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Essay / Research Paper Abstract
A 3 page summary and commentary on Glorida Anzaldua's 1980 letter to her fellow women writers of color, which focuses on how this writer feels connected through the written word to all Third World women writers, no matter where they are located in the world. Roughly in the middle of this extended letter, Anzaldua inserts a "journal entry," in which she personifies her pen and addresses it directly. This metaphor serves to accurately and concisely sum up the points that Anzaldua previously expresses in this letter. No additional sources cited.
Page Count:
3 pages (~225 words per page)
File: D0_khanzal.rtf
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Unformatted sample text from the term paper:
women writers, no matter where they are located in the world. She feels that as women of color, trying to find a voice, they occupy a space that they carve
out on the fringes of white mainstream society, in which they try to express themselves while simultaneously offering resistance to being assimilated into the onrush and pull of the white
mainstream, which "does not both to learn our language, the language which reflected us, our culture, our spirit" (Anzaldua 1). Roughly in the middle of this extended letter, Anzaldua
inserts a "journal entry," in which she personifies her pen and addresses it directly. This metaphor serves to accurately and concisely sum up the points that Anzaldua previously expresses in
this letter. She begins by saying to her pen that she feels comfortable, "at home," in its ink, indicating that the medium of writing is her natural habitat. She marvels
that she ever feared writing. This refers to her earlier confessed fears, where she asks "Who gave us permission to perform the act of writing" (Anzaldua 2). She asks, "...who
am I, a poor Chicanita from the sticks, to think I could write" (Anzaldua 2). In this, the author expresses the ambivalence felt by herself and her sister writers
concerning the proprietary message of mainstream society that writing is a privileged activity, that is, a white activity. Having overcome this fear, Anzaldua gets down to specifics and confesses
that it is the "wildness" of her pen that appeals to her the most and warns that "Ill have to get rid of you when you start being predictable" (Anzaldua
6). This restates Anzalduas fear that she will be compromised by the mainstream culture and have her identity diluted through assimilation. She fears having a "string of degrees, credentials and
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