2 CHAPTER 2 • CLOSE READING

Of joy, & we knew we were Beautiful & dangerous. 40 {1992)

Analyzing Sometimes it's helpful to start by summarizing the work in one sentence, just so you're sure what's going on.

In "Slam, Dunk, & Hook," the speaker expresses how provided an escape from his life's troubles. Clearly, even this initial statement engages in a certain level of interpretation-not only does it state that the poem is about basketball, but it also draws the inference that the speaker's life was troubled and that basketball was his means of escape. The next step is examining what makes the poem more complex than this brief summary. How does Komunyakaa convey a sense of exuberance? of joy? of danger? How does he make the situation something we feel rather than just read about? Let's begin our analysis by thinking a bit about the poem's title. It's all about action, about moves. But a "" is just one move, so why is there a comma between "Slam" and "Dunk"? Does this construction anticipate the rhythm in the poem itself? Our next consideration could be the speaker, who is evidently reflect­ ing on a time in his youth when he played basketball with his friends. The speaker describes the "metal hoop" that was "Nailed to [their] oak" and a "splin­ tered" by hard use. We're not in the world of professional sports or even in the school gym. You will probably notice some things about the poem as a whole, such as its short lines, strong verbs, and vivid images. Keep those things in mind as you take a look at the following annotation, where we examine the way specific elements of style and structure add layers of meaning to Komunyakaa's poem. We'll use the three-step annotation process introduced on pages 35-37.

Slam, Dunk, & Hook YUSEF KOMUNYAKAA

6egin5with Cfast breaks. lay upS) With Mercury's --- Allu5ion: Greek god matter-of-fact Insignia on our sneakers tone We outmaneuvered e footwork Oxymoron. Refer5 __ Of bad angels. thing but a hot Strong vi5ual and to opponents. Swish of strin like silk ------::5-tactile imagery. Symbolic? All" · Ten feet o . In the roundhouse Iteration Great metaphor! Another allu5ion lab rinth our bodies Created, e could almost Another allu ion. All lntere5ting last forever, ...,.o~is_e_d_in_m-:-id_a_i,r_ ------5 10 to things that are contrast with fast like storybook sea monsters. pace of the poem { A high note hung there mythical, and po55il>ly A long second. Off dangerou5 The rim . We'd corkscrew FROM ANALYSIS TO ESSAY: WRITING A CLOSE ANALYSIS ESSAY 43

Contraet l>etween their powerful play 15 and awkward l>odiee

---Good deecriptlon [1992}

20 ! sentence, just so

Refere to tree, l>ut 3.ll provided an oak ie etrong. le --When Sonny Boy's mama died l>asketl>all the Shift in tone. 25 He played nonstop all day, so hard player'e "oak"? terpretation-not Not al>out their Our backboard splintered. raws the inference power, l>ut power Glistening with sweat we jibed _ Returne to vivid deecription, l>ut •ans of escape. The of the game. .h b II ff ' tone ie reverent, not l>oaetful his brief summary. & roII e d t e a o ---our ------Pereonlfication bl danger? How does Fingertips. Trou e 30 -Lookup Was there slapping a blackjack - --- mt? title. It's all about Against an open palm. r is there a comma Dribble, drive to the inside, feint, the rhythm in the & 9lide like a sparrow hawk. _Realizing lnvereion offiret--

Exploratory Writing A "slam dunk" is a type of shot in basketball-a skillful play, and a little victory in itseli, so you say about something you did really well. "It was a slam dunk." But Komunyakaa separates the two words as if "slam" and "dunk"-and "hook"-are · Allusion: Greek god separate. Maybe there are connoisseurs of the game who know the difference between a slam and a dunk? But the commas create a sense of jerky movement, abruptness. The title is fragmented, just like the images in the poem - lines break up sentences, Strong visual and ·tactile imagery. some sentences aren't full sentences, lots of strong verbs are used ("outmaneuvered," Alliteration "poised," "corkscrew," "exploded," "tangled up," "rolled," "dribble," "glide"). Maybe the poet has pent-up emotion or maybe he is signifying that the players do. All the motion and movement gets played out in the game, but even the can't

. Another allueion. All contain it. There's energy but also anger. The speaker (Komunyakaa?) is remembering, to thinge that are so the images might be fragmented the way memory is often thought to be. Still, even mythical, and poeeil>ly with the fragmentation, these guys are beautiful. almost majestic in the way they fly dangerous and spin in the air and take control of the ball. FROM At 44 CHAPTER 2 • CLOSE READING

Playing basketball's a release for some, like the way Sonny Boy tries to on specific character forget the pain of his mother's death when he's on the court. He plays until the the essay you can an; attitude toward the g "backboard splintered," just like his emotions are splintered. I think these young black On the other ha men - their race isn't actually mentioned, but you get a sense that they're African is nothing to say ~be American like Komunyakaa- are overflowing with potential to defy their hard lives and racial oppression. They take out their anger on the basketball court. Those In "Slam, Dur references to "Mercury" and "sea monsters" are about gods, mythical creatures who Although this thes are superhuman. That's how the players feel on the court, where being young and interpret the speakt: strong means everything. But off the court-it's a different world. You could not disc say. A good thesis s· There is no denying that doing a detailed annotation like this one takes time. But essay's purpose. It understanding a text with layers of meaning requires time and attention to detail, espe­ connect to it. cially if you are preparing to write about it. Plus, once you have examined the work so Working with closely, you'll have already found ideas and evidence to use in your essay. Looking back at wr we see many vivid i Developing a Thesis Statement We also find dang• slapping a blackjac When it comes time to write a close analysis essay, the first thing to do is formulate a gerous:' and when thesis statement. You may end up changing it as you go, but having some idea of your angels" in their liv( argument will help you stay focused. Your teacher will likely have provided you with a transcend it. They prompt or an assignment, and if you've done a thorough job of reading and taking notes tree; they are god~ in the form of annotation or a graphic organizer, you will probably have more ideas Remembering tha than you can actually use in the essay. For example, your reading may have revealed the develop the folio' intense and vivid imagery that Komunyakaa develops. You may have also noticed mythic that examines the allusions to Mercury and sea monsters, and underlying themes- like the transformative speaker's attitude. power of the game. You might also have noticed the feeling that trouble always seems to In "Slam, I be looming nearby, but never seems to touch the players while they're playing. You may have noted the poem's syntax, with lines that alternate between sentences and fragments. allusions,< Does this pattern suggest the quick movements of the game? There are several ways to and transc approach this poem and many possible interpretations. Let's say your teacher has assigned you the following prompt:

Write an essay in which you discuss how the style and structure ofYusef Komunyakaa's Organizing a "Slam, Dunk, & Hook" convey the speaker's attitude toward the game of basketball. Once you have a1 Remember, your thesis must be an interpretation: an argument about the meaning of plan and write­ the poem that you will support with evidence from the text. You should avoid creat­ at your notes. Tl ing a thesis statement that is so broad that it just restates the prompt or assignment, organized aroun such as the following: · sica! allusions, a could approach Yusef Komunyakaa uses style and structure to convey the speaker's attitude ferent attitudes toward the game of basketball in his poem "Slam, Dunk, & Hook." of the game, an Not only does this thesis fail to mention which specific elements the writer plans to and another on discuss, but it also fails to identify the speaker's attitude. The thesis needs to focus mythical, metal FROM ANALYSIS TO ESSAY: WRITING A CLOSE ANALYSIS ESSAY 45

:o on specific characteristics of the poem's style and structure, so that in the body of :he the essay you can analyze how they help convey your interpretation of the speaker's 1g black attitude toward the game of basketball. frican On the other hand, it is important not to narrow your thesis so much that there j lives is nothing to say about it, such as the following: ;e In "Slam, Dunk, & Hook," Yusef Komunyakaa uses classical allusions. s who and Although this thesis isolates a style element-classical allusions-it does not interpret the speaker's attitude, nor does it recognize the complexity of the poem. You could not discuss a thesis like this for long before running out of things to time. But say. A good thesis should be expressed clearly and should inform the reader of the etail, espe­ essay's purpose. It is the backbone of your essay, and everything in the essay will le work so connect to it. Working with the prompt above, let's consider the poem's style and structure. Looking back at what we've noted about "Slam, Dunk, & Hook" in the annotations, we see many vivid images of action, grace, beauty, and the players' "sprung rhythm." We also find danger: the danger of a "roundhouse I Labyrinth:' and "Trouble ... •rmulate a slapping a blackjack I Against an open palm." The players are also "Beautiful & dan­ ea of your gerous:' and when they are on the court they are able to outmaneuver the "bad rou with a angels" in their lives. The game seems to help the players both escape the world, and i

nyakaa's Organizing a Close Analysis Essay tball. Once you have an idea for a thesis statement-and, remember, it can change as you plan and write-think about the way you will support it. Look back at the text and at your notes. Think about the ideas that inspired your thesis. Your essay might be organized around the style elements, with a paragraph each on vivid images, clas­ sical allusions, and metaphor, in the case of our sample thesis statement. Or you IUde could approach it a different way: you might groJ.lp your ideas according to the dif­ ferent attitudes the speaker has about basketball, with one paragraph on the beauty of the game, another on how it serves as escape from the troubles of everyday life, lans to and another on how basketball helps the players transcend themselves, becoming o focus mythical, metaphysical. FROM ANA 46 CHAPTER 2 • CLOSE READING

"Slam, Dunk, & I You've probably noticed that the thesis we developed is likely to lead to a five­ 0 paragraph essay. Perhaps you've been warned to stay away from this organization force of the rhythm, P "' because it is formulaic or prescriptive. We agree: stay away from the formulaic or pre­ lines describe the moti01 scriptive. However, the five-paragraph essay may or may not fall into that category. maneuvers, yet the shor There's no rule that says that every question or topic wiiJ fit neatly into an introduc­ beat of a basketball beir tion, three body (or developmental) paragraphs, and a conclusion. Yet if you happen using a fragment such a to have three points to make, you'll end up with five paragraphs that could form a out," Komunyakaa lets < cogent and insightful essay. That image captures thE their best shots. Enjaml Integrating Quotations suspends the moment i: Komunyakaa ends seve1 The following essay uses brief quotes from the poem as textual evidence, a word or being in flight. They "c1 two woven into the writer's own sentence. For longer quotations, a forward slash Up," and they "feint, I mark indicates a line break. You will notice that each of the examples is explained. suggests motion and SJ In fact, it's a good idea to aim for a sentence or two of explanation, sometimes The poem flow called commentary or analysis, for each of your examples. If you need more help with integrating quotations smoothly into your own sentences, see page 152 in "corkscrew," "exploded Chapter 4. emphasizes the sheer · our bodies 1 Created." they sweat and dribbl1 Documenting Sources emphasize their powe1 In a close analysis essay, you are likely only writing about one text, so you won't need motor 1 Double-flashi: a formal Works Cited page. Your teacher may ask you to use line numbers to identify last image, combininQ where your quotations can be found, but with a short poem or passage of fiction it is more than just basl may be unnecessary. If you do add line numbers, they should go in parentheses after The classical the quotation mark and before your punctuation, like this: that these players b• Described as a "roundhouse I Labyrinth" (U. 6-7), the activity on the court ... reference to Mercur~ insignia on a player' A Sample Close Analysis Essay with speed, flight, < epic sensibility, and Read the sample essay here, and respond to the questions at the end. could almost I Last They become so swi The Beauty and Danger of Basketball angels." The speake when he says, "We Carlton Curtis transcend their ph~ lifts them to a higl In "Slam, Dunk, & Hook," African American poet Yusef Komunyakaa moves from a description of the physicality of basketball to a philosophical reflection on possibilities. Yet they a1 the lives of the players. Written in terse lines, this poem embodies the energy of court develops as young athletes on the court, set against the stark backdrop of the society they live "outmaneuver[ed] in. Vivid images, classical allusions, and metaphors characterize the game that is both escape and transcendence for its players. movement gives "' FROM ANALYSIS TO ESSAY: WRITING A CLOSE ANALYSIS ESSAY 47

ly to lead to a five- "Slam, Dunk, & Hook" is an exaltation of the sport of basketball and the 1 this organization force of the rhythm, power, and grace it inspires in its players. The beginning e formulaic or pre­ lines describe the motion of shots in basketball as swift and beautiful, ballet-like into that category. maneuvers, yet the short lines pulse with their own energy, conveying the steady Y into an introduc­ beat of a basketball being dribbled down the court or maybe even a drum beat. By . Yet if you happen using a fragment such as "Nothing but a hot I Swish of strings like silk I Ten feet that could form a out," Komunyakaa lets an image replace the measured thought of a full sentence. That image captures the quick movement and vitality of the players as they take their best shots. Enjambment, such as "A high note hung there I A long second," suspends the moment in time, making the reader part of the "long second." In fact, tidence, a word or Komunyakaa ends several lines in midair, as it were, giving a feeling of the players s, a forward slash being in flight. They "could almost I Last forever, poised in midair," they "corkscrew I 1ples is explained. Up," and they "feint, I & glide." Even the ampersand that replaces the word "and" ation, sometimes suggests motion and speed. 1 need more help The poem flows with exuberant motion, captured in verbs such as , see page 152 in "corkscrew," "exploded," "tangled," "splintered," and "Double-flashing." Komunyakaa emphasizes the sheer physicality with images such as "the roundhouse I Labyrinth our bodies I Created." These players are "AU hands & feet ... sprung rhythm"; they sweat and dribble. The comparisons created by similes and metaphors power. They "glide like a sparrow hawk," their "Muscles were a bright 1o you won't need emphasize their mbers to identify motor I Double-flashing," and their "bodies spun I On swivels of bone & faith." That ssage of fiction it last image, combining both concrete and abstract words, is a reminder that this game parentheses after is more than just basketball to them. The classical allusions to Mercury, a labyrinth, and sea monsters suggest that these players become more than just kids on the street. Although the 1 the court ... reference to Mercury-the Roman messenger of the gods -starts as an actual insignia on a player's sneakers, the symbol also associates the players' movement with speed, flight, and purpose. They are imbued with a mythical power, an I. epic sensibility, and are frozen in time with their youthful beauty intact: "we could almost I Last forever, poised in midair I Like storybook sea monsters." They become so swift that they can "outmaneuver[ed] the footwork I Of bad angels." The speaker sums up the mythical power of the players on the court when he says, "We were metaphysical when girls I Cheered on the sidelines." They transcend their physical and perceived limitations and play as the chorus of fans 3kaa moves lifts them to a higher state of being. They may not be gods, but they have mythic lection on possibilities. !nergy of Yet they are not aU grace and beauty. The struggle on the basketball ty they live court develops as a metaphor for the lives of these players, trying to .e that is "outmaneuver[ed] the footwork I Of bad angels." The description of muscle and movement gives way in the second half of the poem to a passage about the --- •

FROM AN.A 48 CHAPTER 2 • ClOSE READING death of Sonny Boy's mother, a loss he copes with by escaping to the court: "He played nonstop aU day, so hard I Our backboard splintered." Sonny Boy's crisis, EDWARD HIRSCH the speaker seems to be saying, is not the exception because "Trouble I Was (In Memory of Denni: there slapping a blackjack I Against an open palm." Trouble is part of the lives A kisses of these young men, who play with a powerful intent in their hearts, the intent hangs there, helplE to defy the limitations of their bodies and the limitations of their fortunes as young black men in America. They vent their frustrations on the steel rims and and for once our ~ boxes out his man backboards of street ball courts and dream of breaking whatever boundaries that personified "Trouble" brings. perfectly, gatherin The game of basketball is a release for the players in the poem, whether from the air like a from the perceived limitations of their youth or perhaps racial or economic barriers. and spinning ar01 The young men lose themselves on the court, wishing to manipulate their lives as to the outlet who effortlessly as they do the ball. They know they must fight to soar and excel beyond an underhand pa their station of second-class citizens. In the end, the game is not just an escape but scissoring past a an exercise in transcendence, where the stakes are control, freedom, and possibility. who looks stunne The intensity and concentration of losing themselves in basketball becomes a "lyric in the wrong dire slipknot I Of joy." These young men are not only confident but also menacing in the of a high, glidin~ knowledge that they are both "Beautiful & dangerous." letting the play d

in slow motion, < Questions like a coach's dr both forwa rds r< 1. Examine the relationship between the thesis and the topic sentences. Do you think the way that for· the basic structure of the essay is effective or ineffective? Why? 2. Paragraphs 2 and 3 discuss vivid imagery, but the second paragraph focuses on and filling the lc how syntax conveys those images. Should syntax have been specified in the thesis? together as brot Explain. between them v 3. How does the essay support its argument with evidence from the text? Cite a a single bounce paragraph that you find especially effective and explain why. until the guard 4. The student writer argues that the basketball players are using the sport to over­ and commits to come racial and economic challenges. To what extent do you think that the textual evidence supports this interpretation? while the powe 5. What is another argument you might make based on a close reading of "Slam, in a fury, takin! Dunk, & Hook"? It does not have to contradict this student's interpretation by himself nov. entirely but rather offer another way to read the poem or a different conclusion against the glc than the one drawn in this sample essay. but losing his l inexplicably fc with a wild, h' • ACTIVITY • for the game l

Read the following poem by Edward Hirsch. Then use one of the close read­ and swiveling ing techniques you've learned to generate ideas for a thesis statement and floating perfe, several topic sentences for a close analysis essay. FROM ANALYSIS TO ESSAY: WRITING A CLOSE ANALYSIS ESSAY 49 ourt: "He Fast Break r's crisis, EDWARD H IRSCH 1 Was :he lives (In Memory of Dennis Turner, 1946-1984) 1e intent A hook shot kisses the rim and nes as hangs there, helplessly, but doesn't drop ims and and for once our gangly starting ries that boxes out his man and times his jump perfectly, gathering the orange leather !ther from the air like a cherished possession barriers. and spinning around to throw a strike es as to the outlet who is already shoveling beyond an underhand pass toward the other guard scissoring past a flat-footed defender 10 .sibility. "lyric who looks stunned and nailed to the floor gin the in the wrong direction, turning to catch sight of a high, gliding dribble and a man letting the play develop in front of him

in slow motion, almost exactly IS like a coach's drawing on the blackboard, you think both forwards racing down the court the way that forwards should, fanning out and filling the lanes in tandem, moving together as brothers passing the ball 20 between them without a dribble, without a single bounce hitting the hardwood until the guard finally lunges out and commits to the wrong man while the power-forward explodes past them 2s in a fury, taking the ball into the air · by himself now and laying it gently against the glass for a , but losing his balance in the process, inexplicably falling, hitting the floor 30 with a wild, headlong motion for the game he loved like a country and swiveling back to see an orange blur floating perfectly through the net. [1985] WORKING WITH T\ 50 CHAPTER 2 • CLOSE READING

Working with Two Texts: • ACTIVITY • The Comparison and Contrast Essay After rereading "Sl th e ch art with yoUJ You have probably written comparison and contrast essays in English or other larities and differe: classes. Essay questions that ask you to compare and contrast two poems or prose might add rows fo passages are common in the classroom as well as on standardized tests. They require characteristics tha· close reading, of course, but as you read you will also be looking for elements that the two works have in common -or that set them apart. The prompt will frequently give you an idea of what connects the two texts on the surface-often the subjects are the same-but your task is to develop an argument that goes beyond those Developing a The surface similarities or differences. Developing your thesi Since you have already worked with two poems that are about basketball, let's assignment is simply t~ consider what else "Slam, Dunk, & Hook" and "Fast Break" have in common and what ifyo u want to focus pn makes them different. As you plan a comparison and contrast essay, you might want to literary elements you" make a graphic organizer, such as the one below, that will help you generate ideas about ideas) next to each otl.' the similarities and differences in situation, speaker, imagery, or tone, to name a few. ous. For instance, the I there's probably not n TITLE "Slam, Dunk, & Hook" "Fast Break" examine how the gam SITUATION Playing pick-up basketball Playing organized basketball issues, such as how 01 outdoors in a gym as if it's happening n< reports. One is jerky,· SPEAKER First person. The speaker Also first person, as indicated If you are given ( OF VIEW) recollects a time when he by "our," line 3. The speaker determine the specifi played basketball with friends. describes a particular play, a "fast break" in a game. Basketball figures and Edward Hirs IMAGERY Vivid and powerful: "hot I Graceful and picturesque: Swish of strings like silk," "the "A hook shot kisses the rim," analyzing the lite roundhouse I Labyrinth," "gathering the orange leather I the game of bask "corkscrew I Up & dunk balls from the air," "who looks Even though this pr< that exploded," "AU hands & stunned and nailed to the you. First, it directs Y' feet . . . sprung rhythm," "so floor," "fanning out I and filling Whether the promp hard I Our backboard splintered," the lanes in tandem," "for the "resources of languz "slapping a blackjack I Against game l:te loved like a country," consider the writer' an open palm," "feint, I & glide "an orange blur I floating toward the game of like a sparrow hawk" perfectly through the net" can craft a thesis, y< SYNTAX Combination of fragments ("Fast The entire poem is one long How is the relation: breaks. Lay ups," "Nothing but a sentence broken up by ferent? Usually you hot I Swish of strings like silk I Ten enjambment . It feels run-on ferences. For instan feet out") with the enjambment but actually is not. The syntax to communicate tl of complete sentences throughout evokes the graceful flow of a are, however, quite ("We were metaphysical when fast break. The poem describes, memories through girls I Cheered on the sidelines," in its seventeen couplets, one Remember th "We had moves we didn't know I play, the "fast break" of the We had") title. Basketball : WORKING WITH TWO TEXTS: THE COMPARISON AND CONTRAST ESSAY 51

• ACTIVI1Y •

After rereading "Slam, Dunk, & Hook" and "Fast Break," continue to fill in sh or other the chart with your own observations about some of the poems' other simi­ ms or prose larities and differences. In continuing to fill out this graphic organizer, you fhey require might add rows for theme, rhythm, allusion, figurative language, or other ements that characteristics that you find significant. ll frequently the subjects !yond those Developing a Thesis Statement

lketball, Jet's Developing your thesis depends in large measure on the question you're asked. If your )nand what assignment is simply to compare and contrast these two poems, it's up to you to determine ightwant to ifyou want to focus primarily on differences or similarities and then decide which areas or ideas about literary elements you will analyze. Keep in mind that the purpose of putting two works (or arne a few. ideas) next to each other is usually to emphasize something that is not immediately obvi­ ous. For instance, the fact that both of these poems are about basketball is pretty obvious; there's probably not much point in contrasting a dunk with a fast break. However, if you examine how the game affects the players in these poems, you'll discover more interesting ;asketball issues, such as how one poem recalls past experience while the other presents the action· as if it's happening now. One presents memories and reflections; the other observes and ; indicated reports. One is jerky, with a "sprung rhythm;' while the other is more fluid. e speaker If you are given a prompt, you'll have clearer direction, but it is still up to you to ar play, determine the specifics of your analysis. Suppose you are given the following prompt: 'arne. Basketball figures prominently in both Yusef Komunyakaa's "Slam, Dunk, & Hook" lsque: and Edward Hirsch's "Fast Break." In an essay, compare and contrast the two poems, the rim," analyzing the literary devices each writer uses to explore the speaker's attitude toward ge leather 1 the game of basketball. looks to the Even though this prompt is pretty specific, it leaves many questions and decisions up to f and filling you. First, it directs you to analyze the literary devices, but it does not indicate which ones. ,""for the Whether the prompt asks for "literary devices," "stylistic devices;' "literary techniques;' I country;' "resources of language;' "literary elements;' or "formal elements;' you're being asked to lating consider the writer's language. Second, it asks that you "explore the speaker's attitude 'net" toward the game of basketball;' but it doesn't indicate what that attitude is. So before you ~ ne long can craft a thesis, you need to analyze the poems carefully and think about the themes. by How is the relationship between the game and the players in each poem similar or dif­ I run-on ferent? Usually you want to begin by finding the common ground, and then note the dif­ fhe syntax ferences. For instance, you could claim that in both of these poems the speaker attempts flow of a to communicate the beauty and excitement of playing basketball. The presentations describes, are, however, quite different. In the Komunyakaa poem, the speaker reflects, identifying ?lets, one memories through imagery, while the speaker in the Hirsch poem observes and reports. ''of the Remember that your thesis should not be too broad:

Basketball is central to both poems, but the poets use it in different ways. WORKING WITH TV 52 CHAPTER 2 • CLOSE READING

Your thesis should not focus too narrowly on the meaning of the poem without Thesis specifying which resources of language you intend to discuss: Although both 1 In both poems, the game of basketball is the means the poets use to experience, the dramatize the way the speaker is involved with the sport; however, each those experienc speaker's involvement is different. Topic Sentence 1 Nor should your thesis focus too narrowly on the resources of language and ignore In "Slam, Dunk the theme: fragmented rh) In these two poems, the point of view, images, and rhythmic structure of the and off the cm two poems are different. Topic Sentence 2 If we balance the two components-attention to the resources of language and In "Fast Break attention to meaning-we'll come up with a working thesis: the poem sug~ In both poems, the game of basketball is the means the poets use to on the court, dramatize an intense experience; however, the point of view, imagery, and If you are faced with rhythm of the two poems convey very different experiences. by-text approach esf This is only a working thesis, a draft to be used as a starting point-you can tell by addresses the promr the awkward language and repetition. It identifies the specific resources of language in an insightful readi the writer will discuss and begins to develop an interpretation of how the poets are poem, then the nex1 using those resources. The following revised thesis statement attempts, in a suc­ and conclusion emr cinct fashion, to narrow our scope of interpretation while maintaining focus on the in the body paragra resources of language that the poems share: Element-by-E/em• In these two poems, the point of view, imagery, and rhythm reveal the The alternative is t• relationship between the players and the sport they love, but a world of to discuss. ln the c difference separates the experience of basketball for each of the speakers. speaker in both po in both poems. Sh Organizing a Comparison and Contrast Essay but there are no h After you have created a thesis statement for your comparison and contrast essay, you ary elements you'1 need to consider how to organize your essay. In general, you have two alternatives: on each poem. As Rather than a tern Text-by-Text Organization about the best wa The chief ad One way to organize a comparison and contrast essay about two literary works is to comparing and cc divide it into a discussion of the works one by one. In the first developmental para­ sentence that foCI graphs, you could, for instance, discuss literary elements in "Slam, Dunk, & Hook," both poems, rem and then in the next paragraphs, discuss how those same elements are used similarly Consider thi or differently in "Fast Break." If you are under time constraints, you might write only one paragraph for each poem, but be careful that you don't try to include too much Thesis in a single paragraph. Instead, be sure that your paragraphs are clearly focused and In these t supported and that you draw connections between the two texts. the relati Let's consider an outline for an essay responding to the prompt about "Slam, differencE Dunk, & Hook" and "Fast Break." WORKING WITH TWO TEXTS: THE COMPARISON AND CONTRAST ESSAY 53

•oem without Thesis Although both Komunyakaa and Hirsch depict basketball as a transformative to experience, the rhythm and imagery in the poems show just how different , each those experiences are. Topic Sentence 1 ;e and ignore In "Slam, Dunk, & Hook," the prevalent images of struggle alongside the fragmented rhythm of the verse suggest that life is a battleground both on ure of the and off the court for the players. Topic Sentence 2 mguage and In "Fast Break," the fluid structure and positive connotations of the words in the poem suggest that the players are achieving a singular moment of grace on the court, which is intended to be appreciated as fine art. 'II· and If you are faced with time constraints or a restricted length, you might find this text­ by-text approach especially useful. An essay developed from this outline, for instance, ' can tell by addresses the prompt and, with the inclusion of strong textual support, could result language in an insightful reading of the two poems. Its structure is essentially two sections-one poem, then the next. This logical pattern can be effective as long as the introduction and conclusion emphasize the connections between the two poems that are analyzed in the body paragraphs.

Element-by-Element Organization The alternative is to organize the paragraphs around the literary elements you want to discuss. In the case of the thesis we're working with here, you could analyze the speaker in both poems, then the imagery in both poems, then the rhythmic structure in both poems. Should each paragraph refer to both works? In most instances, yes, but there are no hard and fast rules. If you have a lot to say about one of the liter­ ary elements you're analyzing, then break the discussion into two paragraphs, one on each poem. As always, form follows function when you are organizing an essay. Rather than a template, your own ideas and the m.aterial should guide your decisions about the best way to present an analysis. The chief advantage of this element-by-element organization is that you are comparing and contrasting as you go, rather than waiting until the end. After a topic sentence that focuses on the point you want to make, you would offer evidence from both poems, reminding the reader of the impact of the difference or similarity. Consider this outline for an essay organized according to literary elements: Thesis In these two poems, the point of view, images, and rhythmic structure reveal the relationship between the players and the sport they love, but a world of difference separates the experience of basketball for each of the speakers. 54 CHAPTER 2 • ClOSE READING WORKINGWil

Topic Sentence 1 Documenting S Though both poems are told from a first-person point of view, the speakers In a comparison a1 are connected to the game in different ways. won't need a form tions in which yot Topic Sentence 2 Described a While the two poets use syntax in a different manner, in both cases it basketball c establishes a rhythm that reflects the pace of the game. Described a

Topic Sentence 3 If the author c

The diction and imagery reflect the meaning of the game of basketball to Komunyakc: each speaker. slipknot I

Transitions A Sample Following is a sarr. Because you must juggle two works in a comparison and contrast essay, it is espe­ Read it, and then cially important that your transitions are effective. Here are some words and phrases you might use to help keep your work and its intentions clear:

COMPARISON TRANSITIONS CONTRAST TRANSITIONS There are 1 in comparison and others with pc in contrast Dunk, & Hook" by compared to on the one hand ... on the other hand of basketball and i like conversely equipment needed similar to from community t on the contrary likewise each poet is quite unlike Hook" would make also however poems, the point ' similarly although between the playe experience of basl in the same way yet Though be as in ... , so in the other still speakers are conn moreover but be observing as a even though gangly starting c1 right in the actio nevertheless this perspective a regardless speaker, watchin~ despite as the memory of while 1 Last forever," h speaker's tone inc WORKING WITH TV 56 CHAPTER 2 • CLOSE READING

beautiful complement to fact that he remembers so vividly and intensely emphasizes the lasting importance that the poets come fror the game had (or has) for him. likely different time per While the two poets use syntax in a different manner, in both cases it simple game, with a rou establishes a rhythm that reflects the pace of the game. In Komunyakaa's poem, sentence fragments along with the abundant use of periods and commas within Questions sentences emphasize the poem's truncated beat, which could be the beat of a basketball bouncing off the court, or the heartbeat of the players in excited motion. l. Is the introductior The abrupt and short lines suggest a combative and harsh pace. In contrast, Hirsch's tive, how could it ' poem is one long sentence divided into couplets through enjambment, creating a 2. Why are there two fluid rhythm to express the grace in this one continuous play. The long sentence, you think that div 3. In what ways are consisting of multiple clauses and descriptive phrases, suggests that this poem, like and differences b• the play, is a team effort dependent on many small parts. The different syntax of 4. Do you agree wit these poems defines the rhythm of two different games. the interpretatior The diction and imagery reflect the meaning of the game of basketball to each 5. What other liter ~ speaker. Hirsch's words have positive connotations: "kisses," "cherished possession," and 6. What suggestion "together" demonstrate his sense of companionship that is fostered in the sport. They are not mere fellow team members, but "brothers" who share a common purpose. This point is made explicit when the speaker refers to the forward who is playing "the game he • ACTIVITY loved like a country." Komunyakaa's word choice reflects the energy and anger expended Read "Travelin~ during the game. The players are not merely young men-they are almost god-like, by Maxine Kurr with "Mercury's I Insignia on [their] sneakers." Komunyakaa evokes the shattering of a mals. Plan and young man's emotional core when the "backboard splintered" in his attempt to forget the resources o about the loss of his mother. The language expresses the aggressive manner in which between the sp they play, as well as the society they come from. It is an aggressive game where even their graceful motions have violent undertones- they "glide" not like sparrows, but like "sparrow hawk[s]". Yet while Komunyakaa's basketball is a more physical demonstration tl of the game than Hirsch's, the same vitality of spirit can be found in each poem. Like WilLIAM STAF Komunyakaa's players who "rolled the ball off [their] I Fingertips," Hirsch's lay the ball Traveling thr• "gently I against the glass." dead on the These two poets create different visions of their world and game by the It is usually I imagery they employ. Hirsch creates a gentler, more tender image as a "hook shot that road is rim." kisses the In contrast, Komunyakaa uses imagery of war, power, and brute By glow of force: the players are alternately "storybook sea monsters," birds of prey, and boys and stood~ with god-like speed. Basketball was not merely a game to the speaker in "Slam, she had stif Dunk, & Hook," but a battle, similar, we can assume, to the one he waged outside I dragged I the court. My fingers In their poems, Edward Hirsch and Yusef Komunyakaa describe the physical her side w• dimensions of the sport of basketball. In doing so, they not only articulate the alive, still, meaning of a moment of time in their players' lives, but also expose the world in Beside tho which they live. Komunyakaa's game has its origin on the streets, and his diction demonstrates the roughness of those streets, while Hirsch's graceful depiction of The car ai under the the sport demonstrates a more benign view of the world. For Hirsch, the game is a WORKING WITH TWO TEXTS: THE COMPARISON AND CONTRAST ESSAY 57

10rtance beautiful complement to life. For Komunyakaa, it is the battle that is life. It is clear that the poets come from different neighborhoods, different communities, and most it likely different time periods. But what is even clearer is the manner in which this •em, simple game, with a round ball, touched and shaped their lives. hin a Questions motion. 1. Is the introduction effective? Explain why or why not. If you believe it is not effec­ Hirsch's tive, how could it be improved? ing a 2. Why are there two separate paragraphs for the analysis of imagery? Explain whether ence, you think that dividing the analysis into tw·o paragraphs was a good decision. !m, like 3. In what ways are transitions used within this essay to emphasize the similarities ax of and differences between the poems? 4. Do you agree with the essay's argument? Explain why or why not. Which parts of the interpretation do you find most persuasive? questionable? ~each 5. What other literary elements might you have used to make a similar argument? •n," and 6. What suggestions can you offer for polishing the essay? They are is point ! he • ACTIVITY • q>ended Read "Traveling through the Dark" by William Stafford and "Woodchucks" ke, by Maxine Kumin, two poems in which a speaker considers the death of ani­ 1g of a mals. Plan and write a comparison and contrast essay in which you analyze Jrget the resources of language Stafford and Kumin use to reveal the relationship ~ch between the speakers and the animals. even JUt like Jation Traveling through the Dark Like WILLIAM STAFFORD te ball Traveling through the dark I found a deer dead on the edge of the Wilson River road. he It is usually best to roll them into the canyon: shot that road is narrow; to swerve might make more dead. tte By glow of the tail-light I stumbled back of the car 5 boys and stood by the heap, a doe, a recent killing; m, she had stiffened already, almost cold. :side I dragged her off; she was large in the belly.

;ical My fingers touching her side brought me the reason­ her side was warm; her fawn lay there waiting, 10 alive, still, never to be born. n Beside that mountain road I hesitated.

The car aimed ahead its lowered parking lights; sa under the hood purred the steady engine. 58 CHAPTER 2 • CLOSE READING

I stood in the glare of the warm exhaust turning red; IS around our group I could hear the wilderness listen. I thought hard for us all-my only swerving-, then pushed her over the edge into the river. {1962) The Big Woodchucks Fiction MAxiNE KUMIN

Gassing the woodchucks didn't turn out right. The knockout bomb from the Feed and Grain Exchange was featured as merciful, quick at the bone and the case we had against them was airtight, both exits shoehorned shut with puddingstone, 5 but they had a sub-sub-basement out of range. In Chapter 2, Next morning they turned up again, no worse through a mic for the cyanide than we for our cigarettes levels and how those and state-store Scotch, all of us up to scratch. this chapter, we will t They brought down the marigolds as a matter of course 10 When someone • and then took over the vegetable patch describing what hapf nipping the broccoli shoots, beheading the carrots. enjoy a good page-tu and the ideas the pie• The food from our mouths, I said, righteously thrilling these pieces, plots m; to the feel of the .22, the bullets' neat noses. which play out in a 1 I, a lapsed pacifist fallen from grace 15 view. Sometimes the puffed with Darwinian pieties for killing, uses these elements 1 now drew a bead on the littlest woodchuck's face. ary elements work a: He died down in the everbearing roses. the meaning of the ' Ten minutes later I dropped the mother. She flipflopped in the air and fell, her needle teeth 20 still hooked in a leaf of early Swiss chard. Elements of Fict Another baby next. 0 one-two-three the murderer inside me rose up hard, Plot the hawkeye killer came on stage forthwith. Essentially, plot is There's one chuck left. Old wily fellow, he keeps 25 events; authors m1 me cocked and ready day after day after day. logical cause-and-< All night I hunt his humped-up form. I dream happening but alsc I sight along the barrel in my sleep. have to be realistic. If only they'd all consented to die unseen gassed underground the quiet Nazi way. 30 [1972) {1962] The Big Picture: Analyzing Fiction and Drama

n Chapter 2, we talked about close reading-a way to look at texts as if I through a microscope, examining writers' choices on the word and sentence levels and how those choices affect the meaning of a poem or passage of fiction. In this chapter, we will take a step back and look at the bigger picture. When someone asks us about a novel, play, or short story, we usually respond by describing what happened, retell ing the plot in our own words. After all, who doesn't enjoy a good page-turner? But in literary fiction and drama, the way the story is told and the ideas the piece explores may be just as important as the events of the plot. In these pieces, plots may be built on conflicts within a character or between characters, which play out in a particular setting. The story is told to us from a certain point of view. Sometimes there are symbols that carry more than a literal meaning. An author uses these elements to deliver a message or theme. By studying how all of these liter­ ary elements work and work together, we can begin to understand how they produce the meaning of the work as a whole.

Elements of Fiction

Plot Essentially, plot is what happens in a narrative. Yet plot is more than a series of events; authors must arrange conflicts, complications, and resolutions to create logical cause-and-effect relationships. Readers must understand not just what is happening but also why it's happening. A plot must be believable, though it doesn't have to be realistic.

{1972]

59 CHAPTER 3 • THE BIG PICTURE

A conventional narrative-whether in a short story, novel, or play-typically Let's look at a ~ five main stages: Nobel Prize-winnin climax Monday downe and o very ear mounted in thei1 1 instruments whi• 0 collarless stri~ by suspenders. the situation, th exposition t denouement t When he 'ncitmt:~ "'".A ...... ree,ofut•on dental choir on about what he Exposition: This opening section provides background information about the even when he characters, setting, and situation, describing the nature of the conflict, which is generally an unstable situation. After eight sow two pensi\ • Rising action: After an inciting incident, the conflict and complications for the of the house ne main character begin to build. rain again. ThE • Climax: The climax occurs when the emotional tension or suspense of the plot "Papa." reaches its peak. The climax may include a turning point where the fortunes of "What?" the protagonist improve (in comedy) or worsen (in tragedy). Building to the "The May climax usually occupies most of a story, and what follows is comparatively brie£ "Tell him • Falling action: This section details the result (or fallout) of the climax or turn­ He was F ing point. In this phase, the conflict gets resolved. with his eyes 1 "He says • Denouement (pronounced day-noo-mah): This French word means "untying The denti the knot." In this often very brief phase, the conflict has been resolved, and bal­ with the finish ance is restored to the world of the story. In fairy tales, this phase is often repre­ "So mud sented by a single sentence: "And they lived happily ever after." The denouement He open was traditionally used to tell "the moral of the story;' but writers in the twentieth cardboard b< and twenty-first centuries frequently close without this final resolution, leaving readers to ponder the possible meanings of what came. before. the gold. "Papa." It bears repeating that this is a structure for traditional narratives and was originally "What?'· used to describe Greek and Shakespearean plays. Most modern stories do not follow He still ~ this model exactly, and it can be interesting to investigate how and where they depart "He soy from it. Without Plot may follow a chronological sequence, particularly in realistic fiction and the drill, pusl drama, but sometimes writers deliberately present events in a manner that requires all the way c readers to assemble them into a cohesive pattern. A story may begin in medias res, me. " a Latin term meaning "in the middle of the action"-that is, just as an important He rolle event is about to take place. Homer's Iliad, for example, opens not in the first year of the drawer. the Trojan War but after nine years of fighting. Writers may also employ flashback face, but the to describe events that have taken place before the story begins, or foreshadowing to sow many r hint at things that might happen later in the story. fingertips or