TOW #28: "Abandoned Love"

"Abandoned Love" is a photography series by Peyton Fulford, featuring melancholy and sometimes straight-up heartbreaking phrases and quotes related to lost love and loneliness. What began as a school project in 2015 grew into an international movement, as Fulford called for viewers to submit their own phrases photographed in abandoned spaces in their area. The submissions were received from over 30 different countries, spanning geographic borders and continents to showcase the unique spectrum of human emotion.

The project is incredibly poignant for its use of abandoned context to create a moody, shifting tone. Many of the photographs are taken outside, shot from behind old buildings or featuring decaying garages. The juxtaposition of sentimental text with a seemingly forgotten area leaves the viewer with a feeling of unease. The colors in each photo are limited, spanning from bleak greys to dreary earth tones, with the only vibrant or standout color being the one displayed by the text.

All of these factors work together to create pieces that are not only visually stunning, but also leave viewers with something to think about. The pictures have the capacity to haunt viewers long after they've seen the image, highlighting the dark sides of humanity in more ways than one. Not only is the setting of bleak abandoned spaces eerie enough, the notion that someone has been there - and immortalized their thoughts through text - is incredibly poignant and chilling.

The text used in each image also adds to the emotional weight of the collection. All of these phrases sound so familiar to those who have dealt with heartbreak or loss before in their lives, and they all carry a personal meaning for the artist as well. Posting them publicly and then photographing it is a symbolic way for the writers and photographers to achieve closure. Feelings are transient, but these photos are not.

TOW #27: "The Girls Who Went Away" (IRB)

Upon reading The Girls Who Went Away, I've found myself come to terms with the fact that I may never understand what it was like to live in the oppressive culture of the 1940s to 1970s, where women were shamed for having sex and men were praised for it. It seems easy to compare that sort of dichotomy to today's world, but this goes beyond social stigma. Girls who were pregnant out of wedlock were sent away, hidden from family and friends, and forced into isolation for reasons they could not control. Most were presented with a single option - to be sent away and surrender their child for adoption - and saw this as a punishment for something they had done wrong.

The use of firsthand, eyewitness testimony from birth mothers attests to these extreme conditions, and is an eye-opening and emotional look at the impact the loss of their child has had on them. Many times when adoption is discussed, it is from the viewpoint of the adopted child, very seldom that of the birth mother. One mother recalls, "I couldn't talk about what had happened to me, about my daughter and giving her up, because every single person I told the story to judged me." (23) The haunting imagery of induced labors with nobody by your bedside, and young girls being sent away as though they were no longer 'useful' to the family is extremely painful to read. It feels as though these atrocities are happening to me personally, which makes for a very compelling argument.

Additionally, the author's own perspective adds a layer of credibility and an appeal to ethos to the argument. Ann Fessler was adopted herself, and in the beginning of the book recounts her experience with reaching out to her mother forty years after she gave Ann up for adoption. It makes these interviews seem more personal, and, as Fessler comments herself, gives a nuanced perspective to issues that are too often seen as black or white, right or wrong. The book is also extremely researched, not solely relying on firsthand accounts to give life to the social climate of the 1940s through the 1970s. Fessler includes citations and other works detailing the lives of young women in America, and how sex education was incredibly limited, if present at all.

Most importantly, The Girls Who Went Away asks readers to think and evaluate the society they live in, and compare it to that which she portrays. Have we really come all that far from the days of birthing homes for unwed mothers and parents sworn to secrecy to protect the 'family honor'? Have we really escaped the toxic culture that puts the blame on the young girls that fall victim to rape and sexual abuse, and not the men who are the active abusers? While we may have made steps towards change, there is still much to be done with the culture surrounding sex and pregnancy in America.

TOW #26: "American Dreamers"

American Dreamers is a new project presented by the New York Times, in response to the Trump administration's threats directed toward immigrants and their families. It features stories from young immigrants who were permitted to stay in the country and work during the Obama administration. The aim of the collection of stories is to call on Trump's administration to preserve Deferred Action for Childhood Arrivals, which is a program that "temporarily shields some immigrants from deportation and allows them to work legally." Through the collection and its many appeals to pathos, the New York Times is shining light on the lives of millions of Americans whose livelihoods will be severely damaged through Trump's bigoted agenda.

The page is set up in column style, with quotations from each subject interviewed in big, bold letters. The centrality of such powerful quotations makes it hard not to notice them. The curators also selected each quotation purposely, not only to demonstrate the humanity in each one of the voices, but also to provide examples of how removing the DACA will affect their lives. For readers just taking a look at the website at a glance, these quotes will leave a lasting impression on their mind. Some powerful examples include "Let us walk along you, shoulder to shoulder, on that same road our hands help to pave", and "There are Dreamers that have become lawyers, doctors, police officers and small business owners thanks to DACA." The addition of such quotes adds an important layer and emphasizes each individual's place in the collection.

Another important aspect of the collection is the addition of portraits of each individual. The intimate, authentic style of these portraits make it feel as though readers already know these individuals, as though they can reach out and touch them through their words. These visuals are incredibly powerful, highlighting not only the diversity of those interviewed but also their resoluteness and strength. Alongside the pictures are their name, and a short description of their location and job. Scrolling through the website feels like you are meeting these people in person. It adds a level of personal intimacy that cannot be achieved through words alone.

Overall, the collection emphasizes two very important ideas that are often left out of discussions of immigration, the first being that immigrants are humans. They are just as real as anyone else in America. They have dreams, hopes, and goals, just like any other person. Too often, politicians leave out this important aspect of humanity. Additionally, it discusses the practicalities of new laws. By balancing the appeals to pathos with a solid footing in logic and the law, the American Dreamers collection is able to prove a strong message about the necessity for immigration aid to politicians and readers alike.

IRB Intro Post #4: "The Girls Who Went Away"

For the fourth and final marking period, I will be reading The Girls Who Went Away by Ann Fessler. This book interested me for many reasons, the main one being adoption is a topic that most authors shy away from, and it is not everyday you get the chance to hear eyewitness accounts of surrendering a child for adoption. I am also interested to hear about the ways Supreme Court decisions have shaped society, especially Roe v. Wade.

TOW #25: "Censorship, Not the Painting, Must Go"

Artist and writer Coco Fusco's opinion piece on the recent controversy regarding a work surrounding the murder of Emmett Till was enlightening and genuinely interesting to read. I found myself questioning a lot about censorship and the things that constitute 'good art', alongside contemplating the boundaries of social commentary on race. The article argues for a multitude of things: less blind censorship in the art world while maintaining critical consumption of work, and more awareness and context placed behind criticisms of artists and their work.

The controversy in question is surrounding a painting by artist Dana Schutz entitled "Open Casket" which is being displayed at the Whitney Biennial. Protests have been staged in response to the work, calling for its removal and censorship due to the artist behind it being a white female. Heated debates have been sparked with sides in favor of, and against, the censorship of the work. Fusco takes a unique stance on the issue, examining it closely from all sides and doing extensive research to support her argument.

Fusco calls for awareness and context behind criticisms through her appeals to ethos, as her own awareness seems to reach deep beyond recent events. The research she does and knowledge she possesses about historical feats for black artists, alongside the various criticisms the community as a whole has held throughout the years, help pave a solid foundation for the audience's understanding of the events. Fusco uses evidence from various sources to prove that educated and rational arguments stem from analytical thought toward the subject.

Additionally, Fusco's perspective on racial issues adds to her credibility and increases the effectiveness of her argument. She cites sources where such strategies to negate any sort of controversial topic have only added to the problems marginalized groups of people (specifically, the black community) have faced. One quote that stood out to me on this issue was "In the absence of informed discussion, we get unadulterated rage." This rage is clearly displayed in the protests surrounding "Open Casket."

The article led me to think of discussions surrounding 'controversy' differently, and to examine an issue as a whole rather than one specific incident. It helped me get a better appreciation and understanding for the need of opposing viewpoints. It made clear that we need argument and dissent, we need political opposition, but we also need to consider the factors that may lead us down the wrong path.

TOW #24: "Life is Better When You Share the Ride"

Ride-sharing apps are becoming increasingly popular in the United States, with that group headed by Uber, known for its on-demand pickups. Lyft is another rising option, with its popularity growing steadily. Recently, controversy surrounding Uber's treatment of female workers (as well as their possible endorsement of Trump) has led many politically-conscious ridesharers to choose Lyft over Uber.

Lyft released a commercial early this year that reiterates the things they take pride in for their company: diversity, inclusion, and connection in an age where we seem all-too unconnected. Lyft's commercial, entitled June, makes use of warm colors, bright visuals, and appeals to pathos in its storyline in order to effectively portray Lyft's goals and encourage ridesharers to use Lyft.

The commercial features a heartwarming storyline of an old woman named June whose car is involved in an accident. Finding herself stranded without transportation, she uses Lyft for the first time, and discovers the abilities it has for meeting new people in her city. The appeals to pathos are evident, with the backstory of a widowed woman who eventually finds she has the power to connect to people through something as simple as a ridesharing app. The music is endearing and chosen selectively for each moment, highlighting the all-too human ordeals that June faces.

The colors of the video are warm and inviting, which works well because this commercial was shown primarily before YouTube videos. The fact that it was so visually appealing means there is a good chance the viewer will not be as tempted to skip ahead to their video. The bright, childlike visuals and illustrations are happy and endearing, and allow for the audience to connect tremendously with the events in the commercial. Each moment is timed perfectly with visuals, music, and storyline syncing up to produce a heartfelt short film and effectively entice audiences to use Lyft.

TOW #23: "What High Schoolers Are Actually Wearing"

What High Schoolers Are Actually Wearing is a film project started on YouTube by Lexie Lombard. The project features a variety of teenagers, each installment focusing on a different set of kids in a different location. They are asked various questions revolving around their personal style and creative expression, and the answers received are sweet and endearing, showcasing the varying trends and styles worn by teenagers across America.

This series speaks to me for so many different reasons, one being the diversity showcased in the episodes touches on the aspects of teenage culture that are often whitewashed and glossed over by the media. It makes a strong argument for representation of actual teenagers - not just fictional ones played by thirty-somethings on TV. Every aspect of the series highlights the uniqueness of the subjects featured, whether it's through lively music or silly text animation. The subjects chosen are diverse in fashion, personality, and looks, and highlight their diversity in the interviews.

Real representation of high school students starts with - wait for it - real high school students. This series is taking to the streets to ask teenagers their opinions on fashion, music, and art, but it's also not afraid to get personal and ask questions about friends and family as well as personal style. The series branched off recently into What High Schoolers Are Actually Thinking, which hosts discussions of the events going on in the lives of teenagers as well as heavy questions about politics and the world around them.

This project has inspired me to reach out and represent the real opinions of teenagers and young adults, something the media does not do very often. The experiences and lives of young people are just as important as those of adults, if not more so. We are the future.

TOW #22: "Daughters"

Daughters by Samantha Conlon is a unique perspective on the relationship between femininity and traditional roles of motherhood (and daughterhood). Conlon's project came about after she spent six months as a quiet observer to her sisters and their daughters, capturing intimate moments that, when viewed, bring about an emotional response in the viewer.

Through the collection, which uses visual elements like emotion, lighting, and color, Conlon is able to masterfully create a dialogue about the roles women play in the lives of their daughters, and the roles young girls play in the lives of their mothers.

Samantha Conlon is a female photographer & artist from Ireland whose works focus on class and gender struggles. Her works have been published in online platforms such as i-D and the New York Times, and showcase a multidisciplinary approach in viewing the world.

Conlon's aim was to "show strength in softness", and to "elevate the female experience." Her use of soft, diffused lighting gives the portraits a very intimate, casual, and soft feeling. It is reminiscent of childhood portraits and family photo albums, but in being produced for a much wider audience than close family and friends, it highlights an almost voyeuristic side to portraiture of mothers.

The use of color, mainly soft pinks and blues, places an emphasis on youth and highlights the more nurturing aspects of motherhood. Conlon brings out the childlike side of both mothers and their daughters, whether she is capturing a moment at rest or a time spent playing.

The collection embodies, for me, a childhood very similar to my own, and a motherhood that I hope to experience one day. Conlon is able to capture all of the hidden, nuanced ideas about growing up and familial ties through her portraiture. Daughters is a collection that highlights profound meanings behind the way society views femininity and growth.

TOW #21: "The Epidemic of Gay Loneliness"

This article took an extremely different perspective on the issues that pervade the LGBT community, which made it particularly interesting to read and to think about. The evidence that is used throughout the essay, much of it anecdotal, is also powerful and extremely heavy at some points. In treating common issues of mental illness, drug use, and HIV infection in the gay community as a singular, deeply intertwined issue, the author sheds a new light on the way we face these problems in the future. It also impacts readers heavily by adding a lasting message - LGBT people may never feel like they're not different from other people. Instead, it is acceptance and working with differences that leads to a healthy and happy life.

One of the most effective parts of the article is the way it does not shy away from telling raw and emotional stories of gay men. Many of the author's friends are interviewed and describe in detail the struggles they've faced throughout their lifetime, some using real names, others using pseudonyms. The details of attempted suicides, drug overdoses, and social isolation are jarring enough to show readers the dark side that comes with being LGBT. Placing these in the introduction of the article proves effective - not only to grab the audience's attention, but also to lead into the main argument - as Hobbes later interviews psychologists and researchers in an attempt to explain these destructive behaviors.

Another effective part of the article is the use of statistics, often coinciding with these emotional retellings from friends of the author. The statistics do not stand alone, and lead into the various theories proposed by Hobbes for the common feeling of isolation shared by gay men. As Hobbes discusses how "[Between 2004 and 2005] gay men showed a 37 percent increase in mood disorders, a 42 percent increase in alcoholism and a 248 percent increase in generalized anxiety disorder," he follows it up by a statement that no legal rights of gay people actually changed between those years. It was a symbolic change in society's beliefs that was outwardly shown through constitutional amendments defining marriage as between a man and a woman. This clear portrayal of the damaging effects a heteronormative society can have on gay people is created through the incorporation of research and statistics.

However, Hobbes does not end the article on a sad note, rather, a positive one. He uses a quote from a gay man interviewed in the article to shine light on the hope that remains within the LGBT community. “For gay people, we’ve always told ourselves that when the AIDS epidemic was over we’d be fine. Then it was, when we can get married we’ll be fine. Now it’s, when the bullying stops we’ll be fine. We keep waiting for the moment when we feel like we’re not different from other people. But the fact is, we are different. It’s about time we accept that and work with it.” This provides a completely different outlook for viewers, and while it doesn't take away from the heavy information displayed in the beginning, it does show how a change in attitude may help to address the problems facing us in the future.

TOW #20: "America's Best Picture? All of Them"

This article, published in the New York Times, is an introspective look at the film industry in 21st-century America, and what the art we produce says about our culture. The article makes strides in defining what exactly we as viewers value through the films we watch, particularly those nominated for Best Picture at the Academy Awards.

The argument the article makes aligns similarly with my own - as a culture, we are valuing black art and cinema more heavily than we have ever done before. This is a big step in taking over a white-dominated sector of culture. Movies like Hidden Figures, with three black female leads, and Moonlight, with a portrayal of black LGBT+ men, are making strides towards representation and equality in media. People of color are getting more and more opportunities to be on screen and write and direct their own films, which makes me incredibly happy.

The article also makes connections between the different stories portrayed within the films to the diversity of America -- suggesting that maybe what we need is not a unified America, but an America where differences coexist and intersect, weaving a portrait of diversity and strength through individual stories. It ends with the line: "If you really want to find out what America looks like, you have to watch all of them." This struck a chord with me, as a lot of people throw their support behind one movie or another for the Oscar. All of the nominees coming together are what make America.

Film has always been an inspirational medium to me, and seeing the amount of diversity that was portrayed in the Academy Awards was compelling. Now, more than ever, we need people to see the story of America -- not in the historical sense, but in the deeply personal, social sense. Movies like Moonlight, Fences, and Hidden Figures are incredibly important ones. Just as social change is often the driving force behind film, film is the driving force behind social change.

TOW #19: The Mile High Promise, And Risk, Of School Choice

The Mile High Promise, And Risk, Of School Choice is an editorial published on NPR by NPR Ed, a branch of NPR dealing with education and schooling in America. It discusses the merits and drawbacks of school choice being proposed by Secretary of Education Betsy DeVos -- and how one district in Denver seems to be doing it right.

One thing that jumped out at me right away about this article was the way it seemed to use the classical model of oration almost as an introduction. They followed most of the parts, including refutatio, in the several lines that made up their introduction. This set up the rest of the article as evidence and example, and also detailed analysis. For me, this was an effective intro, as it showed they had done extensive research and already crafted an argument and thesis through that research.

The article also does a good job at establishing historical context around the occasion. The school choice initiative in Denver has been around since the end of segregation in public schools in the 70s, and was not newly implemented anytime recently. This means they have decades of experience and working on issues to make it what it is today. This was made very clear in the article, and provides a nuanced way of looking at the issues we face regarding school choice today.

Overall, the article did a wonderful job of providing the reader with things to think about regarding the issue of school choice. While it does have its merits, it also comes with drawbacks - particularly for impoverished families who lack transportation, and a still-wide achievement gap in many schools. The issues that confront us now are not new ones, and they are ones we need to think carefully about before making decisions on.

TOW #18: "We Accept"

Airbnb released a commercial for the Super Bowl that came just days after Trump proposed a travel ban on Muslim countries, making it a timely and representative advertisement of the company's beliefs and policies regarding refugees. They have a commitment to provide short-term housing for over 100,000 refugees, aid workers, and victims of natural disasters, and have committed to donate $4 million to the International Rescue Committee, which helps displaced people around the world. The ad read "We believe no matter who you are, where you’re from, who you love or who you worship, we all belong. The world is more beautiful the more you accept." This message was portrayed across faces of members of diverse groups of people, highlighting the company's dedication and commitment to diversity and inclusiveness.

The spot lasted only 30 seconds, but within that time Airbnb was able to effectively utilize visual rhetorical elements. The framing of the portraits of the individuals began with the eyes, gradually zooming out to feature other parts and eventually the full face. This small decision makes a big difference on the way the commercial is perceived. Basic features like eyes are largely the same across nationalities, religions, and races of people. Connecting the audience to this fundamental aspect of being human helps introduce the next layer of the argument: even with our similarities, we are different in where we are form, who we worship, and who we love.

The framing and way the camera gradually zooms out on the faces of the subjects makes the argument come full-circle, connecting back to the fact that even though we have differences, we are all human. The progression of the video in time to the music gradually gets faster, fading out to a screen with the Airbnb logo on it, proclaiming the hashtag "#weaccept". Rhetorically, the visual components like framing, choosing diverse subjects, and adding contemplative music all combine to create a lasting impression with the audience: one of equality and justice for all people, despite the contested political atmosphere surrounding such topics. The advertisement was, in my opinion, timely, and served to connect viewers with current political messages without being divisive.

IRB Intro Post #3: The Princess Diarist

For my third IRB, I will be reading Carrie Fisher's The Princess Diarist. The book is a collection of Fisher's memories from filming Star Wars, captured in journals and poems, as well as an introspective look on Hollywood and celebrity life. So many aspects of Carrie's life and personality are such an inspiration to me, and I am very excited to begin reading about her journey both on-screen and off.

TOW #17: "My Resistance Movement"

This article was incredibly powerful to read after months spent mourning the results of the election and wondering how I can use my powers to help resist and make real change in the world. Wajahat Ali's central claim was simple, yet impactful: resistance is existence. Resistance is hope, love, forgiveness, and "fight[ing] back when necessary." I believe that this is the simplest way to describe my own feelings regarding the election results, and agree strongly with his central argument. While so much of the recent political climate has brought out the ugly parts of humanity, it has also brought out some of the most beautiful parts -- showing that a community of people determined to make a change in the world can and will do so.

Whether it is the recent Women's Marches all across the world, Black Lives Matter protests, or simpler, smaller acts of kindness, a new kind of revolution is springing up in reaction to a campaign fueled by hatred and divisiveness. Ali addresses this by saying "even though the cruelty of the earliest days of President Trump's administration seems like the horsemen signaling the end of times, the crisis has also awakened a multicultural coalition in America determined to resist." We see this resistance everywhere we look, in small and big actions.

The line from Ali's essay that really struck a chord with me was "the days look bleak right now, but I refuse to give into cynicism, nihilism, or hate. My faith commands me to remain hopeful." He then adds a quote from the Prophet Muhammad -- "Even if you see the day of judgment coming around the corner, plant a seed." These kinds of messages of spreading love and hope in dark times are perhaps cliche, but needed. Ali's piece is written during a era where, at times, it seems as though hate has won out and greed has overtaken humanity. He reminds readers that resistance is not solely found in the bigger, bold actions like protests and demonstrations -- although those play a crucial part in the movement. Ali states that "resistance means arming yourself with ferocity and compassion... resistance for me is owning my multi-hyphenated identity...resistance is the Arabic names and caramel-mocha brown faces of my children, smiling in the age of carnage." This way of looking at the more simpler forms of resistance has inspired me in such a dark time. I exist, therefore I resist.

TOW #16: "Bad Feminist" (IRB)

Roxane Gay continues to unearth a lot of the stereotypes and generalizations that we continue to see in the media without even realizing it. These go beyond just affecting women - although almost every single one can be applied to women - as Gay shows how racial prejudice can affect the way a character is described in a book or the way they are portrayed in movies. Gay uses films, books, and TV shows, recent and not so recent, to explore the way women are depicted in the media and how it affects each one of us.

Her use of evidence connecting directly to books or films is a double-edged sword: it helps make connections clear for readers who are already familiar with the piece, but if a reader has not heard of, read, or seen the item at hand, the connections made are a stretch and can be difficult to understand. Gay tries to circumvent this by explaining each piece of media she talks about in her essays, but at times it can be hard to keep up with new topic after new topic.

In describing reality TV, Gay describes some of the more popular shows - Real Housewives of Beverly Hills, Sister Wives, and Bad Girls Club - and uses their tactics of skewing reality to show how women are manipulated to be perceived in a certain way on these shows, often to their detriment. These connections are powerful, because although it is generally accepted that reality TV is not at all reality, not many people take time to point out the exact flaws that make this form of television so deceitful. Gay also turns this around, showing how this form of 'reality' may actually be realer than we think. She writes, "What may be most terrifying is just how real reality televisaion is, after all...perhaps we watch these shows because...we see, more than anything, the plainest reflections of ourselves, garishly exposed but unfettered" (81). This powerful ending line concludes the essay, but also leaves readers with something to think about long after the essay has been read.

Gay's use of powerful ending lines is something I admire and want to try to continue using in my own writing. She extends the argument, instead of simply repeating what she has said over and over many times throughout each of her essays. I thoroughly enjoyed reading the essays within Bad Feminist and hope to use some of the rhetorical techniques Gay uses in my own writing. I also hope that I can continue being a bad feminist, learning along the way from my mistakes.

TOW #15: "Will Racism End When Old Bigots Die?"

Will Racism End When Old Bigots Die? is an article from NPR that attempts to address the age-old question: just how is racism passed down from generation to generation, and is there any way to prevent the spread of racist beliefs? Is it getting better, or staying the same, as the millennial generation grows into adults? The article was published in NPR's Code Switch section, which deals with the many layers behind racial issues facing America today. Leah Donnella is a regular contributor to this section, and works as a news assistant and blogger.

The article starts off with a vignette of Shelly Fields, a 46-year-old white woman with biracial children. This showcase of Fields' situation is rhetorically effective, as it paints a diverse portrait of America -- one most readers can testify to -- right off the bat, to put things in perspective and also bring evidence from someone in a unique situation as Fields is. The article also accounts for her daughter's perspective, showing both sides of the story.

The use of the famous quotation from Martin Luther King, Jr., "I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character", is especially effective in pointing out the recurring theme for many parents who believe their children will grow up in a less racist world. Donnella also cites figures like Thomas Jefferson and Oprah Winfrey to show the prevalence of this argument in both ancient and modern history. This proves to be a recurring theme throughout the article: the belief that parents hold that 'things will get better' for their children.

Public polling data is also utilized effectively in the article, citing surveys done asking readers the question: Will racism fade away when old bigots die? Though the sample size was limited to about 120, a shocking two-thirds said they did not think that the next generation would usher out racism. Nearly the same number went on to say that they thought their answer would differ from their parents and grandparents. The anecdotes provided from families further this evidence, and serve as more 'scientific' proof of the disparity between parents and their children.

The article concluded that although the viewpoints of parents and their children differ extremely, when it comes down to it, many answer similarly when asked about racism and the future. Personal experiences and situations factor heavily into that equation, which is why the use of both anecdotal evidence and more scientific data is rhetorically effective for this article.

TOW #14: "Bad Feminist" (IRB)

Through reading Bad Feminist, I've learned a lot about several topics: what constitutes 'feminism', how media representation of women affects real-life stereotypes, and even how to master the art of the Scrabble tournament. I've also learned a lot about writing, through the ways author Roxane Gay is able to . Throughout the collection in various essays, Gay provides humorous anecdotes to help familiarize her audience with the subjects she writes about.

Feminism can be a big and scary topic for newcomers, and even those who consider themselves well-versed on the subject. With so many intersections in race, sexuality, class, and identity, it is hard to know where to begin. Gay acknowledges this with her statements in the introduction, alluding to the book's title as she says "I embrace the label of bad feminist because I am human. I am messy. I'm not trying to be an example. I am not trying to be perfect...I am just trying to support what I believe in." This outright statement showing not only Gay's vulnerability but also her drive to keep trying helps let readers know that being a bad feminist isn't really that bad after all.

After this short introduction, Gay jumps right into an anecdotal retelling of her life growing up: from seeing impoverished families in Haiti at seven to her experiences in relationships from nineteen on. From these stories, Gay is able to show just how many different things can intersect to create a unique person: molded from unique privileges and disadvantages, all based on one's life experience. Gay also calls readers out directly, saying, "If you are reading this essay, you have some kind of privilege. It may be hard to hear that, I know, but if you cannot recognize your privilege, you have a lot of work to do." This truth, spoken directly to her audience, lets readers know that feminism is, at times, about recognizing your own privilege based on the many identities you hold.

Bad Feminist is a book about making mistakes and owning up to them, and Gay shows this not only in the title but also in the essays within. She shows her personal failures, and times in her life where she wished she'd spoken up or done a better job of finding her own voice. However, it's not all sob stories. Gay includes stories like these to inspire both herself and readers to do better as a feminist and simply a human being. She shows us that it's okay to make mistakes, and that we, too, can be bad feminists.