Preparation for 2

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Rutgers University, Newark *

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English

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Feb 20, 2024

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Mia Castillo English Composition 102 Professor Stoner 5 February 2024 Preparation for 2.5 Class 1. Look at the opening two paragraphs. What strategies does Machado use to draw the reader in? a. The beginning of Carmen Maria Machado’s “The Trash Heap Has Spoken” is quite captivating. The author uses various literary techniques, such as vivid descriptions, personal anecdotes, and nostalgic references, to engage the reader. Machado describes her grandmother in such a way that the reader can almost picture her as a mountain adorned with jangling jewels and emitting the scent of White Diamonds. This sensory language immediately draws in the reader’s imagination. Moreover, the author establishes a personal connection by describing her childhood fascination with her grandmother’s unbound and soothing body. To make the piece even more relatable, she includes pop culture references such as Fraggle Rock and The Little Mermaid, which invites the readers to connect with the author’s experiences, By blending these different elements, Machado creates an enticing introduction that effectively draws the reader into the narrative with a mix of sensory detail, relatability, and a touch of whimsy. 2. How does Machado describe the fat women and characters she encounters early in life? What is the relationship between these memories and the woman Machado seeks to become? a. Machado vividly describes the fat women and characters from her childhood that left a lasting impression on her. Her grandmother, Marjory the Trash Heap from Fraggle Rock, and Ursula from The Little Mermaid are all portrayed as powerful and mesmerizing figures who challenge societal norms by embracing their voluminous bodies. These memories inspire Machado to challenge expectations, embrace her body, and embody the boldness of taking up space in a world that
often marginalizes larger bodies. Through these early encounters and the woman she aspires to become, Machado finds empowerment and unapologetic self- acceptance. The memories of solid and fat women encourage her to reject narrow beauty standards and instead draw strength from the audacity of those who refuse to conform. 3. On p. 4, Machado writes, “In this way, I see myself in pieces, mostly, and have to assemble my body in my mind. It isn’t like my mother and the woman buying the peppers; I’m not disgusted or afraid. I just want to know what I look like to other people. And every so often, I get to see all of those pieces together, and it feels like the reverberations after an orgasm—a low, deep satisfaction.” Why do you think Machado describes this satisfaction as orgasmic? How does this relate to Audre Lorde’s concept of the erotic? a. Carmen Maria Machado's description of the rare experience of seeing all the parts of her body together as "the reverberations after an orgasm—a low, deep satisfaction" draws a vital and bodily comparison. It is worth considering that the language used here may be in line with Audre Lorde's idea of the erotic as a means of both empowerment and emancipation. Lorde's perspective on the erotic is not limited to sexuality but rather encompasses a profound, self-validating energy that is connected to our sensual experiences. In Machado's work, the use of vivid orgasmic imagery implies that the contentment one feels about constructing their body in their thoughts goes beyond just enhancing physical appearance and delves into building a more substantial, positive relationship with oneself. The passage explores how Machado's relationship with her body has the potential to transform her, showcasing moments where she finds strength and fulfillment in embracing herself. By likening this experience to that of an orgasm, the passage emphasizes the powerful and euphoric feeling that comes from being self-aware and accepting, which is consistent with Lorde's view of the erotic as a life-affirming and empowering energy. 4. How would you describe Machado’s writing style? How does she use description to make her points?
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