1 Your Language Experience

Multilingual support symbol

As you learned about in the “Welcome” section of this book, there are many different Englishes spoken around the world and even within the United States. A single person may speak multiple different Englishes depending on who they are with and what they are trying to communicate.  In this chapter you will watch a video and read a short story that illustrate some experiences of children of immigrants to the United States with various Englishes. You will then think about how these experiences are similar to or different from your own experiences and write a reflection on your own experience with Englishes and other languages.

Chapter contents:

“3 Ways to Speak English” by Jamila Lyiscott

“My Many Voices” by Wilsee Kollie

“Mother Tongue” by Amy Tan

“In the Heights” by Lin-Manuel Miranda

Literacy Narrative: Your Language Experiences

AI Assistance for Literacy Narrative Writing

“3 Ways to Speak English” by Jamila Lyiscott

Jamila Lyiscott is the daughter of immigrants from Trinidad, and she grew up in Brooklyn, New York. She gave this speech when she was a doctoral student at Columbia University in New York, studying literature and race. Now she is a professor at University of Massachusetts, Amherst and the author of the book Black Appetite. White Food: Issues of Race, Voice, and Justice Within and Beyond the Classroom.  She made this speech to illustrate how she is articulate in three different types of English: the English of American academia that she uses at college, the Black American English that she speaks with friends in New York, and the Trinidadian English that she speaks at home with her parents. As you watch the video, think about all of the Englishes and other languages you are familiar with in the various contexts of your own life.

“3 Ways to Speak English” by Jamila Lyiscott, YouTube.com

 

Hint: If you’d like to read the transcript of the video or read a translation into a different language, go to the TED website to view the video along with these resources.

After watching the video, discuss or journal about these questions:

  1. Jamila Lyiscott says, “I speak three tongues. One for each: home, school, and friends.” What kinds of language do you use at home, at school, and with friends? Why do you think your language use is different in these different contexts?
  2. Jamila Lyiscott says, “Sometimes I fight back two tongues, while I use the other one in the classroom. And when I mistakenly mix them up, I feel crazy, like I’m cooking in the bathroom.” What do you think she means by this? Do you ever feel this way?
  3. Jamila Lyiscott says, “I have decided to treat all three of my languages as equals.” Do you treat all of your languages as equals? Why or why not?”

“My Many Voices” by Wilsee Kollie

Wilsee Kollie is a student at Kirkwood Community College, and she won first place in Kirkwood’s 2023 code-meshing contest for her poem “My Many Voices.” In this poem Kollie reflects on the various voices that inhabit her consciousness and contribute to her identity as a young immigrant from Liberia to the United States. Listen to Wilsee read her poem in the video recording below.

“My Many Voices” by Wilsee Kollie

It’s the rhythms and the blues that I feel in my voice,
I rejoice in my tone,
I speak and breathe infinity,
My mind transporting you across the realm of equilibrium,
Across the equator, as I am the narrator of my own story,
Of my own truth,
To be told through the voices of me.

One voice smoothly arousing your canals, as they travel through your drums bea-ting
Slow-ly immersing you into an intimacy,
Another voice speeding its way through the traffic of our days,
As I stumble on the tracks of excitement,
Around the world with people who give me a constant sense of comfort-ability.

I speak the way of the world,
Masking into the person that you may want me to be.
Native of a culture that I speak with my mother,
As we grieve the loss of our country,
But we keep and hold a part of our nation to our hand, as we say,
“Woh you go’in, come here oh”
And I answer in my sweet americanized accent of girl,
“I am going to a place unknown”
E-nun-ci-a-ted ev-er-y syll-a-ble on my own
Cause that’s the way that I’ve learned, that i’ve been shown
in the schools,
The tools to alleviate my voice into what they call correct,
Of what they call proper.

But what you need to know is, my voice is a prosperity
Showing the inbetweens of my identity,
Speaking informally, as I please, with my friends
Speaking culturally, as a treat, with my fam
And Speaking formal, as a need, in advance
“Hello mam” “Yes sir” “Pardon…?”

This is a letter to my many voices,
A pen pal to my many choices.

When we meet,
I hope that you don’t just see the surface,
But realize the many regions of my words,
Coerced into a never ending loop of a modifying record,
The reality of who I am,
My voice is not only known by me, but a creation known by man.

After watching the video, discuss or journal about these questions:

  1. What lines of Wilsee Kollie’s “My Many Voices” did you personally connect with?
  2. Wilsee Kollie says that she writes this poem as “a letter to my many voices.” What are Kollie’s many voices? What voices do you have? Do you feel like you have a different personality or way of expressing yourself, depending on which voice you’re using?
  3. Wilsee Kollie refers to “what they call correct” when she talks about the language she was taught in school. Who is the they she is referring to? How do you think these people determine what is considered “correct” or “proper” language?

“Mother Tongue” by Amy Tan

“Mother Tongue” is an essay by American author Amy Tan, who is the daughter of immigrants from China. Tan’s most famous novel is The Joy Luck Club, a story of the relationships between mothers and daughters in the Chinese American community. In “Mother Tongue,” Tan illustrates how her immigrant mother’s so-called “broken English” affected how her mother was judged and treated by others in the U.S.

Read Amy Tan’s essay, “Mother Tongue” below, and listen to the audio of the essay as you read, if you like. As you read and listen, think about whether your experience with the English language is more similar to Amy Tan’s experience or her mother’s experience.

“Mother Tongue by Amy Tan (full audiobook)'” by Jordan Barclay, YouTube.com

“Mother Tongue” by Amy Tan

I am not a scholar of English or literature. I cannot give you much more than personal opinions on the English language and its variations in this country or others.

I am a writer. And by that definition, I am someone who has always loved language. I am fascinated by language in daily life. I spend a great deal of my time thinking about the power of language — the way it can evoke an emotion, a visual image, a complex idea, or a simple truth. Language is the tool of my trade. And I use them all — all the Englishes I grew up with.

Recently, I was made keenly aware of the different Englishes I do use. I was giving a talk to a large group of people, the same talk I had already given to half a dozen other groups. The nature of the talk was about my writing, my life, and my book, The Joy Luck Club. The talk was going along well enough, until I remembered one major difference that made the whole talk sound wrong. My mother was in the room. And it was perhaps the first time she had heard me give a lengthy speech, using the kind of English I have never used with her. I was saying things like, “The intersection of memory upon imagination” and “There is an aspect of my fiction that relates to thus-and-thus’–a speech filled with carefully wrought grammatical phrases, burdened, it suddenly seemed to me, with nominalized forms, past perfect tenses, conditional phrases, all the forms of standard English that I had learned in school and through books, the forms of English I did not use at home with my mother.

Just last week, I was walking down the street with my mother, and I again found myself conscious of the English I was using, the English I do use with her. We were talking about the price of new and used furniture, and I heard myself saying this: “Not waste money that way.” My husband was with us as well, and he didn’t notice any switch in my English. And then I realized why. It’s because over the twenty years we’ve been together I’ve often used that same kind of English with him, and sometimes he even uses it with me. It has become our language of intimacy, a different sort of English that relates to family talk, the language I grew up with.

So you’ll have some idea of what this family talk I heard sounds like, I’11 quote what my mother said during a recent conversation which I videotaped and then transcribed. During this conversation, my mother was talking about a political gangster in Shanghai who had the same last name as her family’s, Du, and how the gangster in his early years wanted to be adopted by her family, which was rich by comparison. Later, the gangster became more powerful, far richer than my mother’s family, and one day showed up at my mother’s wedding to pay his respects. Here’s what she said in part: “Du Yusong having business like fruit stand. Like off the street kind. He is Du like Du Zong — but not Tsung-ming Island people. The local people call putong, the river east side, he belong to that side local people. That man want to ask Du Zong father take him in like become own family. Du Zong father wasn’t look down on him, but didn’t take seriously, until that man big like become a mafia. Now important person, very hard to inviting him. Chinese way, came only to show respect, don’t stay for dinner. Respect for making big celebration, he shows up. Mean gives lots of respect. Chinese custom. Chinese social life that way. If too important won’t have to stay too long. He come to my wedding. I didn’t see, I heard it. I gone to boy’s side, they have YMCA dinner. Chinese age I was nineteen.”

You should know that my mother’s expressive command of English belies how much she actually understands. She reads the Forbes report, listens to Wall Street Week, converses daily with her stockbroker, reads all of Shirley MacLaine’s books with ease–all kinds of things I can’t begin to understand. Yet some of my friends tell me they understand 50 percent of what my mother says. Some say they understand 80 to 90 percent. Some say they understand none of it, as if she were speaking pure Chinese. But to me, my mother’s English is perfectly clear, perfectly natural. It’s my mother tongue. Her language, as I hear it, is vivid, direct, full of observation and imagery. That was the language that helped shape the way I saw things, expressed things, made sense of the world.

Lately, I’ve been giving more thought to the kind of English my mother speaks. Like others, I have described it to people as ‘broken” or “fractured” English. But I wince when I say that. It has always bothered me that I can think of no way to describe it other than “broken,” as if it were damaged and needed to be fixed, as if it lacked a certain wholeness and soundness. I’ve heard other terms used, “limited English,” for example. But they seem just as bad, as if everything is limited, including people’s perceptions of the limited English speaker. I know this for a fact, because when I was growing up, my mother’s “limited” English limited my perception of her. I was ashamed of her English. I believed that her English reflected the quality of what she had to say. That is, because she expressed them imperfectly her thoughts were imperfect. And I had plenty of empirical evidence to support me: the fact that people in department stores, at banks, and at restaurants did not take her seriously, did not give her good service, pretended not to understand her, or even acted as if they did not hear her.

My mother has long realized the limitations of her English as well. When I was fifteen, she used to have me call people on the phone to pretend I was she. In this guise, I was forced to ask for information or even to complain and yell at people who had been rude to her. One time it was a call to her stockbroker in New York. She had cashed out her small portfolio and it just so happened we were going to go to New York the next week, our very first trip outside California. I had to get on the phone and say in an adolescent voice that was not very convincing, “This is Mrs. Tan.”

And my mother was standing in the back whispering loudly, “Why he don’t send me check, already two weeks late. So mad he lie to me, losing me money. And then I said in perfect English, “Yes, I’m getting rather concerned. You had agreed to send the check two weeks ago, but it hasn’t arrived.” Then she began to talk more loudly. “What he want, I come to New York tell him front of his boss, you cheating me?” And I was trying to calm her down, make her be quiet, while telling the stockbroker, “I can’t tolerate any more excuses. If I don’t receive the check immediately, I am going to have to speak to your manager when I’m in New York next week.” And sure enough, the following week there we were in front of this astonished stockbroker, and I was sitting there red-faced and quiet, and my mother, the real Mrs. Tan, was shouting at his boss in her impeccable broken English.

We used a similar routine just five days ago, for a situation that was far less humorous. My mother had gone to the hospital for an appointment, to find out about a benign brain tumor a CAT scan had revealed a month ago. She said she had spoken very good English, her best English, no mistakes. Still, she said, the hospital did not apologize when they said they had lost the CAT scan and she had come for nothing. She said they did not seem to have any sympathy when she told them she was anxious to know the exact diagnosis, since her husband and son had both died of brain tumors. She said they would not give her any more information until the next time and she would have to make another appointment for that. So she said she would not leave until the doctor called her daughter. She wouldn’t budge. And when the doctor finally called her daughter, me, who spoke in perfect English — lo and behold — we had assurances the CAT scan would be found, promises that a conference call on Monday would be held, and apologies for any suffering my mother had gone through for a most regrettable mistake.

I think my mother’s English almost had an effect on limiting my possibilities in life as well. Sociologists and linguists probably will tell you that a person’s developing language skills are more influenced by peers. But I do think that the language spoken in the family, especially in immigrant families which are more insular, plays a large role in shaping the language of the child. And I believe that it affected my results on achievement tests, I.Q. tests, and the SAT. While my English skills were never judged as poor, compared to math, English could not be considered my strong suit. In grade school I did moderately well, getting perhaps B’s, sometimes B-pluses, in English and scoring perhaps in the sixtieth or seventieth percentile on achievement tests. But those scores were not good enough to override the opinion that my true abilities lay in math and science, because in those areas I achieved A’s and scored in the ninetieth percentile or higher.

This was understandable. Math is precise; there is only one correct answer. Whereas, for me at least, the answers on English tests were always a judgment call, a matter of opinion and personal experience. Those tests were constructed around items like fill-in-the-blank sentence completion, such as, “Even though Tom was ______, Mary thought he was -______.” And the correct answer always seemed to be the most bland combinations of thoughts, for example, “Even though Tom was shy, Mary thought he was charming,” with the grammatical structure “even though” limiting the correct answer to some sort of semantic opposites, so you wouldn’t get answers like, “Even though Tom was foolish, Mary thought he was ridiculous.” Well, according to my mother, there were very few limitations as to what Tom could have been and what Mary might have thought of him. So I never did well on tests like that.

The same was true with word analogies, pairs of words in which you were supposed to find some sort of logical, semantic relationship — for example, “Sunset is to nightfall as ______ is to ______.” And here you would be presented with a list of four possible pairs, one of which showed the same kind of relationship: red is to stoplight, bus is to arrival, chills is to fever, yawn is to boring: Well, I could never think that way. I knew what the tests were asking, but I could not block out of my mind the images already created by the first pair, “sunset is to nightfall”–and I would see a burst of colors against a darkening sky, the moon rising, the lowering of a curtain of stars. And all the other pairs of words –red, bus, stoplight, boring–just threw up a mass of confusing images, making it impossible for me to sort out something as logical as saying: “A sunset precedes nightfall” is the same as “a chill precedes a fever.” The only way I would have gotten that answer right would have been to imagine an associative situation, for example, my being disobedient and staying out past sunset, catching a chill at night, which turns into feverish pneumonia as punishment, which indeed did happen to me.

I have been thinking about all this lately, about my mother’s English, about achievement tests. Because lately I’ve been asked, as a writer, why there are not more Asian Americans represented in American literature. Why are there few Asian Americans enrolled in creative writing programs? Why do so many Chinese students go into engineering? Well, these are broad sociological questions I can’t begin to answer. But I have noticed in surveys — in fact, just last week — that Asian students, as a whole, always do significantly better on math achievement tests than in English. And this makes me think that there are other Asian-American students whose English spoken in the home might also be described as “broken” or “limited.” And perhaps they also have teachers who are steering them away from writing and into math and science, which is what happened to me.

Fortunately, I happen to be rebellious in nature and enjoy the challenge of disproving assumptions made about me. I became an English major my first year in college, after being enrolled as pre-med. I started writing nonfiction as a freelancer the week after I was told by my former boss that writing was my worst skill and I should hone my talents toward account management.

But it wasn’t until 1985 that I finally began to write fiction. And at first I wrote using what I thought to be wittily crafted sentences, sentences that would finally prove I had mastery over the English language. Here’s an example from the first draft of a story that later made its way into The Joy Luck Club, but without this line: “That was my mental quandary in its nascent state.” A terrible line, which I can barely pronounce.

Fortunately, for reasons I won’t get into today, I later decided I should envision a reader for the stories I would write. And the reader I decided upon was my mother, because these were stories about mothers. So with this reader in mind–and in fact she did read my early drafts–I began to write stories using all the Englishes I grew up with: the English I spoke to my mother, which for lack of a better term might be described as “simple”; the English she used with me, which for lack of a better term might be described as “broken”; my translation of her Chinese, which could certainly be described as “watered down”; and what I imagined to be her translation of her Chinese if she could speak in perfect English, her internal language, and for that I sought to preserve the essence, but neither an English nor a Chinese structure. I wanted to capture what language ability tests can never reveal: her intent, her passion, her imagery, the rhythms of her speech and the nature of her thoughts.

Apart from what any critic had to say about my writing, I knew I had succeeded where it counted when my mother finished reading my book and gave me her verdict: “So easy to read.”

Tan, Amy. “Mother Tongue.” The Threepenny Review, vol. 43, Autumn, 1990, pp. 7-8, www.jstor.org/stable/4383908. (included on the basis of fair use)

After listening to and/or reading “Mother Tongue,” discuss or journal about these questions:

  1. Amy Tan says that due to her mother’s “broken English,” “people at department stores, at banks, at restaurants did not take her seriously, did not give her good service, pretended not to understand her, or even acted as if they did not hear her.” Have you or anyone you are close to ever experienced treatment like this because of the language that you speak?
  2. Why did Amy Tan’s teachers steer her away from writing and into math and science? Do you think this was the right decision for her teachers to make?
  3. Why was Amy Tan satisfied when her mother read her book and said it was, “So easy to read”? When you write, who do you usually envision as your reader? Do you think it is important to make your writing easy to read for other adult English learners?

“In the Heights” by Lin-Manuel Miranda

“In the Heights” is a song from a musical theater production of the same name. The lyrics to the song are written by Lin-Manuel Miranda, who was born to parents of Puerto Rican descent in New York City. The play was based on a book by Quiara Alegría Hudes, whose mother was also of Puerto Rican descent. In the Heights highlights themes of immigration, working class life, and the American Dream. The video below contains the music and lyrics for the song, “In the Heights.”

“In the Heights” by Lin-Manuel Miranda
Lights up on Washington Heights, up at the break of dayI wake up and I got this little punk I gotta chase awayPop the grate at the crack of dawnSing while I wipe down the awningHey y’all, good morning
Ice cold piragua, parcha, chinaCherry, strawberry, and just for today, I got mamey!(Oye, piragüero, ¿cómo ‘tá’?)Como siempre, Señor Usnavi
I am Usnavi and you prob’ly never heard my nameReports of my fame are greatly exaggeratedExacerbated by the fact that my syntaxIs highly complicated ’cause I immigratedFrom the single greatest little place in the CaribbeanDominican Republic! I love it!Jesus, I’m jealous of it, and beyond thatEver since my folks passed on, I haven’t gone backGoddamn, I gotta get on that¡Fo!The milk has gone bad, hold up just a secondWhy is everything in this fridge warm and tepid?I better step it up and fight the heat‘Cause I’m not makin’ any profit if the coffee isn’t light and sweet!
Abuela, my fridge brokeI got café but no con lecheAy DiosTry my mother’s old recipeOne can of condensed milkNiceOh wait, your lottery ticketPaciencia y fe
That was Abuela, she’s not really my “Abuela”But she practically raised me, this corner is her escuelaNow, you’re prob’ly thinkin: “I’m up shit’s creek!I’ve never been north of Ninety-Sixth Street!”Well, you must take the A TrainEven farther than Harlem to northern Manhattan and maintainGet off at 181st, and take the escalatorI hope you’re writing this down, I’m gonna test ya laterI’m getting tested times are tough on this bodegaTwo months ago somebody bought Ortega’sOur neighbors started packin’ up and pickin’ upAnd ever since the rents went upIt’s gotten mad expensive, but we live with just enough
In the HeightsI flip the lights and start my dayThere are fightsAnd endless debtsAnd bills to pay
In the HeightsI can’t survive without caféI serve café‘Cause tonight seems like a million years away!En Washington
Next up, ding, Kevin RosarioHe runs the cab company, he struggles in the barrioSee, his daughter Nina’s off at college, tuition is mad steepSo he can’t sleep everything he gets is mad cheap
Good morning, Usnavi!¡Pan caliente, café con leche!Put twenty dollars on today’s lotteryOkay, must be a lucky dayGotta be
Oh my God, you’re so excitedMy Nina flew in at 3 A.M. Last night!Sweet, Abuela’s been cooking all week!Compai when I see you this weekendAre we gonna eat?
So then Yesenia walks in the room(Aha)She smells sex and cheap perfume(Oh no)It smells like one of those treesThat you hang from the rear view!(¡Ay, no!)
It’s true!She screams, “Who’s in there with you, Julio?”Grabs a bat and kicks in the doorHe’s in bed with José from the liquor store!
¡No me diga!
The salon ladiesThanks, Usnavi!
SonnyYou’re late
Chillax, you know you love me
Me and my cousin runnin’Just another dime-a-dozen mom-and-pop stop-and-shopAnd, oh my god, it’s gotten too darn hotLike my man Cole Porter saidPeople come through for a few cold waters andA lottery ticket, just a part of the routineEverybody’s got a job, everybody’s got a dreamThey gossip, as I sip my coffee and smirkThe first stop as people hop to workBust it I’m like:“One dollar, two dollars, one fifty, one sixty-nineI got it, you want a box of condoms? What kind?That’s two quarters, two quarter watersThe New York TimesYou need a bag for that? The tax is added”Once you get some practice at itYou do rapid mathematics automaticallySellin’ maxi-pads, fuzzy dice for taxicabs, practicallyEverybody’s stressed, yes!But they press through the messBounce checks and wonder what’s next
In the heightsI buy my coffee and I go(I buy my coffee and I go)Set my sightsOn only what I need to know(What I need to know)
In the heightsMoney is tightBut even so(Even so)When the lights go down I blast my radio!
You ain’t got no skills!(Benny!)Yo, lemme get a(Milky Way)Yup, and lemme also get a(Daily News)And a (Post)And the most important, myBoss’ second coffee, one creamFive sugars!I’m the number one earner (What?!)The fastest learner (What?!)My boss can’t keep me on the damn back burner!(Yes, he can)I’m makin’ moves, I’m makin’ deals, but guess what?(What?)You still ain’t got no skills!(Hardee-har)Yo, Vanessa show up yet?(Shut up!)Hey little homie, don’t get so upset(Man)Tell Vanessa how you feel, buy the girl a mealOn the real, orYou ain’t got no skills
No!No no no!No no no, no-no-no!No, no-no-no!No-no-no-no-no-no-no-no, no-no-no-no-no!Mr. Johnson, I got the security depositIt’s locked in a box in the bottom of my closetIt’s not reflected in my bank statementBut I’ve been savin’ to make a down payment and pay rentNo, no, I won’t let you down(Yo, here’s your chance ask her out right now!)I’ll see you later, we can look at that lease!(Yo, do somethin’, make your move, don’t freeze!)(Hey!)
You owe me a bottle of cold champagne!Are you moving?Just a little credit check and I’m on that downtown train!Well, your coffee’s on the houseOkay!Usnavi, ask her outNo way!I’ll see you later, so
Yo, smooth operator, aw, damn, there she goes!Yo, bro, take five, take a walk outside!You look exhausted, lost, don’t let life slide!The whole hood is struggling, times is tightAnd you’re stuck to this corner like a streetlight!
Yeah, I’m a streetlight, chokin’ on the heatThe world spins around while I’m frozen to my seatThe people that I know all keep on rollin’ down the streetBut every day is different so I’m switchin’ up the beat
‘Cause my parents came with nothing, they got a little moreAnd sure, we’re poor, but yo, at least we got the storeAnd it’s all about the legacy they left with me, it’s destinyAnd one day I’ll be on a beach with Sonny writing checks to me
In the Heights, I hang my flag up on displayWe came to work and to live and we got a lot in commonIt reminds me that I came from miles awayD.r., P.R., we are not stoppin’
In the HeightsEvery day, paciencia y fe (ooh)Until the day we go from poverty to stock options
In the HeightsI’ve got today!And today’s all we got, so we cannot stopThis is our block!
In the HeightsI hang my flag up on displayLo le lo le lo lai lai lo leIt reminds me that I came from miles awayMy family came from miles away
In the HeightsIt gets more expensive every day!Every day!And tonight is so far away
But as for mañana, mi panaYa gotta just keep watchin’ (in the Heights)You’ll see the late nightsYou’ll taste beans and rice (in the Heights)The syrups and shaved iceI ain’t gonna say it twice (in the Heights)So turn up the street lights (ah)We’re takin’ a flightTo a couple of daysIn the life of what it’s likeEn Washington Heights!

Here is a link to an annotation activity that you can complete after listening to “In the Heights.”  If you can, you should print a paper copy of this document and complete your annotations by hand. Research shows that taking notes by hand helps with understanding what you read and remembering it longer.

Annotation means writing notes directly in the margins (blank areas) of the page of a text. Academic readers often use annotation to understand the meaning of a text more deeply. Annotations typically engage with the text by summarizing key points, asking questions, and making connections.

Literacy Narrative: Your Language Experiences

Now it’s time to think about your own experience with speaking different languages and learning English or  Englishes. Write a short narrative essay about your experience with language learning. A literacy narrative is a common type of assignment in college writing classes. Literacy means the ability to read, write, and learn a language, and narrative means story. So a literacy narrative is a personal story about your experiences with reading, writing, and language learning.

Example Literacy Narrative

Here is a link to an example literacy narrative from a multilingual Korean immigrant college student student: Example Literacy Narrative Kim.docx

After reading the example literacy narrative, consider the following analysis questions to help you understand how to write your own literacy narrative:

  1. What background information does Kim provide in the first full paragraph of the essay? Is this background information enough for the readers to understand her narrative?
  2. How does the author transition to the second paragraph? What is the topic of the second paragraph?
  3. How does Kim use specific examples of language to illustrate her language-learning journey?
  4. What kind of organization does the essay follow? Do you think this type of organization works well for this type of essay?
  5. What particular moments from the story stood out the most to you or were most memorable? What did Kim do as a writer to make those moments of the story stand out?
  6. How does Kim conclude her narrative essay? Do you think it is an effective conclusion?
  7. Assuming Kim’s audience consisted of her classmates and her professor at an American college, and her purpose was to help them understand more about what it is like to be a multilingual immigrant student in various contexts, do you think Kim succeeded in communicating that purpose to her audience? Why or why not?

Reflection Questions

"Girl writing"

Here are some questions for reflection that may help you develop ideas for your literacy narrative. You may wish to do some freewriting or journaling about these questions before you begin writing your essay.

  • Describe how your own language use changes in various contexts (e.g., home, school, and family). Give specific examples, and tell us why your language changes depending on who you’re with or where you are.
  • Describe how your own language use has changed over time, as you’ve moved locations, become educated, gotten different jobs, changed friend groups, etc.
  • Describe the language use of multiple generations of your family. How is your language use different from your parents’ and grandparents’ language use? What commonalities do they have? What opinions does each generation have about other generations’ language use?
  • Describe some particularly meaningful phrases or words from your home language that cannot be translated into English. What meaningful personal memories do you have associated with these words and phrases? Why do you think these phrases or words cannot be translated into English?

Try to write your literacy narrative like a story about your language learning. Include details that will interest the reader and help them clearly imagine your experiences. You should apply what you already know about the rules of academic English writing, but also feel free to get creative with your writing. You can include samples of dialogue from other languages or varieties of English that you speak, like we saw in “3 Ways to Speak English” and “Mother Tongue.” Merging two languages or varieties of language together in a single piece of writing or communicative act is called code-meshing or translanguaging, and it is a valuable skill that multilinguals often use to communicate more effectively. Feel free to practice code-meshing or translanguaging in your essay to help your reader get a better sense of the multiple languages and Englishes that you know.

AI Assistance for Literacy Narrative Writing

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Writing World Englishes Copyright © 2024 by Elizabeth Baertlein is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.

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