Travesia . "To Write To Be A Writer, I Have To Trust And

The three ways that one’s Christian faith motivates him or her towards excellence in writing would be faith, honesty, and loving others. Humanity since the start has communicated through various types of writing. Writing has advanced from the stone age period of drawing into something that progressions a man's thought. History has shown that writing is essential in reaching the intended audience. For example, Biggs stated that, “when an officer develops a reputation as a good report writer, others look to her or him as a mentor. The struggling officers tend to emulate the writing style of the “good writer” and begin to use the same phraseology and word choice,” (Biggs, 2016). In light of the content and presentation of writing one may form

Based on his argument using a piece of story from his past, the writer conceptually supported his explanatory point of views on how skills can be developed with a passion of understanding the writer’s intention. I believe that the writer of this article addressed fundamental thoughts that should be useful in the process of reading as a writer, and on how to become a better writer.

Writing is a powerful tool for communication and connection. As an extension and expression of the mind, writing is as much about the mental processes of the author as it is about the final marks laid to paper. As we write, we hold in mind our own thoughts on the work, anticipate the reader’s thoughts, and think both in concrete and abstract ways in order to accomplish the task at hand. Whether an academic research paper, a novel, or text message to friends, writing seeks to engage, persuade, or impress concepts upon an audience. Like language and other art forms in general, the practice of writing is ever-evolving and is subject to cultural and contextual influence, expectations, and conventions. Each writer holds a theory

Gloria Anzaldúa was a Texas-born, lesbian, Latina, feminist, that wrote about many of her personal experiences and views of the diverse background she grew up in. Growing up a certain culture at home and being in a country with a different culture, brings along a lot of self-identifying issues. Gloria Anzaldúa uses various strategies and languages to write this powerful piece by code-switching, quoting others, diction, and rhetorical questions. Anzaldúa’s “How to Tame a Wild Tongue” speaks about the social issues that Latinos face involving identity, language, and sexism.

Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been

Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously

In Gloria Anzaldua’s Borderlands/La Frontera, she uses her own personal experiences growing up and living near the border that separates the United States and Mexico. Anzaldua makes us reexamine the purpose of a border and the negative effects that come with it. Since she lives close to the border, she cannot completely identity herself as an American nor would she be able to call herself Mexican. As a Chicana, she did not know where she belonged in society. The two cultures she lived under put her in this constant state of transition. The struggles she faces strongly resembles the ones that Piri Thomas faces in his novel Down These Mean Streets. Despite the fact that Thomas was actually of Puerto Rican and Cuban descent, many people failed to recognize him as such and saw him as an African-American.

As a placebo for a changing guard, La Virgen de Guadalupe proved highly successful. The iconic image of La Virgen de Guadalupe remains static in both form and symbolism until the mid twentieth century, when a new movement among Mexican-Americans emerges in California, dubbed the Chicano movement. As visual propaganda becomes a large part of the movement, a significant body of art with common themes and styles, known as Chicano art, follows. This shift in subject matter among Mexican-American artists toward a specific social and political agenda began earlier, as evidenced by the work of Rivera, Orozco, and Posada, but, it isn’t until the mid 1960’s that national or religious iconographic images are recycled to support a larger political or social agenda.

Everyone knows what writing is to one extent or another, but we all have different definitions of how it should be done and varying degrees of seriousness about the art. We all have a process of writing, but each is unique to ourselves and our own experiences. Annie Dillard and Stephen King are two well known authors who have published many pieces, two of which describe how they view the writing process and let their readers get a peek of what goes on through their minds when they write. These two pieces are Dillard’s The Writing Life and King’s “What Writing Is.”

The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that

The story illustrates the overlapping influences of women’s status and roles in Mexican culture, and the social institutions of family, religion, economics, education, and politics. In addition, issues of physical and mental/emotional health, social deviance and crime, and social and personal identity are

Anzaldua identifies as a part of an emerging new mestiza consciousness and community, which strives to move beyond simple dualistic thinking and endeavors to “act and not react” This important contradiction lies at the heart of Anzaldua’s analysis. “From this racial, ideological, cultural, and biological cross-pollicization, an ‘alien’ consciousness is presently in the making — a new mestiza consciousness, una conciencia de mujer. It is a consciousness of the Borderlands.” (Anzaldua, 1987, 420). Anzaldua’s proposition of the new consciousness mediates social relations, revolutionary social change, and its wider relevance to feminist theory through discussions of the Borderlands and its implications for ‘identity.’

In the reading of “Borderlands/ La Frontera” by Gloria Anzaladúa we explore the idea of breaking down our own physical borders as well as invisible borders within as we connect with the narrator and her experiences. We can draw many parallels between the reading of Borderlands and “A Different Mirror” by Ronald Takaki. Both readings allow immerse you in the life of being the Other in society, through stories they share, emotions expressed through their writings and by using evidence of dominance between races. In Takaki we see the Other as a race, whereas in Borderlands, we see it as more than just race, it is an identity. In Borderlands we see a prime example of this when she says “As a lesbian I have no race…I am all races because there is a queer of me in all races” (Page 181 “Borderlands/ La Frontera” by Gloria Anzaladúa). Takaki describes Other as “different, inferior, and unassimilable” (Page 4 “A Different Mirror” by Ronald Takaki). As the readings develop, we are given the opportunity to put ourselves in the Others shoes allowing you to sympathize with those who may be “different.” It is as if the authors do this on purpose, especially for the white cultures who in the Others eyes like to put themselves on a pedestal. Though many may argue with this idea of the Other, it is something that people of all races should think about so that we can effectively work together to break down the borders we have built between cultures, sexualities, spiritualities and

To begin my conclusion John Green said this quote “Writing is something you do alone. It’s a profession for introverts who want to tell you a story but don’t want to make eye contact while doing it.” I’m not a writer I dislike doing things alone or being by myself for that matter. It is too quiet and it leaves me with time to think for myself. Most writers write because they have something they want to

Since before the beginning of this creative writing course, I have always struggled to find a point to writing. By this, I mean that I always felt that having great skill and talent was what was required to be a writer, let alone a great one. From this point, I felt there was no need to continue my writing as I felt that in a sense it just wasn't good enough. However, reading the article "A Way of Writing", I found new hope. Here was a writer who says things such as "I must be willing to fail. If I am to keep on writing, I cannot bother to insist on high standards. I must get into action and not let anything stop me, or even slow me much"(Stafford) and quotes that writers don't necessarily have any special talent. The article "Why I Write" instilled further optimism through the authors view on just being a writer, not focusing on being good or bad. I found her words in which she writes "entirely to find out what I'm