Skip to main content
Humanities LibreTexts

2.4.2: Model Texts by Student Authors

  • Page ID
  • \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

    ( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\id}{\mathrm{id}}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\kernel}{\mathrm{null}\,}\)

    \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\)

    \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\)

    \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

    \( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

    \( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

    \( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vectorC}[1]{\textbf{#1}} \)

    \( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

    \( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

    \( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

    \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)

    Model Texts by Student Authors

    To Suffer or Surrender? An Analysis of Dylan Thomas's "Do Not Go Gentle into That Good Night" 83

    Death is a part of life that everyone must face at one point or another. The poem "Do Not Go Gentle into That Good Night" depicts the grief and panic one feels when a loved is approaching the end of their life, while presenting a question; is it right to surrender to death, or should it be resisted? In this poem, Dylan Thomas opposses the idea of a peaceful passing, and uses various literary devices such as repetition, metaphor, and imagery to argue that death should be resisted at all costs.

    The first thing that one may notice while reading Thomas's piece is that there are key phrases repeated throughout the poem. As a result of the poem's villanelle structure, both lines "Do not go gentle into that good night" and "Rage, rage against the dying of the light" (Thomas) are repeated often. This repetition gives the reader a sense of panic and desperation as the speaker pleads with their father to stay. The first line showcases a bit of alliteration of n sounds at the beginning of "not" and "night," as well as alliteration of hard g sounds in the words "go" and "good." These lines are vital to the poem as they reiterate its central meaning, making it far from subtle and extremely hard to miss. These lines add even more significance due to their placement in the poem. "Dying of the light" and "good night" are direct metaphors for death, and with the exception of the first line of the poem, they only appear at the end of a stanza. This structural choice is a result of the villanelle form, but we can interpret it to highlight the predictability of life itself, and signifies the undeniable and unavoidable fact that everyone must face death at the end of one's life. The line "my father, there on the sad height" (Thomas 16) confirms that this poem is directed to the speaker's father, the idea presented in these lines is what Thomas wants his father to recognize above all else.

    This poem also has many contradictions. In the fifth stanza, Thomas describes men near death "who see with blinding sight" (Thomas 13). "Blinding sight" is an oxymoron, which implies that although with age most men lose their sight, they are wiser and enlightened, and have a greater understanding of the world. In this poem "night" is synonymous with "death"; thus, the phrase "good night" can also be considered an oxymoron if one does not consider death good. Presumably the speaker does not, given their desperation for their father to avoid it. The use of the word "good" initially seems odd, however, although it may seem like the speaker rejects the idea of death itself, this is not entirely the case. Thomas presents yet another oxymoron by saying "Curse, bless, me now with your fierce tears" (Thomas 17). By referring to passionate tears as a blessing and a curse, which insinuates that the speaker does not necessarily believe death itself is inherently wrong, but to remain complicit in the face of death would be. These tears would be a curse because it is difficult to watch a loved one cry, but a blessing because the tears are a sign that the father is unwilling to surrender to death. This line is especially significant as it distinguishes the author's beliefs about death versus dying, which are vastly different. "Good night" is an acknowledgement of the bittersweet relief of the struggles and hardships of life that come with death, while "fierce tears" and the repeated line "Rage, rage against the dying of the light" show that the speaker sees the act of dying as a much more passionate, sad, and angering experience. The presence of these oxymorons creates a sense of conflict in the reader, a feeling that is often felt by those who are struggling to say goodbye to a loved one.

    At the beginning of the middle four stanzas they each begin with a description of a man, "Wise men... Good men... Wild men... Grave men..." (Thomas 4; 7; 10; 13). Each of these men have one characteristic that is shared, which is that they all fought against death for as long as they could. These examples are perhaps used in an attempt to inspire the father. Although the speaker begs their father to "rage" against death, this is not to say that they believe death is avoidable. Thomas reveals this in the 2nd stanza that "wise men at their end know dark is right" (Thomas 4), meaning that wise men know that death is inevitable, which in return means that the speaker is conscious of this fact as well. It also refers to the dark as "right", which may seem contradicting to the notion presented that death should not be surrendered to; however, this is yet another example of the contrast between the author's beliefs about death itself, and the act of dying. The last perspective that Thomas shows is "Grave men". Of course, the wordplay of "grave" alludes to death. Moreover, similarly to the second stanza that referred to "wise men", this characterization of "grave men" alludes to the speaker's knowledge of impending doom, despite the constant pleads for their father to resist it.

    Another common theme that occurs in the stanzas about these men is regret. A large reason the speaker is so insistent that his father does not surrender to the "dying of the light" is because the speaker does not want their father to die with regrets, and believes that any honorable man should do everything they can in their power to make a positive impact in the world. Thomas makes it clear that it is cowardly to surrender when one can still do good, no matter how small or seemingly insignificant.

    All these examples of men are positively associated with the "rage" that Thomas so often refers to, further supporting the idea that rage, passion, and madness are qualities of honorable men. Throughout stanza 2, 3, 4 and 5, the author paints pictures of these men dancing, singing in the sun, and blazing like meteors. Despite the dark and dismal tone of the piece, the imagery used depicts life as joyous and lively. However, a juxtaposition still exists between men who are truly living, and men who are simply avoiding death. Words like burn, rave, sad, and rage are used when referencing the prime of one's life. None of these words give the feeling of peace; however those alluding to life are far more cheerful. Although the author rarely uses the words "life" and "death", the text symbolizes them through light and night. The contrast between the authors interpretation of life versus death is drastically different. Thomas wants the reader to see that no matter how old they become, there is always something to strive for and fight for, and to accept death would be to deprive the world of what you have to offer.

    In this poem Dylan Thomas juggles the complicated concept of mortality. Thomas perfectly portrays the fight against time as we age, as well as the fear and desperation that many often feel when facing the loss of a loved one. Although the fight against death cannot be won, in "Do Not Go Gentle into That Good Night" Dylan Thomas emphasizes how despite this indisputable fact, one should still fight against death with all their might. Through the use of literary devices such as oxymorons and repetition, Thomas inspires readers to persevere, even in the most dire circumstances.

    Works Cited

    Thomas, Dylan. "Do Not Go Gentle into That Good Night." The Norton Introduction to Literature, edited by Kelly J. Mays, portable 12th ed., W. W. Norton & Company, 2015, pp. 659


    Christ Like 84

    in Raymond Carver's "Cathedral", the character Robert plays a Christ-like role. To mirror that, the narrator plays the role of Saul, a man who despised and attacked Christ and his followers until he became converted. Throughout the story there are multiple instances where Robert does things similar to miracles performed in biblical stories, and the narrator continues to doubt and judge him. Despite Robert making efforts to converse with the narrator, he refuses to look past the oddity of his blindness. The author also pays close attention to eyes and blindness. To quote the Bible, "Having eyes, see ye not?" (King James Bible, Mark, 8. 18). The characters who have sight don't see as much as Robert, and he is able to open their eyes and hearts.

    When Robert is first brought up, it is as a story. The narrator has heard of him and how wonderful he is, but has strong doubts about the legitimacy of it all. He shares a specific instance in which Robert asked to touch his wife's face. He says, "She told me he touched his fingers to every part of her face, her nose- even her neck!", and goes on to talk about how she tried to write a poem about it (Carver 34). The experience mentioned resembled the story of Jesus healing a blind man by putting his hands on his eyes and how, afterward, the man was restored (Mark 8.21-26). While sharing the story, however, the only thing the narrator cares about is that the blind man touched his wife's neck. At this point in the story the narrator still only cares about what's right in front of him, so hearing retellings means nothing to him.

    When Saul is introduced in the Bible, it is as a man who spent his time persecuting the followers of Christ and "made havoc of the church" (Acts 8.3-5). From the very beginning of the story, the narrator makes it known that, "A blind man in my house was not something that I looked forward to" (Carver 34). He can't stand the idea of something he'd only seen in movies and heard tell of becoming something real. Even when talking about his own wife, he disregards the poem she wrote for him. When he hears the name of Robert's deceased wife, his first response is to point out how strange it sounds (Carver 36). He despises Robert, so he takes out his aggression on the people who don't, and drives them away.

    The narrator's wife drives to the train station to pick up Robert while he stays home and waits, blaming Robert for his boredom. When they finally do arrive, the first thing he notices about Robert is his beard. It might be a stretch to call this a biblical parallel since a lot of people have beards, but Carver makes a big deal out of this detail. The next thing the narrator points out, though, is that his wife "had this blind man by his coat sleeve" (Carver 37). This draws the parallel to another biblical story. In this story a woman who has been suffering from a disease sees Jesus and says to herself, "If I may but touch his garment I shall be whole" (Matt. 9.21). Before they had gotten in the house the narrator's wife had Robert by the arm, but even after they were at the front porch, she still wanted to hold onto his sleeve.

    The narrator continues to make observations about Robert when he first sees him. One that stood out was when he was talking more about Robert's physically, saying he had "stooped shoulder, as if he carried a great weight there" (Carver 38). There are many instances in the Bible where Jesus is depicted carrying some type of heavy burden, like a lost sheep, the sins of the world, and even his own cross. He also points out on multiple occasions that Robert has a big and booming voice, which resembles a lot of depictions of a voice "from on high."

    After they sit and talk for a while, they have dinner. This dinner resembles the last supper, especially when the narrator says, "We ate like there was no tomorrow" (Carver 39). He also describes how Robert eats and says "he'd tear of a hunk of buttered bread and eat that. He'd follow this up with a big drink of milk" (Carver 39). Those aren't the only things he ate, but the order in which he ate the bread and took a drink is the same order as the sacrament, a ritual created at the last supper. The author writing it in that order, despite it being irrelevant to the story, is another parallel that seems oddly specific in an otherwise normal sequence of events. What happens after the dinner follows the progression of the Bible as well.

    After they've eaten a meal like it was their last the narrator's wife falls asleep like Jesus' apostles outside the garden of Gethsemane. In the Bible, the garden of Gethsemane is where Jesus goes after creating the sacrament and takes on the sins of all the world. He tells his apostles to keep watch outside the garden, but they fall asleep and leave him to be captured by the non-believers (Matt. 26.36-40). In "Cathedral," Robert is left high and alone with the narrator when the woman who holds him in such high regard falls asleep. Instead of being taken prisoner, however, Robert turns the tables and puts all focus on the narrator. His talking to the narrator is like a metaphorical taking on of his sins. On page 46 the narrator tries to explain to him what a cathedral looks like. It turns out to be of no use, since the narrator has never talked to a blind person before, much like a person trying to pray who never has before. Robert decides he needs to place his hands on the narrator like he did to his wife on the first page.

    When Saul becomes converted, it is when Jesus speaks to him as a voice "from on high." As soon as the narrator begins drawing with Robert (a man who is high), his eyes open up. When Jesus speaks to Saul, he can no longer see. During the drawing of the cathedral, Robert asks the narrator to close his eyes. Even when Robert tells him he can open his eyes, the narrator decides to keep them closed. He went from thinking Robert coming over was a stupid idea to being a full believer in him. He says, "I put in windows with arches. I drew flying buttresses. I hung great doors. I couldn't stop" (Carver 45). Even with all the harsh things the narrator said about Robert, being touched by him and made his heart open up. Carver ends the story after the cathedral has been drawn and has the narrator say, "It's really something" (Carver 46).

    Robert acts as a miracle worker, not only to the narrator's wife, but to him as well. Despite the difficult personality, the narrator can't help but be converted. He says how resistant he is to have him over, and tries to avoid any conversation with him. He pokes fun at little details about him, disregards peoples' love for him, but still can't help being converted by him. Robert's booming voice carries power over the narrator, but his soft touch is what finally makes him see.

    Works Cited

    Carver, Raymond. "Cathedral." The Norton Introduction to Literature, Portable 12th edition, edited by Kelly J. Mays, Norton, 2017, pp. 33-46.

    The Bible. Authorized King James Version, Oxford UP, 1978.


    The Space Between the Racial Binary 85

    Toni Morrison in "Recitatif" confronts race as a social construction, where race is not biological but created from human interactions. Morrison does not disclose the race of the two main characters, Twyla and Roberta, although she does provide that one character is black and the other character is white. Morrison emphasizes intersectionality by confounding stereotypes about race through narration, setting, and allusion. We have been trained to 'read' race through a variety of signifers, but "Recitatif" puts those signifers at odds.

    Twyla is the narrator throughout "Recitatif" where she describes the events from her own point of view. Since the story is from Twyla's perspective, it allows the readers to characterize her and Roberta solely based on what she mentions. At the beginning of the story Twyla states that "[her] mother danced all night", which is the main reason why Twyla is "taken to St. Bonny's" (Morrison 139). Twyla soon finds that she will be "stuck... with a girl from a while other race" who "never washed [her] hair and [she] smelled funny" (Morrison 139). From Twyla's description of Roberta's hair and scent, one could assume that Roberta is black due to the stereotype revolves around a black individual's hair. Later on in the story Twyla runs into Roberta at her work and describes Roberta's hair as "so big and wild" the "[she] coul hardly see her face", which is another indicator that Roberta has Afro-textured hair (Morrison 144). Yet, when Twyla encounters Roberta at a grocery store "her huge hair was sleek" and "smooth" resembling a white woman's hair style (Morrison 146). Roberta's hairstyles are stereotypes that conflict with one another; one attributing to a black woman, the other to a white woman. The differences in hair texture, and style, are a result of phenotypes, not race. Phenotypes are observable traits that "result from interactions between your genes and the environment" ("What are Phenotypes?"). There is not a specific gene in the human genome that can be used to determine a person's race. Therefore, the racial catergories in society are not constructed on the genetic level, but the social. Dr. J Craig Venter states, "We all evolved in the last 100,000 years from the same small number of tribes that migrated out of Africa and colonized the world", so it does not make sense to claim that race has evolved a specific gene and certain people inherit those specific genes (Angier). From Twyla's narration of Roberta, Roberta can be classified into one of two racial groups based on the stereotypes ascribed to her.

    Intersectionality states that people are at a disadvantage by multiple sources of oppressions, such their race and class. "Recitatif" seems to be written during the Civil Rights Era where protests against racial integration took place. This is made evident when Twyla says, "strife came to us that fall... Strife. Racial strife" (Morrison 150). According to NPR, the Supreme Court ordered school busing in 1969 and went into effect in 1973 to allow for desegregation ("Legacy"). Twyla "thought it was a good thing until she heard it was a bad thing", while Roberta picketed outside "the school they were trying to integrate" (Morrison 150). Twyla and Roberta both become irritated with one another's reaction to the school busing order, but what woman is on which side? Roberta seems to be a white woman against integrating black students into her children's school, and Twyla suggests that she is a black mother who simply wants best for her son Joesph even if that does mean going to a school that is "far-out-of-the-way" (Morrison 150). At this point in the story Roberta lives in "Annandale" which is "a neighborhood full of doctors and IBM executives" (Morrison 147), and at the same time, Twyla is "Mrs. Benson" living in "Newburgh" where "half the population... is on welfare..." (Morrison 145). Twyla implies that Newburgh is being gentrified by these "smart IBM people", which inevitably results in an increase in rent and property values, as well as changes the area's culture. In America, minorities are usually the individuals who are displaced and taken over by wealthier, middle-class white individuals who are displaced and taken over by wealthier, middle-class white individuals. From Twyla's tone, and the setting, it seems that Twyla is a black individual that is angry towards "the rich IBM crowd" (Morrison 146). When Twyla and Roberta are bickering over school busing, Roberta claims that America "is a free country" and she is not "doing anything" to Twyla (Morrison 150). From Roberta's statements, it suggests that she is a affluent, and ignorant white person that is oblivious to the hardships that African Americans had to overcome, and still face today. Rhonda Soto contends that "Discussing race without including class analysis is like watching a bird fly without looking at the sky...". It is ingrained in America as the normative that whites are mostly part of the middle-class and upper-class, while blacks are part of the working-class. Black individuals are being classified as low-income based entirely on their skin color. It is pronounced that Twyla is being discriminated against because she is a black woman, living in a low-income neighborhood where she lacks basic resources. For example. when Twyla and Roberta become hostile with one another over school busing, the supposedly white mothers start moving towards Twyla's car to harass her. She points out that "[my] face [] looked mean to them" and that these mothers "could not wait to throw themselves in front of a police car" (Morrison 151). Twyla is indicating that these mothers are priviliged based on their skin color, while she had to wait until her car started to rock back and forth to a point where "the four policeman who had been drinking Tab in their car finally got the message and [then] strolled over" (Morrison 151). This shows that Roberta and the mothers protesting are white, while Twyla is a black woman fighting for her resources. Not only is Twyla being targeted due to her race, but as well her class by protesting mothers who have classified her based on intersectionality.

    Intersectionality is also alluded in "Recitatif" based on Roberta's interests. Twyla confronts Roberta at the "Howard Johnson's" while working as a waitress with her "blue and white triangle on [her] head" and "[her] hair shapeless in a net" (Morrison 145). Roberta boasts that her friend has "an appointment with Hendrix" and shames Twyla for not knowing Jimi Hendrix (Morrison 145). Roberta begins to explain that "he's only the biggest" rockstar, guitarist, or whatever Roberta was going to say. It is clear that Roberta is infatuated with Jimi Hendrix, who was an African American rock guitarist. Because Jimi Hendrix is a black musician, the reader could also assume that Roberta is also black. At the same time, Roberta may be white since Jimi Hendrix appealed to a plethora of people. In addition, Twyla illustrates when she saw Roberta "sitting in [the] booth" she was "with two guys smothered in head and facial" (Morrison 144). These men may be two white counter culturists, and possible polygamists, in a relationship with Roberta who is also white. From Roberta's enthusiasm in Jimi Hendrix it alludes that she may be black or white, and categorized from this interest.

    Intersectionality states that people are prone to "predict an individual's identity, beliefs, or values based on categories like race" (Williams). Morrison chose not to disclose the race of Twyla and Roberta to allow the reader to make conclusions about the two women based on the vague stereotypes Morrison presented throughout "Recitatif". Narration, setting, and allusion helped make intersectionality apparent, which in turn allowed the readers understand, or see, that race is in fact a social construction. "Recitatif" forces the readers to come to terms with their own racial prejudices.

    Works Cited

    Angier, Natalie. "Do Races Differ? Not Really, DNA Shows." The New York Times, 22 Aug. 2000,

    Morrison, Toni. "Recitatif." The Norton Introduction to Literature. Portable 12th edition, edited by Kelly J. Mays, W. W. Norton & Company, 2017, pp. 483+.

    "The Legacy of School Busing." NPR, 30 Apr. 2004,

    Soto, Rhonda. "Race and Class: Taking Action at the Intersections." Association of American Colleges & Universities, 1 June 2015,

    Williams, Steve. "What is Intersectionality, and Why Is It Important?" Care2,

    "What Are Phenotypes?" 23andMe,


    This page titled 2.4.2: Model Texts by Student Authors is shared under a CC BY-NC-SA 4.0 license and was authored, remixed, and/or curated by Shane Abrams (PDXOpen publishing initiative) via source content that was edited to the style and standards of the LibreTexts platform.

    • Was this article helpful?