Extra Credit

One last extra credit opportunity involves visiting the Mundos Alternos exhibit on Latinx and Latin American sci-fi and art.  As with the other extra credit, you must write a double-spaced, one-page summary/ response to the exhibit, explaining what you saw and how you see it linking to some of the fantasy and speculative discussions we had in class. In addition, you should include an image (a photo from a phone is fine) of the work in the exhibit you found most compelling.  Worth up to ten point towards your Response Paper score.  Due no later than May 21.

Final Response Paper

The situation: You’ve been asked by a midwestern newspaper to write an Op-Ed about the family separations at the border, addressing, in particular, the issue of children and migration.

The requirements:

  1. You must incorporate TWO of the questions Luiselli mentions in Tell Me How It Ends.  You could model you inclusion of them on the way Luiselli herself weaves these questions into her essay. Bold the questions when you include them in the essay.
  2. You must make reference to at least one of the texts that we have read since the midterm: Cristina Beltran’s “No Papers, No Fear,” Coco, Undocumented, poems by Archila and Zamora, the videos by DREAM activists, Cutler’s “Earning Latinx Innocence.”  Although the requirement is to mention at least one, you may mention more.

 

Study Questions for 5/9

On Valeria Luiselli’s Tell Me How It Ends (35-53)

**Keep in mind that the quiz on Thursday can include today’s questions as well as those from Tuesday and what we discussed in class.

  1. What is the “priority juvenile docket” and how did it affect the child migrants that Luiselli chronicles?
  2. One boy shows Luiselli a crime report from his nation of origin. In Luiselli’s reflection on this, she notes how the document transform in its 5000 mile journey to a New York City courthouse. How does she see it change?
  3. Why is the question about family members who live in the United States a difficult one for these children and young people?
  4. How do most children answer the question, “Did you stay in touch with your parents?”
  5. How are Mexican migrant children treated in this system?

2019-2020 Job Opportunity

Job: Write for QC Voices
QC Voices is seeking writers! It’s a student publication that trains writers to work with editors to reach a wide audience on a topic they choose. We have room to add new writers in the next academic year (2019-20), and all QC students— graduate and undergraduate— are eligible to apply.

Students who are interested should take a look at QC Voices for a sense of the wide range of topics and styles we publish. Then apply!

Writers who work for QC Voices publish six columns each semester, and they attend five workshops. The salary is $600 per semester. For the academic year 2019/2020, QC Voices would also like to add writers who are interested in podcasting or video essays.

To apply, see QC Voices. And if you have questions, contact the Faculty Mentor, Gloria Fisk: Gloria.Fisk@qc.cuny.edu.

Study Questions for 5/7

On Valeria Luiselli’s Tell Me How It Ends (1-35)

Remember that we will begin class discussing Zamora’s poems.

  1. Luiselli finds the questionnaire an imperfect instrument for recording the children’s stories. Why is it ill-suited for documenting this history?
  2. How does Luiselli distinguish the green card application for the questionnaire used to screen child migrants?
  3. Why do the children come to the United States?
  4.   What are the eight questions from the questionnaire that Luiselli works through in this chapter? Why does question 7 cause her shame?
  5. Luiselli explains some terms from that the children use.  What is “La Bestia”? What is “hielera”?

Study Questions for 5/2

1. How does John Alba Cutler respond to the tweet he mentions about recent family separations at the US-Mexico border? What role does poetry play in his response?
2. Cutler uses the phrase “earning innocence.” Where did he derive this phrase from? How does a Latinx child earn innocence?
3. Some of Zamora’s poems are signed with his parents’ name and age. How does his representation of their youth differ from his representation of his own?
4. What role did the US play in the migration of Zamora and his family?
5. What is June 10, 1999?

Extra Credit

Just a reminder that there is an opportunity tomorrow to earn up to 20 points of extra credit, applied to your response paper scores.

You can earn ten points by attending the MA Conference Keynote Address, “The Art of Overanalyzing,” which takes place in Remsen 017 from 4:30 to 5:30 pm.  After attending, write a short 1-pg, double-spaced paper describing the talk and connecting it to some of the things that you have have learned about the English major in this and other classes.

You can also earn ten points by attending on of the conference panels that run throughout the day, from 10:30 am to 4:30 pm. I full schedule is posted online. Each session runs an hour and fifteen minutes.  As with the first opportunity, you should write a one-page, double-spaced essay describing the papers and linking them to some of the tings you have learned about the English major in this an other classes.

Study Questions for 4/ 30

On Cristina Beltrán’s “No Papers, No Fear”

  1. What is the DREAM Act?
  2. How does the DREAM reinforce a good immigrant/ bad immigrant account of migration?
  3. In DREAM activism, Beltrán detects a “‘queer’ vision of democracy.” What are three attributes of the is queer vision?
  4. How do the Dreamers’s videos “expose the limits of liberal notions of privacy” (255)? Who does privacy protect? How does privacy damage?
  5. Beltrán describes Dreamer activism as “[o]perating at the intersection of liberal inclusion and radical possibility” (259). What is “liberal inclusion”? What is “radical possibility”?

Study Questions for 4/17

1. Alt.Latino and Jia Tolentio both say that Coco is a movie for the times.  What are two ways that the film seems to respond to contemporary events?

2. In what ways is the film about borders?  How does it representation of the border portray the process of migration?

3.  Why do think the Miguel singing to Coco at the end of the film is so revealing?

4. Why do you think the film is titled Coco when so much of the film involves Miguel?

5. How does the film’s consideration of appropriating the work of others seem to be reflected in its production?

 

Spam prevention powered by Akismet

Skip to toolbar