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Essay — «Good Advice is Rarer Than Rubies; An Analysis» — [PDF]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> An Analysis </font></a> - Photo: <a alt="Good Advice is Rarer Than Rubies; An Analysis" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Good Advice is Rarer Than Rubies; An Analysis"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [https://goo.gl/YB8GIp] In a five paragraph essay analyze how the author creates suspense and enables the reader to understand the characters' feelings. Consider (POV) point of view, setting and the use of language._______________________(Prompt).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Essay https://goo.gl/XI805s Good Advice is Rarer Than Rubies; An Analysis | #English #Essay #Literature #LiteraryAnalysis </div> <br /><br />

<div class="JBMCode"> His narrative moves quickly with a colloquial idiom. From Miss Rehana eating her chili pakoras and Mohammed Ali peddling his advice for would-be visa seekers to the ever-suspicious British consulate sahibs, Salman Rushdie sketches an evocative cameo in quick, broad, calligraphic strokes. </div> <br />

<div class="citajbm"> Salman Rushdie, who often regards himself as a "bastard child of history", displays in this collection a kaleidoscopic view of the world embracing both fable-like parables (mostly set in India or Pakistan, in the “East” section of the book) and sophisticated parodies of contemporary global society (in the last section). This carnivalesque mongrelization also erases the limits between the sacred and the profane, the cult and the popular, the tragic and the trivial; and it is only from this prism that one can understand the ironic conflation of widow-burning or arranged marriages with Star Trek fantasies or Elvis Presley’s songs. </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Hook / Attention Getter :: </span></div></H2> 
<div class="citajbm"> What a dreary task it turns out to be, when one can almost always tell the next twist in a piece of literary work. Usually, a writer’s main objective is telling their narrative to an audience. An alluring story, however, should be able to capture the audience’s attention from the beginning until the close of it.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My transitional sentence :: </span></div></H2> 
<div class="citajbm"> Salman Rushdie has composed an enthralling story by injecting suspense into his short story <i>Good Advice is Rarer than Rubies</i>.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Thesis Statement :: </span></div></H2> 
<div class="citajbm"> The British Indian novelist and essayist uses a point of view that enables the reader to <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">1) </span></strong> understand the characters and their lives deeply, <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> examining where and when it happens while <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">3) </span></strong> infusing it with figurative language. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My first body paragraph :: </span></div></H2> 
<div class="citajbm"> What would a story be without characters? It would not be a story. Characters are the centerpieces through which the reader visualizes the story as it unfolds. The writer of this short story uses the third person limited point of view to tell the story of Muhammad Ali and Miss Rehana. It is limited because the writer only has access to Muhammad’s experiences, whose thoughts he reads frequently and deeply. When Muhammad Ali sees Miss Rehana, he feels himself “[...] becoming young again [...] [o]ld fool [...] the oldest fools are bewitched by the youngest girls” (Rushdie 5, 11). From Muhammad’s point of view, we realize that he is indeed an old man now, but his attraction for Miss Rehana makes him wish for his youth, “[...] and those eyes did bad things to his digestive tract.” (Rushdie 6). The suspense in the story holds me still as a reader, and I crave to know what exactly Muhammad will do about his feelings and how Miss Rehana would respond if at all he expressed himself. From Muhammad’s point of view, the reader is placed into the story. We get to know that Muhammad’s aim is to swindle the naïve people by lying to them that he has connections that will enable them to get the papers they need to migrate to England. However, he is hesitant to do the same to Miss Rehana. The suspense that this creates enables a reader to sympathize with the character, a literary device the writer uses.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My second body paragraph :: </span></div></H2> 
<div class="citajbm"> When Miss Rehana arrives at the gates of the British consulate, yet there is a “dusty compound between the bus stop and the consulate” (Rushdie 6) that is filled with people, we are drawn to the fact that the story is not on British soil, and Miss Rehana needs some assistance to be there. Or maybe it is just the people waiting. Well, we cannot ascertain that, unless we read some more. Suspense. “She was standing in at a hot snack stall in the little shanty town by the edge of the compound” (Rushdie 6). A shanty town? Near a consulate? “He led her to the low wooden desk in his special corner of the shanty town” (Rushdie 7). Now, why is there a market of sorts at the edge of a British consulate? This plagues a reader with curiosity to understand more about the characters’ culture. We get to know, from this setting, that these people love chilli-pakoras. Miss Rehana buys Muhammad a pakora to thank him for his ‘advice’ (Rushdie 13). The setting in this story is a day, and to find Muhammad still waiting outside the gates despite doing nothing, affirms that he was attracted to Miss Rehana. Miss Rehana’s plight is also revealed in our waiting for her. We get to know what her story is. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My third body paragraph :: </span></div></H2> 
<div class="citajbm"> Writers are thought-provoking people, to the reader’s advantage. Their use of language while telling a story, always weaves an intricate web that does the trick in creating suspense. Miss Rehana tells Muhammad that she is a “[...] a poor potato” (Rushdie 7). A metaphor that gives a peak on what her life is like compared to the other women, but how else would a reader know if they do not read on? Suspense. “Good advice should find good money” (Rushdie 7), which is an analogy that lets us understand that this character is indeed poor, yet she does not wallow in self-pity. “She was a sparrow [...] they were men with hooded eyes like hawks” (Rushdie 9). A metaphor and a simile, used by the character Muhammad to explain the reality of things. She is the prey and the people at the consulate are predators and so she should be wary of them. It is indeed ironic of Muhammad to say so because he is also a hawk preying on the Tuesday women. The writer utilizes hyperboles as a literary device, “[...] love stories and green medicine, both of which cured happiness” (Rushdie 13, 14) which is an exaggeration that explains that the characters are usually sad when they leave the consulate. It also suggests that the consulate crushes the Tuesday people’s dreams every Tuesday.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Conclusion :: </span></div></H2> 
<div class="citajbm"> Salman Rushdie’s "Good Advice is Rarer than Rubies" is indeed a spellbinding story from the fore to the last word. He employs <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">1) </span></strong> the character’s point of view, <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> the setting, and <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> expert use of language that intrigues one into the need to read the next word each time. He dwells on the plight of the people of this particular place, which is a constant need to escape the life that they are living. In the premise, he sets up that most want to leave. The writer, hence, makes the reader appreciate the characters, and with the use of suspense, helps to understand them deeply. </div> <br />

<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Kumar, Amitava (Ed.) <i>Away: The Indian Writer as an Expatriate</i>. New York: Routledge, 2004.  <br /><br />

• [2] Rushdie, Salman. "Good Advice is Rarer Than Rubies". Revere Books ABAA & IOBA. 1994. Print.  <br /><br />

---. <a href="http://www.gbv.de/dms/goettingen/368990613.pdf" title="">East, West</a>. New York: Pantheon Books, 1994. <br /> 
---. East, West. London: Vintage, 1995.

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Essay — «Good Advice is Rarer Than Rubies; An Analysis» — [PDF]

An Analysis - Photo: illustration — [https://goo.gl/YB8GIp] In a five paragraph essay analyze how the author creates sus...

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Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/06/travel-writing.html"> <img alt="The Solace of Open Spaces — Creative Nonfiction: Travel writing - Official Website - BenjaminMadeira" border="0" height="636px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0iTdTK0Tku-by9vI3aHMIxWPOLgckT56WFNK3gc1R3qRwIb4B21cHXVdh4VistN9EdgINlEnfwATGQsTsxVI1byEJwO3c31lQtGzLe5khECmSZPhqgt9GmEGWZ5YLyPn9oqQmvNEgR37/s350/travel-writing-BenjaminMadeira-com.jpg" title="The Solace of Open Spaces — Creative Nonfiction: Travel writing - Official Website - BenjaminMadeira" width="436px" /> </a><br />
<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "The Solace of Open Spaces" </font></a> - Photo: <a alt="The Solace of Open Spaces — Creative Nonfiction: Travel writing" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="The Solace of Open Spaces — Creative Nonfiction: Travel writing"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/l2C8cn] It involves writing about personal experience, real people, or events.  _______________________Travel writing.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Creative Nonfiction: Travel Writing http://goo.gl/l2C8cn The Solace of Open Spaces | #Essay #GretelEhrlich #TravelWriting #LiteraryJournalism #CreativeNonfiction #Wyoming #CowboyLife #USAliterature #Literature #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> With delicate, yet piercing, words she weaves an inspiring and memorable relationship between the individual and nature. </div> <br />

<div class="citajbm"> The <i>Solace of Open Spaces</i> bears some of the characteristics of travel writing; it makes use of background information that builds up to the events in Ehrlich’s texts, “[s]eventy-five years ago, when travel was by buckboard or horseback [...]” (7). She travels to the past and tells Wyoming's history and people's stories because in Wyoming "private histories are largely public knowledge" (9). It is the simple pleasures she experiences that have made the protagonist stay in Wyoming so long after her first visit: "Despite the desolate look, there's a coziness to living in the state. There are so few people [...] that ranchers who buy and sell cattle know one another statewide; [...] despite the physical separation, people stay in touch, often driving two or three hours to another ranch for dinner" (Ehrlich 7). </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Creative Nonfiction: Travel writing :: </span></div></H2> 
<div class="citajbm"> The <i>Solace of Open Spaces</i> (1985) by author Gretel Ehrlich is all about an exploration of what Wyoming brings out in Ehrlich the narrator/protagonist and the reader. What stands out is how Ehrlich the narrator/protagonist expresses her long stay in the west. The Solace of Open Spaces gives a profound description of the vast State of Wyoming and the solace that can be experienced in its open planes. Gretel Ehrlich "has done her best to portray the truth as she knows it and to the best of her ability" (Robbins-Sponaas, lesson 9). Ehrlich's text is ultimately memoir, but it inevitably crosses borders with other forms of creative prose, such as a relationship between the individual and nature, and literary journalism. Furthermore, throughout the story, Ehrlich gives her account of a personal observation and aspects that make Wyoming attractive. Ehrlich shares Wyoming’s solace with the reader; she shares the sheltering look of the vastness (Ehrlich 2; Robbins-Sponaas, lesson 9). One can argue, thereby, that <i>The Solace of Open Spaces</i> has characteristics of travel writing. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nonfiction writing :: </span></div></H2> 
<div class="citajbm"> Travel writing is a form of nonfiction writing whose sole purpose is to document the events people, sights and feelings of the author. The writer might be visiting new places for the sake of new experiences and pleasure of travel. Many travel books reach out to the readers advising them on the sights to see or even where to find the national cuisine of a foreign land. They focus on presentation of information (Robbins-Sponaas, lesson 9). Travel writing can explore the field of adventure, entertainment, and even diary. Travel writing has continually gained a wide range of audiences who seek to get more information about certain places. In this type of travel writing “the place is the most important focus of the text” (lesson 9). Ehrlich’s writing, however, is not an informational text but a true story about a period in her life; it resembles a novel more than it resembles a guidebook. It is a cultural artefact containing her experiences, “a sense of humanity in general” (Thompson 13-14; Robbins-Sponaas, lesson 10). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The "eye," and the “I” :: </span></div></H2> 
<div class="citajbm"> As a memoir, <i>The Solace of Open Spaces</i> transcends the boundaries of Ehrlich’s experience. All the events that Ehrlich sees through the "eye," affects Ehrlich's feelings, emotions and thoughts; it affects her “I” and also the self of her readers (Nguyen and Shreve 2; Robbins-Sponaas, lesson 9). Throughout <i>The Solace of Open Spaces</i> there is intense observation, description and immersion into Wyoming’s landscape. It is therefore not merely information; it is not fiction. In other words, it is literature of fact. As a memoir, <i>The Solace of Open Spaces</i> is “a window into a life” (Zinsser 136). Ehrlich draws on “experiences emerging from personal experiences” (Nguyen and Shreve 2). <i>The Solace of Open Spaces</i> is about how she interprets Wyoming and that interpretation is determined by her own experience of the State (Robbins-Sponaas, lesson 9). Nguyen and Shreve point out that "[a] prominent form of personal creative nonfiction is the memoir because it mines the material of personal history" (2). <i>The Solace of Open Spaces</i> by author Gretel Ehrlich is a reflection on the people and events that take place in Wyoming which influence the life of Ehrlich. It is explicitly a characteristic of literary work to adequately describe a people’s way of life (Ehrlich 10-11).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Weather is capricious and mean :: </span></div></H2> 
<div class="citajbm"> Ehrlich's text begins in medias res, somewhere in the middle of the story. The purpose of this type of beginning is to grab the readers’ attention and compel them to reader further. In <i>The Solace of Open Spaces</i>, Ehrlich employs remarkably descriptive imagery including personification, metaphors and similes, “[t]he morning sky looks like cheese” (24), “Spring weather is capricious and mean” (12), “[c]anyons curve down like galaxies” (3) and "[d]ays unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient" (12). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Winds howl all night and day :: </span></div></H2> 
<div class="citajbm"> There is a recurring image of water and wind throughout Ehrlich's text. The protagonist has "just awakened from a nap [...] sheltered from wind" (2) in Wyoming's openness which "is all about wind". (4) The protagonist mediates that in that State "[w]inds howl all night and day" (14) and "[t]ough it was water that initially shaped the state, wind is the meticulous gardener" (13). The protagonist is in love "with this wind-swept state" (13). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The doing of a mad architect :: </span></div></H2> 
<div class="citajbm"> This imagery about “wind” links the landscape that “seems to be the doing of a mad architect--tumbled and twisted” with those images and creates a vivid experience between the narrator and the reader. In this open country “good-naturedness is concomitant with severity” (Ehrlich 8). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A few verbs :: </span></div></H2> 
<div class="citajbm"> In this context, one finds solace in simple places, similar to the particular language that Wyomingites use, “a few phrases imply a complex of meanings” (Ehrlich 10). The sentences people employ consists of a few verbs as if to shorten conversations. Cowboys would ask, for instance: “Which one needs rode” (10-11). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A sensory experience :: </span></div></H2> 
<div class="citajbm"> Ehrlich “[places] greatest weight describing the place and giving the reader a sensory experience” (Robbins-Sponaas, lesson 9). The readers do not only see shepherd, horse, dog, and sheep in the planes but they also see them with all their detail, "[e]agles look like small people" and "[a]ntelope [move] in small, graceful bands [...], their mouths open as if drinking in the space” (Ehrlich 9). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mixed reflections on the experience :: </span></div></H2> 
<div class="citajbm"> Another characteristic of travel writing is its ability to use mixed reflections on the experience. This helps the reader see the importance of the experience and appreciate the writer’s perspective. Ehrlich recalls her memories utilizing a very visual, detailed, descriptive language:  <br /> <br />

“A few weeks ago, I helped them deliver a calf who was stuck halfway out of his mother's body. By the time he was freed, we could see a heartbeat, but he was straining against a swollen tongue for air. Mary and I held him upside down by his back feet, while Stan, on his hands and knees in the blood, gave the calf mouth-to-mouth resuscitation. I have a vague memory of being pneumonia-choked as a child, my mother, giving me her air [...]” (Ehrlich 12-13). 
 </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Fruition is also death :: </span></div></H2> 
<div class="citajbm"> The story brings out her feelings, and she explicitly admits that she is in a romantic relationship with Wyoming, she is in “romance with this wind-swept state” (Ehrlich 13). Just when the readers are thinking of love, Ehrlich returns them to another reality of life by reflecting that “Autumn teaches us that fruition is also death; that ripeness is a form of decay. The willows, having stood for so long near water, begin to rust. Leaves are verbs that conjugate the seasons” (27). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The exploration of the open country :: </span></div></H2> 
<div class="citajbm"> <i>The Solace of Open Spaces</i> portrays that Ehrlich is not a stranger to every aspect of Wyoming. It “[makes] the reader experience the location vicariously through [Gretel Ehrlich]” (Robbins-Sponaas, lesson 9). Ehrlich interacts with the people knowing their culture and terming them as very friendly (8-9). The fact that she can recognize the change in the use of language by the Wyoming residents makes it clear that she is fully immersed in the society (10). Her interaction with local people and working together with her neighbors form a big part of what she feels about the place (11-12, 22). Ehrlich makes this piece of work a travel writing by describing in detail the exploration of the open country and its planes where “the vistas look like music” (5) as well as the friendliness of its people.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Thus, travel writing is a form of creative nonfiction literary work whose nature demands that the writer expresses her personal experiences. It “not necessarily detail a journey” (Robbins-Sponaas, lesson 9). In the writing of this type of literature, it is not about “[bringing] the reader to the destination” but rather about what the destination brings out of both the narrator and the reader (lesson 9). Ehrlich attempts to share Wyoming with the reader, that destination where she “lost herself.” Author Gretel Ehrlich makes the solace of Wyoming real and enjoyable to her readers (lesson 9). Undoubtedly, <i>The Solace of Open Spaces</i> is memoir within nonfiction writing but it also meets the set characteristics of travel writing. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> This conversation with author Gretel Ehrlich took place at the Sun Valley Writers' Conference in 2014 :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ehrlich, Gretel. The Solace of Open Spaces. New York: Penguin Group, 1985. <br /><br />

• [2] Nguyen, B. Minh, and Porter Shreve. Contemporary Creative Nonfiction: I & Eye. New York: Pearson Education, Inc., 2005. Print. <br /><br />

• [3] Robbins-Sponaas, Rhonna. "Lesson 9: An introduction to Creative Nonfiction." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/5ItFpF <br /><br />

______.  "Lesson 10: Ehrlich." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/WyTwch <br /><br />

• [4] Thompson, Carl. Travel writing. New York: Routledge, 2011. Print. ISBN: 978-0-415-44464-4 <br /> <br />

• [5] Zinsser, William. On Writing Well: The Classic Guide to Writing Nonfiction. New York:  Harper-Collins Publishers, Inc., 2001 (6th. Ed). Print. <br />  </div>

Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

"The Solace of Open Spaces" - Photo: illustration — [http://goo.gl/l2C8cn] It involves writing about personal e...

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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/06/souls-belated-all-kings-men.html"><img itemprop="photo" oncontextmenu="alert('BenjaminMadeira - Official Website');return false" oncopy="alert('BenjaminMadeira - Official Website');return false" /></a> <br />
<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "Souls Belated" and <i>All the Kings Men</i> </font></a> - Photo: <a alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/TRgsD1] Anne Stanton was "simply a name for a peculiarly complicated piece of mechanism".  _______________________(Warren 311, kindle location 5963).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Anne Stanton, http://goo.gl/TRgsD1 the upper-class thin girl, "brown-toned, golden-lighted and quiet-face, big-eyed, goes on to start an affair with Willie Stark, the local governor and womenizer, to keep her societal status (Warren 39, 103, kindle locations 783, 2008); Interdisciplinary Course with Cultural Studies | #Essay #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> In both texts, women's roles are very different, yet there are identical characteristics between Warren's female characters and Wharton's women. Undeniably, beneath their façade of defending moral values lies a deep hypocrisy. </div> <br />

<div class="citajbm"> Jack struggles both against the morality of his ancestors and the present-day morality in a world of moral ambiguity. All this morality struggling becomes Jack's burden. <br /><br />

Lydia, on the other hand, struggles against the document of divorce and the theme of marriage that hung over their head as a sword restrained only by a delicate thread. She struggles against “fossilized sandwiches” (Wharton 83) in a little microcosm full of a ‘certain tone’ (102), a ‘belated society’, gossip old ladies still dragging their feet; she struggles against the limitations of such rigid American society, those "old cats in caps" (Wharton 99-100).<br /><br />

Jack's mother had had at least five men. She was a woman, "who loved merely power over men and the momentary satisfaction to 
vanity or flesh which they could give her" (Warren 433, kindle location 8257)</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men— ; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Female characterization in the short story “Souls Belated” and the novel <i>All the King’s Men</i> :: </span></div></H2> 
<div class="citajbm"> The short story "Souls Belated" (1899) and the novel <i>All the King's Men</i> (1946) present very distinct female characters in very different environments. “Souls Belated” depicts women during the turn-of-the-century New York and <i>All the King's Men</i> does the same in post-Great Depression American society. Furthermore, while women's roles are very different, Warren's female characters and Wharton's women share certain characteristics. As will be seen, in both, “Souls Belated” and <i>All the King's Men</i>, female characters are depicted in patriarchal environments. Against a background of puritan, wealthy New Yorkers, social hypocrisy, on one hand, and urban and rural settings, on the other, some female characters seek to preserve their social standards while others oppose the repressive societal norms. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Archetypes in patriarchal history :: </span></div></H2> 
<div class="citajbm"> Both literary works depict women that represent archetypes in patriarchal history. There is an important difference between Edith Wharton’s depiction and Warren’s adaptation of women. Warren's female characters sprang from the mind of a male and are fictional women (Brent vii). Moreover, Wharton's short story centers on authentically human women characters who seek their happiness through socially privileged marriages, and Lydia who considers marriage to be society’s restrictions imposed on women. While Warren searches inside himself to draw a picture of his women, Edith Wharton addresses a social critique on all the benefits that were dampened by the lack of freedom that characterized married women during the Gilded Age.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Point of view :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” the narrator-focalizer Edith Wharton utilizes a third-person omniscient which can relate events that secondary characters experience directly while giving access to their thoughts and motivations. While <i>All the King’s Men</i> utilizes first-person narration, the reader has to rely on the protagonist, journalist and researcher, Jack Burden. Jack Burden is the story-telling persona of most of the story in <i>All the King’s Men</i>. A third-person limited is embedded in chapter four and the end of chapter ten, in which Jack is closely followed throughout. The first-person point of view can present certain opportunities, but can also entail particular challenges and limitations. One limitation of first-person narration is giving the readers access to secondary characters’ thoughts and motivations. Another is relating events that the narrator does not experience directly and it can be challenging to show clear primary character development and a self-aware perspective.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In medias res :: </span></div></H2> 
<div class="citajbm"> While Wharton starts her short story as the readers follow Lydia and Ralph Garnett on a train trip which symbolizes their journey in life, Warren's story begins <i>in medias res</i>, somewhere in the middle of the story, and it entails subsequent use of flashback —"a type of ping-pong effect in the novel"— (Robbins-Sponaas, lesson 6) and nonlinear narrative —out of chronological order —. The narration starts full of long sentences of description that become Highway 58 and the readers will start travelling along as active observers (Warren 1, kindle location 28). Social realist Edith Wharton employs remarkably descriptive imagery including metaphors and similes. Lydia and Gannett’s journey through Europe on the train is, in itself, a metaphor of their evolving journey in their life. The female narrator-focalizer observes that “[t]he direction of the road had changed” [...] “[t]heir railway-carriage [which] had been full” becomes empty as it advances (Wharton 83). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> American riches and English aristocrats :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” one of the most prevalent themes is turn-of-century New York society’s preoccupation with procuring socially advantageous marriages. Nina Baym in Woman's Fiction observes that “the ethos of money and exploitation [...] is perceived to prevail in American society” (27). In New York aristocratic society, the female characters struggle because of the inadequacy of their respective marriages. Lydia's staying at the Anglo-hotel represents an internal struggle in her opposition to the forces that quell women’s emancipation. Lydia had internalized the repressive societal norms towards women who refuse “the normal conditions of life” (Wharton 125). She behaves as a married woman among American riches and English aristocrats (102-107, 117-118). At the hotel, Lydia has to cope with complications due to her attitude to the ‘institution of marriage’; “marriage” understood by its political nature, rather than a self-chosen relationship (Holmes 113). Lydia went on to start an extra-marital affair with Ralph Gannett who saw her as his equal. Against a background of wealth and social hypocrisy, both lovers flee the stiff regulations and the tedious regularity of New York and enjoy their passionate relationship. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In accordance with traditional values :: </span></div></H2> 
<div class="citajbm"> An evolving journey is what Lucy Stark, Governor Willie's wife, has not chosen. She lives in accordance with traditional values. Unlike Lydia, Lucy has a special devotion to her marriage and her family; she is depicted as “a dutiful wife and mother” (Robbins-Sponaas, lesson 6). Although, different than Lydia, Lucy Stark abandons her conjugal relationship, leaving Willie to his political and sexual intrigues. In “Souls Belated,” Lydia assumed the responsibility of charting her own path of personal autonomy. Similarly to Lucy Stark, at some point in her trip together with her lover, Lydia felt that marriage still meant something for her, she gained respectability within aristocratic society (Wharton 120). Yet, unlike Lydia, Lucy Stark did not divorce Willie as a divorced woman’s behavior did not conform to social norms. Her last name is the antithesis of her apparent strength of character. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mrs. Murrell :: </span></div></H2> 
<div class="citajbm"> Considering that all events, situations, interpretations of other characters' dialogue are filtered through the narrator-focalizer, the readers do not see much of Mrs. Murrell’s character since Jack pays far more attention to her appearance. Jack's mother was that "big-eyed thin-faced woman who [had a new] man she got herself" (Warren 40, kindle location 807). Jack's mother, Mrs. Murrell, "a real looker," had had an affair with Judge Irwin, the friend of Jack's family, and there were also "those men who had married [his] mother" (Warren 40-41, kindle location 807, 809). Unlike Mrs. Murrell, Lydia soon realized that she had to be honest with herself. It had become a matter of moral principle, and she was determined to disclose the nature of her affair to others (Wharton 95). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A highly desirable woman :: </span></div></H2> 
<div class="citajbm"> Anne Stanton is Jack's life-long love, who he still regards as a highly desirable woman until he learns she has become Willie's mistress (Warren 266-269, kindle location 5086-5145). Anne Stanton, however, was waiting for him to find a career in order to secure a stable future. Jack, however, had no ambitions. Thus, in contrast to Anne's highly respected father, former Governor Stanton, and her brother, surgeon Adam, Jack was a poor marriage prospect. Contrary to Anne Stanton, Lydia is determined to condemn that women are conditioned to ‘lead a dependent and abject life,’ which undermines their self-confidence and her self-respect. For Lydia, self-reliance was suppressed by marriage (Holmes 112). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Anne Stanton went on to pursue an affair :: </span></div></H2> 
<div class="citajbm"> On deciding to oppose the repressive societal norms, Lydia chooses to abandon her marriage to Tillotson, a rich member of upper-class society, although it offered a series of social privileges. While preoccupied with preserving her respected, comfortable life, in <i>All the King’s Men</i>, well-educated, conformist, Anne Stanton went on to pursue an affair with Governor Willie Stark, who had provided her brother with the opportunity to preserve his social status as a surgeon. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Keep her societal status :: </span></div></H2> 
<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. Anne's expectations in a marriage to a high-society man reveals that she was relying on the social privileges marriage offered. Anne relies upon the traditions of her aristocratic upbringing to give her support. The well-educated Anne Stanton overlooks the corruption in Willie Stark and sees only an advantage to keep her societal status. Anne Stanton honors a patriarchal figure in Willie Stark, while Lydia is fleeing the burden of patriarchal relationships. It took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that marriage offered. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Although in different environments, both Wharton and Warren depict women as willing to preserve their social status despite their freedom. Is evident that, for Warren, marriage represented the final domestication of his heroine, Anne Stanton, who ended up married to Jack. Wharton, however, does not define a self-made woman in terms of marriage but in not providing the readers with an explicit ending, she promotes public debate on women’s self-determination. Wharton had the courage to keep her heroine unmarried under the risk that her short-story was read as a mere story of the frustration of female nature (Baym, 1981, 135). She does not define Lydia by her remarriage with Ralph Gannett but defines her, instead, by her relationship with him, without labeling it as marital relationship. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> "All the King's Men" (2006 [featuring: Sean Penn, Jude Law, Antonhy Hopkings, Kate Winslet) || Quality: 480p (High Definition) || original audio [Swedish subtitles] (USA English) :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Baym, Nina. “Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors.” American Quarterly 33 (1981): 123-139. Web. Retrieved on June 2015 from: http://www.jstor.org/stable/2712312  <br /><br />

______.  Woman's Fiction: A Guide to Novels by and about Women in America, 1820-70. Rev. ed. Urbana: University of Illinois Press, 1993; originally published: Ithica: Cornell University Press, 1978. ISBN-13: 978-0252062858. Print. <br /><br />

• [2] Brent, Martha Schaefer. "Female Characterization in the Novels of Robert Penn Warren: Variations on a Cinderella Theme." A Thesis Presented to the Faculty of the Department of English. Bowling Green, Kentucky: Western Kentucky University, 1995. Web. Retrieved on May 2015 from http://goo.gl/UtHSGZ  <br /><br />

• [3] Holmes, Mary. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

• [4] Robbins-Sponaas, Rhonna. "Lesson 10: Warren." ENG6012 Course Website, spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/p2o1Ow <br /><br />

• [5] Warren, Robert Penn. All the King's Men. 1946. Reprint edition, 1996. Houghton Mifflin Harcourt. Kindle Edition. ISBN-13: 978-0-15-101163-6 <br /> <br />

• [6] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated."</font></a> </b> Wharton, Edith. The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Print. ISBN: 3 2106 00215 4307 </div><br /> <br />

<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> 2006 - All The King's Men Soundtrack - Based on the Robert Penn Warren novel. The life of populist Southerner Willie Stark, a political creature loosely based on Governor Huey Long of Louisiana :: </span></strong>  </CENTER> <br />
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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

"Souls Belated" and All the Kings Men - Photo: illustration — [http://goo.gl/TRgsD1] Anne Stanton was "sim...

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What is an American— and Monica Ali’s Brick Lane.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Writing http://goo.gl/qlYsOI an essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies | #Essay #Immigration #Bangladesh #Muslims #British #Americans #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society #Culture What is an American? What is a Bangladeshi in Brick Lane? </div> <br /><br />

<div class="JBMCode"> Exam in Interdisciplinary course (combines both literature and cultural studies: UK/American Literature and UK/American Culture) <br /><br />

The earliest articulation of the melting pot concept came in 1782, from J. Hector St. John Crevecoeur, a French officer turned New York settler, who envisioned assimilated Europeans as ingredients in a vast melting pot of cultures. The concept of the melting pot later expanded to include people from different races and backgrounds, as it became one of the cornerstones of assimilation theory. While many academics dispute the relevance of the term, the model of the melting pot offers an idealistic vision of U.S. society and identity, combining people from diverse ethnic, religious, political, and economic backgrounds together into a single people. <br /><br />

In The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. by William H. Gilmanetal. (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1960-1982), vol. IX, 1843-1847, ed. by Ralph H. Orthand Alfred R. Ferguson (1971), pp. 299f., the following entry for 1845 can be found:  <br /><br />

Well, as in the old burning of the Temple at Corinth, by the melting & intermixture of silver & gold & other metals, a new compound more precious than any, called the Corinthian Brass, was formed so in this Continent, -asylum of all nations, the energy of Irish, Germans, Swedes, Poles, & Cossacks, & all the European tribes, - of the Africans, & of the Polynesians, will construct a new race, a new religion, a new State, a new literature, which will be as vigorous as the new Europe which came out of the smelting pot of the Dark Ages [...] </div> <br />

<div class="citajbm"> "Cultural identification" :: how a culture or ethnic group is identified in the literary text.<br /><br />

In "Brick Lane" and "Letter III, What is an American?" we have several cultural groups identified in the text, white Europeans, Muslims, Bangladeshi, British, and so on. We know that's what they are because they're identified as such.<br /><br />

However, we know that every author chooses the images and vocabulary, metaphors, and so on--all the narrative techniques we can employ in crafting a story--with an eye toward achieving that particular effect or story. So, for instance, how is Muslims presented here, by what means, and to what effect?<br /><br />

That's what we mean by "cultural identification" and analyzing that culture.<br /><br />

How are those elements presented in these two texts, "Brick Lane" and "Letter III, What is an American?". By choosing one culture in each text (for example, Muslims and Americans), one can handle them in their respective texts. For instance, what does Crévecoeur do in defining American culture, and what does Ali do in defining British (or Bangladeshi) culture? Are they the same? Different? To what effect or what purpose?<br /><br />

One just needs to support one's argument with examples from the texts and understanding of the cultural context.   <br /> <br />

*The term America is used in this essay to mean the United States of America.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Five-paragraph essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> What is an American? What is a Bangladeshi in Brick Lane? :: </span></div></H2> 
<div class="citajbm"> In <i>Letter III</i> (1782) and <i>Brick Lane</i> (2004), both French-born American Crevecoeur and Bangladeshi-born British Monica Ali address the issue of belonging by portraying a definition of individuals’ identity on different environments. In both cases, their choice of setting serves to underline their ideological concerns. When attempting to find out what the authors’ stance is on national or individual identity, one can ask them out loud: should immigrants be one hundred percent Americans, British, without clinging to some of their native culture? In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). Monica Ali, on the other hand, champions policies that have been adopted with the perspective of convergence to an endogenous, social cohesion, meaning “pluralist integration model,” which leads to uniformity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The « melting pot » metaphor :: </span></div></H2> 
<div class="citajbm"> By changing his name Michel-Guilluame-Jean de Crèvecœur to the Americanized James Hector St. John, French Crèvecoeur provides himself as an example in how the new race of men should act upon their arrival to the British colonies in America. Crevecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III where he attempts to portray various perspectives of being an American; what the national identity this emerging American society should have. Crevecoeur was the first proponent of the American prototype encapsulated in the « melting pot » metaphor. This type of society would be a relatively heterogeneous entity that becomes increasingly homogenous as the varying elements met together to one harmonious whole that has a common or shared culture (Modood 3). In this American community “individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis added). Crevecoeur’s purpose in Letter III is to delineate a monolithic integration model, which is equated with cultural assimilation and acculturation rather than a multithreaded tapestry of immigrants in modern United States society (Crevecoeur 56).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Either a European, or the descendant of a European :: </span></div></H2> 
<div class="citajbm"> According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54). The fictional narrator of the text, James, the American farmer, captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, thus “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Immigrants did not have their own home culture :: </span></div></H2> 
<div class="citajbm"> Hence, according to the monolithic integration model, the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8). Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56). What defines Americans and British today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. The multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure (Martin 8).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Monica Ali's  Brick Lane :: </span></div></H2> 
<div class="citajbm"> Brick Lane scrutinizes modern integration with a view to ethnic heritage. Readers will follow the story of Nazneen, a young Bangladeshi girl. She is a literary character that has depth, layers and can surprise the readers and convince them. She has ‘the incalculability of life’ about her (Forster 55); she is thus, a round character. Nazneen, at the age of eighteen is married off to Chanu, a forty year old Bengali man living in London, specifically on Tower Hamlets, a hidden place largely populated by immigrants from Bangladesh (Lane, n/p). Monica Ali utilizes diverse literary techniques when crafting her story on Bangladeshi-immigrant protagonist Nazneen. The author explores diverse themes; however, in order to elaborate shortly on this paper, the focus will be individual identity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The Bengali community: an entity that depends on fate :: </span></div></H2> 
<div class="citajbm"> Monica Ali begins portraying the Bengali community as an entity that depends on fate, destiny or predestination and as a consequence of this, they are passive when facing decisions in life. As the third person narrator advances: “‘[o]f course, Fate will decide everything in the end, whatever route you follow’” or “[…] you are destined to die of hunger […]” (Ali 14). Furthermore, by portraying Nazneen's mother as a saint and all her lineage, it is being implied that Nazneen is destined to be an obedient wife (Ali 80); if she suffers then she should be patient and silent within her own ethnic community and within multicultural Brick Lane. Therefore, she should know, integration cannot take place. The author depicts the Bengalis this way so as to plough the field, in Brick Lane, and thus, surprise her readers with Nazneen's changing identity while debating immigration and the pluralist integration model.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Interaction in local communities is a paramount aspect in human sociality :: </span></div></H2> 
<div class="citajbm"> In order for an immigrant to become integrated into a society, interaction in local communities is a paramount aspect in human sociality, the Bangladeshi villager, however, remains ‘in a very sorry state’ in her apartment, refusing to shed all vestiges of her cultural heritage. She embodies what other Bengali immigrants feel while on British soil: “[t]heir bodies are here but their hearts are back there” (Ali 32). “In all her eighteen years, she could scarcely remember a moment she had spent alone. Until she married. And came to London to sit day after day in this large box with the furniture to dust, and the muffled sound of private lives sealed away above, below and around her” (Ali 24; Parekh 197). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Now our children are copying what they see here :: </span></div></H2> 
<div class="citajbm"> Monica Ali attempts to portray the western –British– culture from East’s perspective in doctors Azad’s words: “[...] I saw two of our young men in a very sorry state” (Ali 31), explaining why immigrants should not become integrated in western society. Nazneen’s spouse corroborates it, as the male focalizer exemplifies that: "[...] for my part, I don't plan to risk these things happening to my children. We will go back [before [my] children [are] affected by Western habits]" (Ali 32). Doctor Azad regrets, "now our children are copying what they see here, going to the pub, to nightclubs. […] The problem is our community is not properly educated about these things" (Ali 31).  In Brick Lane, Monica Ali concludes that ‘gradual fusion’ or metamorphosis should be every individual’s decision as is the case of Nazneen’s daughters. Newcomers should choose whether they want injection of regular doses of local culture or not (Parekh 197; Øien-Vikaune, Lesson 2, video: 24:09).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Individual identity is non-static :: </span></div></H2> 
<div class="citajbm"> “Identity” is a topic of wide variety, but can be defined for this purpose as ‘their understanding of who she is, what she wants to be recognized as.’ The concept of individual identity is non-static, it changes all the time, and immigrants, such as Nazneen, struggle with an evolving identity within themselves (Bloom 52; Fearon 4-6). Monica Ali gives her readers the feeling of the emptiness and confusion in Nazneen’s live by placing 'dead grass,' 'broken paving stones' (Ali 17), and so on, in the pages of the immigration story. Such figurative language evokes vivid images that reveal characterization and reinforce Ali's themes while contrasting Nazneen's Bangladeshi village. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nazneen goes on to establish an extra-marital affair :: </span></div></H2> 
<div class="citajbm"> In Brick Lane, Nazneen meets obstacles, but she will demonstrate that she can overcome them by challenging the beliefs imposed on her that dictates that she is not the master of her own life. Since birth, Nazneen’s mother, Rupban, told her that it was pointless to oppose fate (Ali 14). On deciding to oppose her mother’s advice, Nazneen goes on to establish an extra-marital affair with Karim, a young Muslim from the same community, and their attraction between them destroys their moral expectations, and as time goes by, she gives up supporting her husband. Even after being almost half his life on British soil his heart is still in his country of origin; not even the tears of his daughters make the jingle of his own voice stop echoing: “[t]he pull of the land is stronger even than the pull of blood” (Ali 32). Nazneen takes her own decision on whether she will stay home or go back to the rice fields of rural Bangladesh. Unlike Chanu, Nazneen has finally being released from fate that kept her subjugated and silent for years. Nazneen can finally formulate questions and by acting this way she is even defying God’s will: “[i]f God wanted us to ask questions, he would have made us men" (Ali 80), Nazneen had been advised. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Societies change—for better or worse—and the United States also does; Great Britain is not the exception to the rule. While Crevecoeur argues for the idea of a monolithic integration, Monica Ali defends the idea that immigration is good for Britain but not the blending of many cultures, languages and religions to form a single national identity as articulated by Crevecoeur. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively adjusted. As Monica Ali points out, immigrants change, perhaps it is a slowly process but it happens nevertheless (Ali, 2014, video 07:12-26). Immigrants will eventually become integrated in the host society as Nazneen’s daughters and eventually Nazneen herself did. Parekh concludes that “[...] minorities have a right to maintain and transmit their ways of life, and denying it to them is both indefensible and likely to provoke resistance” (197). </div> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> What is an American? Hector St. John Crevecoeur :: </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Monica Ali's Brick Lane : </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Immigration Is Good For Britain | Monica Ali : </strong> </span></span></div> 
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ali, Monica. Brick Lane, excerpt (chapters 1, 2 and 3). London: Black Swan, 2004.  11-80. Print.  <br /><br />

• [2] Bloom, William. Personal Identity, National Identity, and International Relations. Cambridge: Cambridge University Press. 1990. Print. <br /><br />

• [3] <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [4] Fearon, James D. What is identity? Stanford University. 1999. Print. <br /><br />

• [5] Forster, E. M. Aspects of the Novel. New York: RosettaBooks. 1927. Print. ISBN 0-7953-0952-X <br /><br />

• [6] Lane, Harriet. Ali's in wonderland. TheGuardian, 2003. Web. Retrieved on May 2015 from http://goo.gl/OYf4lI <br /><br />

• [7] Martin, Philip. Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

• [8] Modood, Tariq. Remaking multiculturalism after 7/7. Open Democracy, 29(7). 2005. Web. Retrieved on May 2015 from https://goo.gl/5xT42r <br /><br />

• [9] Parekh, Bhikhu C. <a alt="Rethinking Multiculturalism" href="https://drive.google.com/file/d/0B4kGy0lOHL12VjdyVXkweFZ5Nkk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/integration.html" style="text-decoration: none;" target="_blank" title="Rethinking Multiculturalism"><font color="#FF4000">“Rethinking Multiculturalism : cultural diversity and political theory” in: Chapter 7: The Political Structure of Multicultural Society</font></a>. 2000. Cambridge, Mass. : Harvard University Press. Print. ISBN: 0674004361 <br />
<div class="JBMCode"> By an academic, for academics, using academic argument forms, and with an academics meanness of spirit. </div> <br /><br />

• [10] Øien-Vikaune, Ane. Cultural Studies Unit 2: Race, and integration theory. Take Credit, NTNU: Lesson 2, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/B8dZOM and (PDF) https://goo.gl/j0kSZN <br /><br />

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

Crevecoeur vs Monica Ali - Photo: Deliss/Godong/Corbis/illustration — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What...

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Essay — «Crevecoeur's Letter III» — What is then an American? (PDF, Videos)

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/IWpKeK] A new beginning in his life, encapsulated in a caterpillar; it stuffs itself with new ideas and digest itself, breaking the old tradition_______________________. </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: http://goo.gl/IWpKeK <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur Letter III — What is then an American?</font></a> | #Crevecoeur #WhatIsAnAmerican #Culture #Immigration #MonolithicIntegration #MeltingPot #Assimilation #Acculturation #PluralistIntegration #multiculturalism #MultithreadedTapestry #StudyNotes #UniversityStudies </div> <br /><br />

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<ul> <strong><span style="font-size:15px;">
  • <a href="#mp3" onclick="jwplayer('mp3').load({file: 'https://archive.org/download/American-Crevecoeur/What_is_an_american_Crevecoeur_BenjaminMadeira-com.mp3'}); jwplayer('mp3').play();"> [Audio] (mp3 file) What is an American? Hector St. John Crevecoeur, MP3 - 5min</a> <br />   </span> </strong> </ul> </div> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  INTRODUCTION </span></div></H2> <br /><br />

<div class="JBMCode"> By changing his name to the Americanized <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">James Hector St. John, French Crèvecoeur</font></a> was now ready, by means of naturalistic descriptions, to argue for the new race of men. Crèvecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III (1782). His essay, in form of letter, is very rich in metaphorical significance throughout its content. In his epistle, James, the American farmer, delineates various perspectives of being an American. According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity, “the broad lap of our great [nourishing mother]" (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54).  <br /><br />

By asserting that the uniqueness of the American rested on the only fact that they were derived from the finest of a few selected European countries, Crevecoeur’s argument is incompatible with democratic principles. Crevecoeur was a proponent of what years later became known as “the melting pot” metaphor, "[h]ere individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis mine), this is, the monolithic integration model equated with cultural assimilation and acculturation rather than the pluralist integration model, also known as multiculturalism or the multithreaded tapestry of immigrants in the United States (Crevecoeur 56). In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). In this aspect, it is clear that the monolithic integration advanced by Crevecoeur in explaining the American immigration was incompatible with democracy principle; his approach on assimilation is 1) intolerant, 2) unjust and 3) discriminatory.</div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Antidemocratic </span></div></H2> <br /><br />

<div class="citajbm"> The monolithic integration model as advanced by Crevecoeur is oppressive and incompatible with democracy; this amalgamation model views the inhabitants of America neither as natives nor as descendants from other parts of the world. This new hybrid social and cultural forms, product of the melted Western immigrant cultures exclude non-European immigrants. The fictional narrator of the text, James, the American farmer captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55). Hence, according to the monolithic integration model, which "has strongly shaped perceptions of the United States" (Castillo 48), the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8).  <br /> <br />

Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56).  This argument is anti-democratic by enforcing restrictions on legal immigrants. This oppresses immigrants’ democracy and freedom of choice on what to love as well as inclination on their origins. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Discriminatory </span></div></H2> <br /><br />

<div class="citajbm"> There is a level of false illusion on the part of James while describing the American man’s origins and outcast. This false illusion is perhaps guided by Crevecoeur denial of diversity which he blindly champions. James exemplified a typical immigrant who leaves Europe to come to America. Upon getting off the boat, the man is immediately hired and incorporated in to the American family, "[f]rom nothing to start into being; from a servant to the rank of a master; from being the slave of some despotic prince, to become a free man, invested with lands to which every municipal blessing is annexed! What a change indeed! It is in consequence of that change that he becomes an American" (Crevecoeur 83). James’s theory, which "has most directly constructed perceptions of America throughout the world" (Castillo 49), regards some immigrants as minorities and this has been misused politically and socially to deny certain groups their constitutional rights. James’ rosy integration or melting model was not common for all; there were many immigrants who were forcefully shipped to America as slaves. Theirs was not a story of being accepted in to the family, but being discriminated, mistreated, and overworked with no chance of ever owning their land in America.  <br /> <br />

According to Crevecoeur, the main proponent of the monolithic integration model, an American was any person of European descent, “[they] were once scattered all over Europe; here they are incorporated into one of the finest systems of population which has ever appeared” (Crevecoeur 55). This perspective discriminated against other cultures such as the Italians and black people. In this case, the assimilation theory is incompatible with democratic principles of equality by promoting anti-cultural sentiments towards individuals deemed to come from inferior race or ethnic groups. James’ perspective is discriminatory. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Unjust</span></div></H2> <br /><br />

<div class="citajbm"> Since the late 19th century and throughout the 20th century the concept of melting pot has had negative impacts on the immigration policy. Today, the American immigration policy is as prejudiced as it was in the nineteenth century (Martin 6). Immigration in the U.S, according to Philip Martin and Elizabeth Midgley, is still done through the quota system for some racial groups while other races such as the British, French and Israelis have absolute immigration qualification (36). Many African-Americans, Indians, Latinos and some Spanish are still considered as ‘undesirables’ among the white American society, and being considered minorities, they find it hard to climb the American job ladder (Martin 12). It is undeniable that minorities are better off in the United States than they were in their countries, but it is also true that American politics legislated based on the assimilation perspective, as Crevecoeur proposed in Letter III, is unjust. </div> <br /> <br />

<div class="citajbm"> What defines Americans today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. While the melting pot theory offers an elaborate explanation of flawless assimilation, the perspective has been used as a basis of racial and ethnic segregation (Martin 11). The pluralists view American culture as an integration of individuals with each having a distinct culture. In addition, the subordinate group is not absorbed completely into the dominant culture; this promotes multilingual culture and relations. Assimilation ensures that the society get a feeling of homeland security as each group is recognized (Martin & Midgley 22). To this end, the multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure. Each cultural group has a right to retain its cultural roots and integrity. Multiculturalists support loose immigration and advocate for bilingual education and affirmative action for the benefit of all cultural groups especially the vulnerable (Martin 8). </div> <br /> <br />

<div class="citajbm"> In the centuries that would follow, America would attract numerous immigrants not just from Europe but also from Asia, Africa, and from Latin America (Martin 89). This has changed the ethnic and cultural composition of the American population in a way that Crevecoeur could not have imagined (Martin 50). While these people have been integrated into the American population in terms of labor, obeying laws, and observing the same values, a majority of them still enjoy their cultural heritage, despite discrimination. However, this model of integration has in the past been a source of negative effects, such as through segregation in the provision of various social services, including education, jobs, and even social amenities (Martin 50). </div> <br /> <br />

<div class="citajbm"> In their view, multiculturalists perceive melting pot theory as oppressive; the assimilationists on the other hand support the melting pot theory as one that promotes the will of the majority and not the minority. In addition, the assimilationist view the melting pot theory as positive and promoting national identity (Martin 11). Assimilationist disregard the multicultural perspective of separating citizens on racial and ethnic lines for special privileges. On the other hand, multiculturalists see the idea of monolithic integration as oppressive and the idea that one sees their culture as dominant to the other can be destructive. These individuals often despise others and would not want to stay with their neighbors. “The chase renders them ferocious, gloomy, and unsociable; a hunter wants no neighbour, he rather hates them, because he dreads the competition” (Crevecoeur 67). Thus, according to the multiculturalists the pluralistic perspective augments homogeneity, affirmative action unlike the melting pot theory. </div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> CONCLUSION </span></div></H2> <br /><br />

<div class="citajbm"> Societies change—for better or worse—and the United States also does. It is clear that Crevecoeur’s idea of a monolithic integration as articulated in Letter III is not a reflection of what a true American is. The melting pot theory is a metaphor that connotes the blending of many cultures, languages and religions to form a single national identity. Immigrants become assimilated as time goes by. Some immigrants are willing to become assimilated, others become integrated while holding onto some of their cultural heritage. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively assimilated in the way Crevecoeur postulated. As Philip Martin correctly points out, "most of today’s immigrants will be an integral part of the American community, albeit a changed community, as the immigrants change and America changes to accommodate them” (Martin 12). "US history and experience are infused with myths and realities" (Martin 12) as it was told by James Hector St. John, the Frenchman who wanted to eliminate his own ethnic boundaries but went back to his roots in France. Nevertheless, Crevecoeur's essay embracing the assumption that an immigrant gets absorbed in the dominant culture as a requirement to be labeled as an American, is incompatible with democracy principles, it is unjust, discriminatory and illiberal. </div> <br /> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Castillo, Susan. "The Ambivalent Americanness of J. Hector St. Jean de Crèvecoeur." Perspectives on Identity, Migration, and Displacement. Ed. Steven Tötösy de Zepetnek, I-Chun Wang, and Hsiao-Yu Sun. Kaoshiung: National Sun Yat-sen U, Humanities and Social Sciences Series, 2010. 48-57. ISBN-10: 9860195064  <br /><br />

• [2] <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [3] Martin & Midgley; Philip Martin and Elizabeth Midgley. “Immigration: Shaping and Reshaping America.” Population Bulletin, Population Reference Bureau, Vol. 61, No. 4, 2006.  <br /><br />

• [4] Martin, Philip. "Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  </div> <br /><br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Annotated Bibliography :  </span> <br /><br />

<div class="JBMCode"> In this journal, written by Susan Castillo and published in 2010, the author uses works written by Michel Guillaume Jean de Crevecoeur to assess her identity as an American. In her analysis, Castillo is very bold and candid and observes that there are several inconsistencies with regard to Crevecoeur’s ‘Americanness’. Castillo goes further and critically analyzes the ideas that Crevecoeur talks about in his Letter III including the idea of a melting pot. Susan Castillo observes that Crevecoeur’s idea of an America excludes a huge percentage of the American population and concludes that Crevecoeur was not honest in his idea of America as a melting pot of cultures. The article makes reference to Crevecoeur’s ideas and compares them to the personal life of Crevecoeur and observes that while Crevecoeur thought himself to be American, he is made to choose between America and his mother country, France. Despite her criticism of the ideas pushed by Crevecoeur, Castillo concludes that Crevecoeur’s work was important in establishing a standard for American literature. </div> <br /> <br />

• [2] Martin & Midgley; Philip Martin and Elizabeth Midgley. “Immigration: Shaping and Reshaping America.” Population Bulletin, Population Reference Bureau, Vol. 61, No. 4, 2006.  <br />

<div class="JBMCode"> This is an articles that was written by Philip Martin in 2003. Martin talks of the continued immigration to the United States which has continually reshaped the identity and the culture of this country. Martin goes further to address some of the contemporary issues that have been raised with regard to immigration. These issues include the number of immigrants who should be allowed in to the country; what kind of immigrants should be allowed and the laws that the government should introduce to deal with the surging immigrant population. Martin notes that America should continue celebrating its status as an immigrants’ country while at the same time developing an immigration policy that ensures their integration.  </div> <br /> <br />

• [3] Martin, Philip. "Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

<div class="JBMCode"> This is a journal written by Philip Martin on the topic of immigration and integration. Martin provides some statistics, demonstrating the high number of immigrants in the US. The number of immigrants is the highest in any country and this is also coupled with a huge population of unauthorized residents. Martin sets the ground for his case and proceeds to show that these immigration statistics are as a result of a failed immigration system. Martin argues that the American population has developing resentment for immigrants because the immigration system has failed. However, Martin notes that despite the failure by the immigration system, integration has largely been successful and is mainly facilitated through the labor market. Martin asserts that US legal migrants enjoy very high wages which attracts them to the country. In the same way, the employers are happy because the migrants provide labor at a lower wage. <br /><br />

Martin notes that this integration has seen most employers become proponents of labor migration. Migrants are also integrated when they help in the economic development of the US as opposed to getting free amenities from the government. Martin notes that despite this integration, migrants in the US are given low wages which push them to poverty while denying them access to health and pension benefits. The situation is contrasted with what happens in Europe where, as Martin says, migrants are not active in labor participation because of unemployment. Martin notes that the employed migrants in Europe are well paid and provided with employment benefits. The conclusion Martin makes is that the US immigration problem is hard working immigrants while a majority of the European countries face an immigration problem from non-working immigrants.  </div> <br /> <br />

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