What we need to teach is that our youth should get away from the "self" (too much focus there anyway--main downfall to the "express yourself" generation), look beyond "pop-culture" (hell, at one time slavery and the oppression of women were popular!), and "places and scenes"? Who cares? I've read essays that talk about parks and public places / spaces. Who cares?
Rosa does a decent job covering the material students need to know, such as different rhetorical styles, the parts of an essay, and major skills like transitioning and incorporating sources. But I would have liked more discussion on logic and argumentation, includ I chose this book for a freshman composition course I taught this summer.
It's one of the best I've seen, out of the five or six other similar textbooks out there. It had short, engaging essays and plenty of them. That's why I bought it.
What of science and its importance in understanding who we are? Math? Why does it exist? What of the intellectual mind wasted? ala J. Swift's intellectuals on the Island of Laputa. What of politics? Our country's history? Who were these guys and why is this country so great?--many come here to this country than to any other. What about understanding finance?(so many in debt, stuck in their financial matrix) Relationships? (so many people, so many divorces), and other far more important, essential, primary topics.
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But the topi As I've said, a lot of these readers are too similar. That being said, this one's pretty good: covers the basics (prewriting
Rosa does a decent job covering the material students need to know, such as different rhetorical styles, the parts of an essay, and major skills like transitioning and incorporating sources. But I would have liked more discussion on logic and argumentation, including fallacies.
As I've said, a lot of these readers are too similar. That being said, this one's pretty good: covers the basics (prewriting
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on thesis statements, Develop Your Thesis, includes a clear five-step process to help students through the challenge of arriving at an effective thesis statement from a broad topic. Chapter 2, From Reading to Writing, shows students how to use the apparatus in the text, provides them with guidelines for critical reading, and demonstrates with three student essays (narrative, responsive, and argumentative) how they can generate their own writing from reading.
A video introduction to many topics. Introductions offer an overview of the unit’s topic, and many include a brief, accessible video to illustrate the concepts at hand.
Flexible arrangement. Each chapter is self-contained so that instructors can easily follow their own teaching sequences, omitting or emphasizing certain chapters according to the needs of their students or the requirements of the course.
Instructor’s Manual for Models for Writers is available as a PDF that can be downloaded from macmillanlearning.com. Visit the instructor resources tab for Models for Writers. In addition to suggested answers for each selection’s critical reading and study questions, the instructor’s manual includes essay analysis and discussion, as well as tips to help students think critically about what they have read. Also included in the manual are two sample course plans for first-year composition courses — one fifteen weeks, one ten weeks — and a complete sample syllabus for a fifteen-week developmental English course.
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Practical instruction on working with sources. One of the biggest challenges student writers face is incorporating supporting evidence from other writers into their essays. In Chapter 1, The Writing Process, students find clear advice on developing strong thesis statements and marshaling evidence and support. Chapter 10 models strategies for taking effective notes from sources
In Chapter 2, students learn how to understand context through headnotes and how to read rhetorically and read as a writer (p. 53), analyzing and evaluating texts according to their rhetorical purpose.
Abundant study materials. To help students use the readings to improve their writing, every essay is accompanied by ample study materials.
In this edition, we continue to emphasize the classic features of Models for Writers that have won praise from teachers and students alike. In addition, we have strengthened the book by introducing new selections and new perspectives, and we have emphasized the student voices that resound throughout the book. For the first time, this edition is also available with LaunchPad, which has an interactive e-book, reading quizzes, extra practice with reading and writing through LearningCurve adaptive quizzing, and more.
Find community support at the Bedford/St. Martin’s English Community (community.macmillan.com), where you can follow our Bits blog for new teaching ideas, download titles from our professional resource series, and review projects in the pipeline.
Brief, lively readings that provide outstanding models. Most of the seventy professional selections and all seven of the sample student essays in Models for Writers are comparable in length (two to four pages) to the essays students will write themselves, and each clearly illustrates a basic rhetorical element, principle, or pattern. Just as important, the essays deal with subjects that we know from our own teaching experience will spark the interest of most college students. In addition, the range of voices, cultural perspectives, and styles represented in the essays will resonate with today’s students. They will both enjoy and benefit from reading and writing about selections by many well-known authors, including Judith Ortiz Cofer, Stephen King, Anne Lamott, Amy Tan, Maya Angelou, David Sedaris, Langston Hughes, Bharati Mukherjee, Mary Sherry, and Martin Luther King Jr.
LaunchPad for Models for Writers can be purchased on its own or packaged with the print book at a significant discount. An activation code is required. To order LaunchPad for Models for Writers with the print book, use ISBN 978-1-319-14476-0. For more information, go to launchpadworks.com
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Reflecting on What You Know activities precede each reading and prompt students to explore their own ideas and experiences regarding the issues presented in the reading.
Popular e-Book formats For details about our e-Book partners, visit macmillanlearning.com/ebooks.
Introductory chapters on reading and writing. Throughout the chapters in Part One, students review the writing process from fresh angles and learn how to use the essays they read to improve their own writing. Chapter 1, The Writing Process, details the steps in the writing process and illustrates them with a student essay in progress. A dedicated section
On 26 August 2020 Australia’s Minister for Communications, Hon Paul Fletcher MP asked the Standing Committee on Communication and the Arts to inquire into and report on Australia’s creative and cultural industries and institutions. Submissions were open until 22 October 2020. Many of these submissions are quoted from in this essay. For the full text, along with the terms of reference, go here.
Can you see them, Jones’s Australian ‘literature houses’? Can you imagine them full of people? Can you imagine the kinds of collective imaginaries that might flourish within?
And how might we be compensated or recompensed for the risk we take as authors when we spend seven years or more working on a major ‘property development’ that (a) may never have another investor, and (b) may have no end?
Thinking about the problems arising from our deep need as writers to have our voices heard, our limited capacity to be realistic about our expectations for our own writing careers, and our related preparedness to taken on precarious working conditions or sign contracts that provide us with little compensation, brings to mind the tragi-comic central character in Knut Hamsun’s novel Hunger, first published in 1890. Hamsun’s un-named protagonist desires so badly to be a writer that he exiles himself from normal life, wandering hungry in service of his art until the hunger itself eclipses everything. Writing for The Independent, British novelist Joanna Kavenna observes of Hamsun’s novel that it’s not just a story about being a failed writer but also about
5. Australia’s public policy problem
In her submission to the Enquiry novelist and academic Gail Jones mounts an argument for understanding creative writers as a form of primary producer. Further, she adds,
Others call attention to Scotland’s robust Cultural Strategy (2020), citing it as a model of cultural policy that genuinely ‘opens up the potential of culture as a transformative opportunity across society.’ Initiatives in the Scottish model include funding youth arts grants via assets seized from criminal activity.
I hope to persuade the committee that literature, and reading and writing more generally, is essential to our economic recovery and growth, to employment, self-knowledge and understanding of community. It is also radically under-funded.
Pippa Dickson, writing to the Enquiry in her role as Director of Asialink Arts, says ‘The COVID-19 crisis cannot be couched as an ‘opportunity’ for arts and culture – we have to face the very real loss of livelihoods, intellectual property and very significant investments.’ She expands: