hanging across the pole with
hominy in it, and when the dance is nearly over, the dancers
eat the hominy, dipping their hands in the kettle. The singers
are outside of the ring and beat on a dried deer hide stretched
over poles. They do not use the same step in the dance, but
gallop like buffaloes and bellow like them, also have horns on
their heads and occasionally hook at each other. The dance is
usually given before starting on a chase.”

IMPORTED CEREMONIES

Skeleton Dance

The preceding ceremonies have all been, ostensibly at least, of

native Lenape origin, but we now come to several whose outside
origin is admitted by the Indians themselves. The most ancient of
these is the “Human Skeleton Dance,” mentioned by Adams.[59] He
calls it a rite belonging to the Wolf clan or phratry of the Delawares,
but the writer’s informants say that it is not true Lenape at all, but a
Nanticoke (On'ʹtko) ceremony introduced among the Lenape by the
survivors of that tribe who had joined forces with them. Adams’
account, which is better than any the writer was able to obtain, is as
follows:
“Human Skeleton Dance.—Given only by the Wolf clan of the
Delawares. A certain dance given as a memorial to the dead was