8. What is “complementary copy” in Gloria Steinem’s essay “Sex, Lies and Advertising?” How does the lack of “complementary copy” diminish the financial prosperity of MS. Magazine? (10 Points)
9. In “The Refugee Crisis Isn’t About Refugees, It’s About Us,” Ai Weiwei writes, “The refugee crisis is not about refugees, rather it is about us. What does he mean by this? Who is “us?” How is the refugee crisis about “us?” (10 Points).
10. Rahawa Haile’s essay “Going It Alone” asks the question, “What is wilderness for?” Another essay that asks that question is Eli Clare’s “Clearcut: Explaining the Distance.” How does each essay ask the question, “What is wilderness for?” Does each essay answer the question “What is wilderness for?” How? (10 Points)
11. Verlyn Klinkenborg writes in “Our Vanishing Night,” “We’ve lit up the night as if it were an unoccupied country, when nothing could be further from the truth.” How have we done this? By what is the night occupied? (10 Points)
5. In “Indian Heads,” Tommy Orange writes “We’ve been defined by everyone else and continue to be slandered.” Compare this idea to what Judith Ortiz Cofer writes in “The Myth of the Latin Woman.” How do these writers confront these phenomenons of being defined and slandered by other people? What does the act of writing about these phenomenons mean? (10 Points)
1. In “On Being a Cripple,” Nancy Mair rejects the labels “handicapped and “disabled preferring “crippled,” even though many see the word “crippled” as offensive. Compare Nancy Mairs’ attention to words in this essay to Gloria Anzaldua’s in “How to Tame a Wild Tongue.” What power does Anzaldua see words as having? What can words do and undo? Are there moments when Anzaldua accesses that power for herself in ways similar to what Nancy Mairs does in “On Being a Cripple?” [10 Points]
I need one paragraph answers for each