He was frustrated for obvious reasons. But was described as 'perplexed and still' because he expected a answer from the inmates that were inside the house, but instead of answering his repetitive calls, they chose to give no response leaving the traveler to experience his 'stillness'.
Alex Haley's Roots: The Saga of an American Family encouraged black Americans to explore their past and helped to popularize oral history and family history in the United States. His writing reminds us that oral history recording taps into a vast, rich reservoir of oral traditions sustained through family, community and national memories.As a boy, Alex Haley spent his summers on his grandmother's front porch in Henning, Tennessee. listening to her and her sisters tell stories of the family's history back through the days of slavery. The "Furthest–Back person" they spoke of was an ancestor they called "the African," who was kidnapped in his native country, shipped to Annapolis, Maryland, and sold into slavery. He remembered hearing:"Yeah, boy, that African say his name was 'Kin-tay'; he say the banjo was 'ko,' an' the river 'Kamby-Bolong,' an' he was off choppin' some wood to make his drum when they grabbed 'im!"These stories stayed with young Alex throughout his life. And he became obsessed with finding his family's roots in Africa.With the help of some friends and a linguist from West Africa, he learned that some of the words in his grandmother's stories were like Mandinka words (a language spoken by some tribes), and that the river she spoke of as 'Kamby Bolong' was probably the Gambia River. Alex knew that he must get to the Gambia River.With the help of Gambian officials, he learned that a griot, or oral historian, knew the history of a Kin-tay family. Could this be his own family? Alex Haley began his own trip up the Gambia River to find out.
Tienes k aprede en la escula la respiratory no lo se
Prose must explain complete ideas because it enables the reader to comprehend the authors vision, and thought process as well as the emotional state that the author wants the character(s) to have. This is in the case of fiction.
When it comes to nonfiction it enables the reader to understand the material or the argument presented in front of him or her. Furthermore, arguments when presented with evidence which incorporates complete ideas and knowledge of the topic in question. It gives the reader a proper explanation and answers to the questions that may arise whilst reading the informative material at hand.
Answer:
The poem "Harlem" uses A. free verse
Explanation:
First, let's take a look at the poem "Harlem" by Langston Hughes:
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
<em>Or does it explode?</em>
<em />
We can clearly see there isn't much of a pattern being applied. The very fist line of the poem is much longer than the rest of it. None of the lines constitute a iambic pentameter - a five-time repetition of an unstressed syllable followed by a stressed one. Therefore, we can eliminate options B and C, according to the descriptions provided in the question.
We can safely eliminate letter D as well, since we do not have a pattern of two consecutive lines that rhyme in this poem -- note that the two last lines do rhyme and are consecutive in the sense that there isn't another line between them; still, they do not belong to the same stanza and are not related enough to be considered a couplet.
<u>The only option left, and the correct one is A. free verse. Even though there are a few rhymes taking place in "Harlem" (sun/run, meat/sweet, load/explode), they do not follow a consistent pattern. Mostly, they are intercalated with lines that do not rhyme at all (up, sore, over, and sags). There is no concern for metrics either, each line having a different number of syllables.</u>
