Answer: C. “I will send for you soon.”
Explanation:
The answer C uses "will" which is mostly use in future tense sentences. A future tense example: I'll see you tomorrow.
Answer:
an description of the texts citation
Explanation:
an additional piece of information printed at the bottom of a page .they cite references or comment on a designoted part of the text above it.
"Unanimity Has Been Achieved, not a Dot Less for Its Accidentalness," by Bob Kaufman, represents the urban poor’s social problems. Kaufman often starts his stanzas with ‘I’ with which he wants to refer the problems of them as personal and to the readers. In need to awaken to the injustice prevailing in society, in his own words states that "extravagant moments of a shock of unrehearsed curiosity," he wants his readers to move themselves from their apathy. The use of ‘I’ refers as if he is conveying from his own personal experiences.
“I can remember four times when I was not crying & once when I was not laughing.
I am kneaded by a million black fingers & nothing about me
improves.”
Kaufman not only addresses those injustices but condemns them. He urges his readers to reject all the social norms that construct society and results in poverty.
Also through the use of the first person, he strives to call for equality in the society.
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
