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  1. One way to understand/demonstrate understanding of a writer’s work is to write in that writer’s style. So, compose a 14-line stanza in the Modernist/stream of consciousness style of T. S. Eliot’s “The Love Song of J. Alfred Prufrock” (1516). Remember Eliot broke with traditional line length and rhymes; used snatches of conversation; changed points of view; mixed concrete, colloquial language with proper speech; alluded to other bodies of knowledge such as the Bible, Shakespeare, fashion of the day–and probably would have used popular rappers, concert idols, etc.–along with incorporating internal rhyme, much alliteration, and enjambment (run-on lines). In your excerpt, you must include a name from your family (very extended included), a specific car in your life (ex. Dodge Charger, Yugo, Olds Silhouette, Ford Mustang GT), a specific toy, an acquaintance of positive or horrid consequences, and a specific geographic location. As in “The Love Song,” your first line (s) must be an invitation and your final two lines must be a refrain as in “In the room the women come and go/Talking of Michelangelo.”
  2. Research The Raft of the Medusa by Theodore Gericault (pron, Jericho) painted in 1819 (reproduction on page 300 in The Broadview Anthology, much better ones online). Explain the event, its historical significance in terms of political power abuse, social class issues, suffering/escape from suffering. Relate this painting of protest to the beliefs of at least two writers whom we’ve studied this term. Also, be sure to include the extensive research of Gericault (visits to morgues, etc., reconstruction of the raft) in your response. Use at least one quotation from each of the writers to whom you refer.
  3. Relate Chimamanda Ngozi Adichie’s The danger of a single story on TED Talks to an episode in your life in which your personal experience limited (narrowed, warped) your point of view. Use at least one quotation from The danger plus at least one quotation from her “A Private Experience” (1797) or her “Introduction” (1795).
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