Fall 2021
325 WID1
Caribbean Cosmopolitanism
Synchronous; Monday 6:00 PM-8:30 PM
Dr. Victoria A. Chevalier
8-10 Pages NOT Inclusive of Title Page and Works Cited
First Draft (1-2 pages) Due in TurnItIn Friday, November 19 by 11: 59 PM. Your first draft should include your Introduction, thesis statement, and the very beginning of your critical argument/discussion. No secondary sources are required for this draft.
Final Draft Due in TURNITIN by 11:59 PM Sunday, December 12, 2021—Without Exception
Class, please be aware that failure to submit your essay into TURNITIN by the due date and time will result in an F for the assignment. I will make no exceptions with this essay submission.
Final Analytic Essay Guidelines
For this Analytic Essay, please present an argument in response to one of the following questions, and use one or more of the texts we have read this semester to ground your argument. As this is an Analytic Essay, you will critically analyze the language of the text, and employ close reading practices to the sections upon which you choose to focus.
Without exception, this paper MUST be 8-10  FULL pages in length. That means at minimum, eight pages to the bottom of page eight.
Please use Times New Roman 12 point font.
Your Works Cited page is not included in the page-length.  
Please include at minimum 5 proper secondary peer-reviewed sources (distributed between journal articles, and book chapters) incorporated by direct quotation into the body of your argument.
You must not use internet sources of any kind.
The secondary sources you use must come from the Medgar Evers College Charles Evans Inniss Library databases. The best databases for literature sources include JSTOR (for journal articles), and Project Muse (for book chapters).
When you use a secondary source, you must weave a quote from the secondary source into your essay in some way. Of course, you will quote from the primary texts, too, to craft your essay. Please also include an imaginative title!
Please feel free to use any of the secondary sources I have included on your BB Course Materials page for this part of the assignment. Also, use your notes from discussions and lectures to write your essay, if they are at all helpful to you.
Please incorporate through quotation the citations from your secondary sources into your essay, and follow all MLA Guidelines. Your secondary sources must be incorporated into the argument of your essay.
Many of you probably still have The Little Seagull Handbook With Exercises, (119-167.) This is where you will find all you need to know about MLA format.
If you do not have an up-to-date handbook on MLA format, please see the following Purdue OWL website(s) for all things MLA:
Basic MLA format,
For MLA in-text citations—and how to use signal phrases— go to
For MLA formatting quotations,

For MLA Works Cited periodicals (secondary sources),
And for MLA Works Cited (primary sources),
You must without exception enter your essay into TurnItIn by the due date and time.
Please remember, you must follow ALL MLA GUIDELINES for in-text citations and your Works Cited page. You must choose ONE of the following questions, and discuss/argue your points throughout your essay.
As this is an analytic essay, you will demonstrate interpretive structure throughout your argument. So, you will establish a clear and strong thesis statement that your will then discuss. Your discussion will be grounded in quoting evidence from the primary text and the secondary sources to support your claims.
Please do not re-tell sections of the text, or summarize throughout your whole essay large portions of the text. This assignment requires critical analysis, that is, interpretation of the text.
Choose ONE (1) of the following essay topics and critically analyze the text throughout your response:
1. Alejo Carpentier’s The Kingdom of This World (1949) is the story of the Haitian Revolution told from the perspective of Ti-Noel, a Haitian slave. In this paper, critically analyze how Ti-Noel’s narrative perspective affects the story. Does Ti-Noel change throughout the course of the novel? What sort of history/narrative does his perspective offer the audience? Choose three key scenes in which the history of the Revolution affects Ti-Noel, and discuss their importance to the development of his character. Please provide evidence from the text to support your claims.
2. In Alejo Carpentier’s The Kingdom of This World (1949), the Americas introduce to the world the narrative mode “magical realism” for the first time. In this paper, choose three scenes that are shaped by any of the five characteristics of magical realism and critically analyze them. In your discussion of the scenes, discuss the way magical realism shapes the narrative. Please provide evidence from the text to support your claims.
3. Miguel Street (1959) by V.S. Naipaul is told from the perspective of an individual boy who grows up throughout the course of the text. In this paper, critically analyze how three specific scenes—from three different chapters–potentially shape the boy’s perspective of the world, and the people in it. What does the boy—who becomes a young man by the end of the text—learn about life, and the world, men and women, love and despair, from Miguel Street? How do these lessons (potentially) shape the boy as he grows into a young man? Please provide evidence from the text to support your claims.
4. Miguel Street (1959) is a violent place and it has its very own character in V.S. Naipaul’s novel. We also learn a great deal about the way the people in this world experience their gender from the goings-on at Miguel Street. In this paper, please analyze critically three key scenes in which gender is constructed by the characters, the situation, and/or a particular context in the text. What strikes you about these scenes? What is gender connected to in each scene? Please provide evidence from the text to support your claims.
5. Naming is very important in Jean Rhy’s Wide Sargasso Sea (1966). Antoinette’s family is called “white niggers,” and “white cockroaches,” and her husband, (who is himself never named) renames Antoinette at a crucial turning point in the novel. In this paper, please critically analyzer through discussion the importance of “naming”—what is its force, and its power? Please ground your discussion of this topic in three key scenes from Wide Sargasso Sea, and provide evidence form the text to support your claims.
6.  Christophine is a crucial character in Jean Rhys’s Wide Sargasso Sea (1966). Hers is actually the first character’s voice that we hear in this astonishing revision of Jane Eyre (1847), told from the perspective of Antoinette, the “madwoman in the attic.” In this paper, please critically analyze why voice as a resistant force in three key scenes from Wide Sargasso Sea. Please include as one of the three scenes you choose the section in which Christophine speaks with Antoinette’s husband (“I hope you satisfy, I hope you well satisy, she said…” through to “Read and write I don’t know. Other things I know. She walked away without looking back” Wide Sargasso Sea, Part II, 90-97). Please provide evidence from the text to support your claims.
7. “Race” and racial identity is interwoven throughout other aspects of identity throughout Jean Rhys’s Wide Sargasso Sea (1966). In the following scene, racial mixing, otherwise known as “miscegenation” visibly emerges. In your essay, analytically consider how the language of this excerpt shapes “miscegenation.” Is “miscegenation” favorably or unfavorably represented, here? How does this scene inform the larger argument about “race” in the novel? In addition to this scene, choose two other key scenes that foreground “race” and racial differences in significant ways that shape your argument. Please provide evidence from the text to support your claims.
            “The first day I had to go to the convent, I clung to Aunt Cora as you would cling to life if you loved it. At last she got impatient, so I forced myself away from her and through the passage, down the steps into the street and, as I knew they would be, they were waiting for me under the sandbox tree. There were two of them, a boy and a girl. The boy was about fourteen and tall and big for his age, he had a white skin, a dull ugly white covered with freckles, his mouth was a negro’s mouth and he had small eyes, like bits of green glass. He had the eyes of a dead fish. Worst, most horrible of all, his hair was crinkled, a negro’s hair, but bright red, and his eyebrows and eyelashes red. The girl was very black and wore no head handkerchief. Her hair had been plaited and I could smell the sickening oil she had daubed on it, from where I stood on the steps of Aunt Cora’s dark, clean, friendly house, staring at them. They looked so harmless and quiet, no one would have noticed the glint in the boy’s eyes” (Wide Sargasso Sea, 29).

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