Violence In Canadian Society A Rising Trend free essay sample

An examination of increasing violence in Western society This paper addresses the wide range of studies which indicate that rates of violent crime have increased significantly within Western society since the 1960s. The author argues that the fluid nature of violence over time are not taken into account in these studies and looks at possible reasons why. From the paper: Open any newspaper, or tune in to any news broadcast today, and you will receive accounts of many incidents of violence. Over time these incidents will take on any number of forms. Any specific incident, which occurs, especially in the case of murder, will almost certainly be disseminated on the news. These incidents will include homicides, violence against women, violence by and against children, labor violence and violence in the workplace, violence perpetrated by police officers, and non-culpable forms of violence such as car accidents, and wars (Ross, 1995). This coverage is conducive in adding to the position held by many in the media that violence in Canada is more widespread than it was fifty years ago. We will write a custom essay sample on Violence In Canadian Society: A Rising Trend? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page They would argue that Canada of the early twenty-first century is a more violent place in which to live than Canada in the 1950s.

Cause of the Civil War essays

Cause of the Civil War essays The Civil War is commonly thought to have been caused by the idea or institution of slavery in the United States. Although slavery did play a part in leading to the Civil War, the true cause of the United States of America being divided into two separate entities was succession. More specifically the succession of the state of South Carolina from the Union. The succession of South Carolina, the catalyst which ignited the conflict of the Civil War, was brought of by two key factors, the southern nationalistic views and the strong leadership among the Cotton Kingdom1 which South Carolina possessed. Ten years prior to the Civil War the south, especially South Carolina, had a strong feeling of southern nationalism. This was of no surprise considering all of the influences and events of the time period, 1850. The historical meeting of the Nashville Convention, November 14, 1850, was of the largest importance dealing with this issue. Cheves launched an attack on Henry Clays Compromise of 1850, saying to the southerners, Unite, and you shall form one of the most splendid empires on which the sun ever shone, of the most homogeneous population...2. Cheves went even further, making a defensive attack on how the south should unite and further declined that the institution of slavery was not wrong or immoral, but in fact was apart of their culture and their society. Chevess speech at the convention was not the only topic that brought together and connected the people of the Palmetto State3 and the rest of the south, but the tariff and nullification episode between 1827 and 1833 also gave the southerners a feeling of nationalism to their part of the country. The tariffs gave the south such a disadvantage to the north that they had no other choice but to band together. Cotton, the souths most lucrative and essential industry, price, ...had fallen from thirty cents a p...

How To Prioritize Your Marketing Projects For Huge Growth [PODCAST]

How To Prioritize Your Marketing Projects For Huge Growth [PODCAST] How do you decide what marketing idea is worth your time to work on? When working in a team, ideas seem to come from everywhere: Your sales team, product engineers, customer success folks, and yourself! My guest today is CEO and Founder of Baremetrics, Josh Pigford, and he’s here to answer that question. Baremetrics is a revenue and subscription analytics tool that enables companies and marketers to make informed decisions about their marketing strategies. Josh has developed a unique ranking system to score marketing ideas based on project qualities, and his team uses that to decide which projects the company should focus on. Today, Josh teaches us how to prioritize marketing ideas and shares the process Baremetrics uses behind the scenes that helps them focus  on the most effective projects. Some of the topics on today’s episode include: Prioritizing marketing projects with limited resources Josh’s process for coming up with marketing ideas The â€Å"Bulls-Eye framework† for idea prioritization Scoring ideas based on project qualities Josh’s method for testing ideas

Symbolism often compliments the plot and crimes that may occur. By Essay

Symbolism often compliments the plot and crimes that may occur. By analyzing the use of symbolism in Reservoir Dogs ( the screenplay) what do we learn about crime - Essay Example h symbolic meaning which directly catalyzes more significant comprehension of the content and implications of the complete work as a portrayal of humanity and criminality. The use of uniforms, the application and use of color-coded nicknames by core characters, and the tortuous removal of Marvin Nash’s ear are examples of Tarantino’s use of symbolism to enhance the dimensionality of the work as they reveal key insights into the story dynamic. The most immediate introduction of symbolism within â€Å"Reservoir Dogs† occurs in the introductory scene in which the characters are described as wearing black suits as they sit around the cafà © table. Though subtle, this uniformity of dress is a factor which prevails throughout the vast majority of the later screenplay. This neo-noir style attire, which hearkens back to accepted aspects of the classic cinematic criminal archetype, is applied to the core characters and impacts the overall story significantly. The uniform used by these thieves reveals the tentative cohesiveness of the group and draws a distinction between them and the police in subsequent scenes, effectively setting both groups apart from general society, or as Mr. Pink remarks, â€Å"real people† (Tarantino, p.13). However, this is not the only area in which the symbolic value of the criminal uniform impacts the overall screenplay. A lack of uniform description in scenes which introduce and explain the involvement of individual characters signifies their previous separation and tentative civilian status. Additionally, this definitive division between the thieves and the police intensifies the sense of betrayal which arises from the revelation of Mr. Orange/ Freddy Newendyke’s duplicitous role within the group beginning in scene 25 (Tarantino, p.56). Tarantino continues his incorporation of symbolism in the use of color coded nicknames by core characters in the context of the screenplay which succeeds in achieving several key effects on the story and

Parental involvement in children's early reading Literature review

Parental involvement in children's early reading - Literature review Example Reading adds numerous dimensions to an individual’s personality; hence parents want their children to get used to reading from a yong age itself. Invariably parents are found discussing the means and modalities to be adopted to make reading feel and look interesting, enjoyable and fun to their children. Parents look for reasons to convince their children about the fact that reading is a skill that is like a key to master their life. Quite often elders purposely pick up a magazine, newspaper or a book and start reading in front of their children sending positive signals to the children about the importance of reading. In fact it is noted that children who lag behind in their reading skills receive less reading practice (Allington, 1984), miss opportunities to develop reading comprehension techniques (Brown, 1986) and may acquire a negative notion about reading if they are presented with reading material that is advanced to their skills. However, the psychologists have researche d extensively on the development of reading habits of children, and found it evident that early reading habits developed in the child’s formative years (initial five years) have a lasting impact on his or her behavior (Beth M. Phillips, 2009). Research indicates that the concept of literacy as a skill set and knowledge base begins to develop during infancy and is continuously enriched during the early childhood phase by exposure to language, printed materials, and opportunities for experimental and instructional counters with literacy materials such as books, magazines, alphabet toys etc (Lonigan C. J., 2006), (naeyc, 2009), (Wagner, 1994). Particularly, literature shows that oral language, phonological responsiveness, and print knowledge are key components of a strong emergent literacy foundation (Whitehurst, 1998). A longitudinal study spanning 10 years conducted by Cunnigham and Stanovich reveals that reading habits developed in 1st grade by a child have considerable impac t in reading engagement when the he or she is in 11th grade (Anne E. Cunningham, 1997) hence noticing that early success at reading acquisition is the key to unlock a lifetime of reading habits. The role played by parental involvement and other experimental factors such as book surrounds, audio-visual aids of learning, socio-economical circumstances and culture in early development years of a child has been at the heart of much theorizing and research in development psychology and form an important part in cultivating reading habits in children from early years. (Cunningham, 1994); (Burgess S, 2002); (Daniel J. Weigel, 2006). This literature review studies the varied research available on a number of aspects related to infants/young children’s early reading fondness. The queries around which the literature review was conducted are: (i) The importance of parental involvement in children’s early reading and its affect on children’s reading attainment at school (ii ) Encouraging parents to read to their children at home (iii) The importance of bedtime stories and (iv) The importance of discussing vocabulary and illustrations with young children. The Importance of parental involvement in children’s early reading and its affect on children’s reading attainment at school The experiences, mindsets and resources related to literacy that a child encounters and interrelates with at home compose a child’

Analysing the cause and effect of Urban Riots

Analysing the cause and effect of Urban Riots Riots are civil disorders that are characterized by intense violence against people in authority or property. Since it is a herd behavior occurrence, many people take part and this leads to civil unrest. They usually occur as a result of a perceived grievance which people feel has not been adequately dealt with. The are many reasons as to why riots occur including; poor living conditions, oppression by the government, high taxation, ethnic diversity, religion or differing views of a sporting activity. Mostly, riots are accompanied by violence, vandalism and destruction of both private and public property. This can also be directed to a certain specific targets according to grievances on peoples minds (Gilje 2). In the United States of America, many riots took place during the Civil War and which saw many lives lost. As years progressed, new types of riots emerged as well as their cause. In 1960s, a new form of riots called urban Riots came in to being. In 1967 for instance, more than 120 cities in the U.S suffered more than 160 riots. The most notable among urban riots was the Newark riots of 1967 and Stonewall Riots of 1969; each of which had various reasons for its outbreak. In general though, between 1964 and 1971, there were about 752 spontaneous riots especially in black communities occurring in 316 American cities. Many of these conflagrations were however exaggerated by the media with only the major ones as already discussed having severe magnitude in terms of violence, arson and property damage. In exploring the various causes of such urban riots, many social scientists have advanced different theories. Among these reasons are racial grievances and competition for jobs in the inter-ethnic setups of communities. Further, in a search for answers as to why cities could experience racial riots of varying magnitudes, scholars usually focus on broad trends. Mainly they pinpoint the high unemployment rate amongst the blacks which they relate to cities or the whole nation as a whole. But it is evident that they ignore the local factors which too may provide more insight in to the causes of urban riots. This therefore led to a number of analysts confining their research on the event itself and the surrounding circumstances such as police mobilization (Gilje, 10). Based on this concept, it is important to find the effect of police presence and its effect on the magnitude or severity of an urban riot. The urban riots of 1960s were somewhat escalated by the intervention of the federal government. But this should not be misconstrued to imply that local and state place agents did not play any part. Eventually, upon studying a number of riots that occurred, it emerged that police response has a major impact on the nature of a riot. The timing so as to ensure there is not under-response or over-response is vital as police presence will determine the end result. It is also evident from history that many of American urban riots had a connection with racism. In many occurrences, such riots were initiated by the whites and were directed to blacks. This trend however changed in the 1960s when the roles were reversed and blacks found themselves initiating urban riots. The most notable of these include the Rochester race riot of 1964. This riot took place in Rochester, New York on Friday evening of July, 24th when the Rochester Police Department tried to arrest a nineteen year old intoxicated black on a street. The police after having been notified of him responded with a dog and since rumors of police brutality had spread quickly, an angry crowd formed on Joseph Avenue. This was followed by violence that lasted for three days leaving a trail of destruction. Statistics finally recorded 4 dead, 35 injured, 1000 arrested and 204 store houses looted. It later emerged that the local, especially the good kids had initiated the riot which the adults joined in later. This was further fueled by the fact that many African-Americans had low pay and low skill jobs and they used violence to cast their personal grievances (Wasow, web). The Philadelphia race riot of 1964 was in similar manner black-initiated. From August 28th to 30th, the black neighborhood of North Philadelphia erupted as they accused police of brutality. The Philadelphia Police Department had over the years tried to improve it relationship with the black majority, 400,000 in number, by patrolling the city in twos; one black and one white officer. Unfortunately, one black woman, Odessa Bradford, engaged a patrol squad in to an argument after her car had stalled on Columbia Avenue. As the two police officers attempted to force her to remove the car, a crowd formed and came to the rescue of Odessa. Due to crowd herding mentality, rumors started to flow that white police officers had mistreated a pregnant woman and thus violence ensued. The police response took a turn and instead of confronting rioters, they retreated and left the area. Final statistics showed 341 injured, 774 arrested and 225 stores looted or damaged in the course of three days. The urban riots left the North Philadelphia city without many vital businesses as many businessmen never returned. All in all, there were other urban riots which started due to racial segregation circumstances through out the 1960s. Their cause and eventual destruction of both property and live had similar characteristics as the already discussed ones. These included: Watts Riots in 1965, Hough Riots in 1966, Racial Tension in Omaha in 1966, Newark riots in 1967, Chicago Riots in 1968 and the 1969 North 24th Street Riot in Omaha. One thing that made these urban riots among many others to stand out is the large number of participants as well as the effects they finally caused. Statistics however show that despite the escalation of black-initiated urban riots in the 1960s, the number of occurrences decline at the turn of the decade. Government commissions that were formed to seek the cause of the riots indicated that majority of riots in the 1960s and early 1970s were due to racial grievances and deprivation. A commission that presented the Kerner Commission Report indicated that these riots were an aftermath of prior white discrimination of blacks and hence was unavoidable. Between 1970s and 1980s urban riots continued in many American cities albeit marked with less and less casualties like in the sixties. However, this did not remain for long since in 1992, a significant form of riots broke out in Los Angeles. These riots which started on April 29, were as a result of a beating Rodney King, a motorist, received in the hand s of Los Angeles Police Department officers. The prelude can be traced back to March 3, when King and two passengers were driving on Foothill highway. Upon being stopped they refused but chose to speed of under what transpired to be a high speed chase by traffic cops. The presence of five LAPD officers made the case worse since they had beaten King with batons on his arrest. This was in contrary to a video shot in this event which showed that LAPD officers continued to beat King instead of cuffing him as was in law. The also accused him of having been under influence of PCP which later test proved untrue. The video which had been shot by a neighbor as he witnessed the beatings became a focal point in the media after presentation in the court case. The five LAPD officers were charged with assault and use of excessive force. This was not however to be as some influential whites doctored the case as it was about to come for deliberation. They then proceeded to acquit the LAPD officer of assault and use of force but one. This ruling as it was heavily publicized by the media drew mixed reaction even from the president. After the verdicts, riots began in Los Angeles and continued to escalate despite the presence of National Guard, the Army and the Marines. Over the next few days numerous acts of violence and looting were recorded as well as personal engagement among the law enforcers, the blacks and the whites. They included beatings received by Reginald Denny, a white truck driver by blacks an incident recorded live on television. This was followed by Fidel Lopez severe beating and possible killing of him though he was rescued. The second and third day too were marked by widespread riots and massive destruction even after law enforcers numbers were increased. Many important American figures were also drawn in to numerous debates as well as begging for end of hostilities. Order started to flow back from the fourth day but not after massive destruction in the city had occurred. The final statistics recorded 53 dead, 2,000 injured, material loss of approximately $ 1 billion, and over 3,000 arson cases destroying more than one thousand buildings. The factors that led to Los Angeles riots were cited including a fatal shooting of a black teenager by a Korean American. Others included cultural differences, high unemployment among the residents of Central Los Angeles due to recession and poverty. Sociologists on their part cited disparity in economic growth as a cause which led to powerlessness and frustration among urban dwellers. In conclusion, riots have continued to wreck havoc on the society and the general order of things. From the many instances that have been recorded in history it is clear that they have causes and if dealt with properly, urban riots can be avoided. The government must therefore put in measures to ensure there is equal employment opportunity for all people regardless of their racial background. Social institutions which promote unity and shun segregation also need to be encouraged in order to avoid urban riots (Dreier 52).

Creative Writing Aptitude Essay

Being a writer is someone who uses writing on a regular basis. You have to be a writer before you can be a good writer. It’s about being good or at least good enough. But students don’t see themselves as writers at all because they have been structurally defined as deficient. This means that a student is someone who does not write up to a certain standard of performance with academic discourse. A writer does not simply write at someone else’s command but on their own initiative. So as a writer and a student you need an independent plan into which you fit into a certain given curriculum and writing assignments. That doesn’t mean you should be single-minded, but rhetoric and composition needs be a place where students should realize they need to take control for their educational experience. Rhetoric and composition have become a part of how we do things since we have been young. We are eventually taught in school the types of writing we will need to use in our everyday situations to help us communicate to others for a specific purpose and effectively. This writing informs, persuades, or explains what it is we want the audience to know or come away with. R & C studies use academic essays, papers, memos, or class handouts while creative writing studies primarily create literary works. Students are not there to compare one another as writers, artists, or human beings in general. It is a way for each of us to develop our own writing style and self-expression. It builds up the individual’s ability to express his or her own thoughts and technique more clearly by engaging into writing to get our mind working. Creative writing and compositions studies†¦ seem to operate with a distinct sense of a constituency for its teaching, an audience for its writing, and a function it performs† (Lardner, 770). Creative writing is a way to express what you feel inside your heart or the ideas that are in your head. It gives the writers a means for expressing their views of their surroundings and their world. Individuality exists in creative writing because the work is never the same as someone else’s. It is a personal expression that comes from each individual writer at each individual moment. However, the true test of creativity occurs when the writing can be said to give readers an experience. For that the reason the writing is called Creative because it creates an experience in the minds of its readers. Examples of some these writing forms are: poetry, fiction, and creative nonfiction. Each form has its own concepts involved with R & C because creative writing uses your self-expression as a big part of development than formality. Let’s start off with poetry. Poetry is possibly the most comprehensive way we have of expressing ourselves. Poetry works at a deep level of emotion. â€Å"To feel emotion is at least to feel. The crime against life, the worst of all crimes, is not to feel† (MacLeish, 66). Poetry opens up your emotions and helps you express anything through the use of metaphors, images, and feelings. â€Å"Often the poet operates by suggestion and implication† as well (Adams, 11). Poetry starts in odd phrases, an image, a tune in the head, a deeply incoherent pain. The originating emotion still congests the lines or, in striving for uniqueness, the work becomes untidy, exaggerated or confused. So each property (meaning, association, weight, color, duration, shape, texture, etc. ) changes as words are combined into phrases, rhythms, lines, stanzas and eventually completed poems. Out of those properties the poetry is built, even if the end cannot be entirely foreseen. In responding to what has been written; feeling it, understanding it, and extending its potential with imagination, honesty and sensitivity that very fine lines, vocal use, ample sympathies, kindness of heart and a consideration for the human condition become essential. But poetry is nothing without extended labor. In contrast to the development of a delicate tension between speaker and subject, between various parts of a poem and between the feelings warring within the speaker,† there also can be a â€Å"considerable looseness and vagueness† (Adams, 15). You can either have a clear understanding of what you think the poetry is portraying or you can be at a complete loss. Poetry trains the personality needed to be an artist, an unlimited capacity to be honest and take pains. It calls for self-criticism, which becomes essential as a writer’s talents develop. Criticism also â€Å"hones† skills that involve the poet’s needs by close reading, clarification and evaluation. It also requires the analysis and growth out of the very development between audience response and the poet. â€Å"The poet writes to [an audience] representing artistic perfection rather than to a reader chosen at random† (Adams, 143). Poetry may be complex, requiring a good deal of sorting out, but there has to be an immediate impact of some sort that allows the reviewer to be in awe. Poets need to know what’s been done before, and how comparisons may be objectively undertaken. The next form I will discuss is fiction. Fiction is most definitely my favorite. The first thing you need to know is the age group you are writing for. You can write for children, teenagers, young adults, adults, etc. This is perhaps a really important step before writing because you need to know what your audience wants and expects. After you have selected your age group then take the time to see what is out there in the age range that you want to write for. If the current rage is spaceships and outer space themes then writing about cowboys just won’t cut it unless the cowboy is somehow swept into outer space. You also need to research what you will be writing about because some of the time you won’t know much about the topic you’ve chosen. â€Å"Research gives you a chance to investigate all those subjects you’ve always wanted to know about and it gives the breath of life and authenticity to your work† (Kubis, 150). Once you’ve done some research, now it is time to get started. Remember all fiction has a beginning, middle and an end. You need to start your story at the point that something happens to change it all by giving your characters a problem. It must be a worthwhile dilemma. For example, a girl who wants to move out of her parents house and is trying to find an apartment that she really wants when her parents refuse to help her because she can do it on her own is not an interesting problem. On the other hand, a lady who has three days to move out of her parent’s house is a more intriguing problem. Give your audience a reason to support your main character. â€Å"You want to achieve a character that is so real, so human, it seems inevitable that [she] does the thing you’ve determined [she] must do† (Kubis, 49). Your story should progress toward the middle, the climax of your story. â€Å"The hero had to solve the dilemma [herself], without having outside forces do it for [her]† (Kubis, 3). It should climax into a problem that is worth caring about, and â€Å"it should influence the outcome of the story†¦ [but it] does not necessarily resolve the story [only] provides information that leads to the resolution† (kubis, 113). From there you need to let the readers know how it was adequately resolved with a positive result or a defeat. Then there is view point is which the story being told. Who is telling the story or through whose eyes is the story being related? Is it a narrator, the main character, a secondary character? Once you start with a viewpoint stick with it. Do not switch from character to character. Also stay away from over used phrases. Over done phrases are a definite no. Describing something ‘as black as night’ is too boring. Look for a different way of saying the same thing. You could say ‘black ink dark’ or ‘all encompassing black’. Make a list of all the overdone phrases you can think of and then practice saying them a different way. Nothing is ever said in your story that doesn’t lead you somewhere. Know how to correspond properly. It will make all the difference to a readers understanding of what you are trying to say. Never throw in information that does not lead your story forward. Try to find a fresh way of telling a story by saying it again but differently. If everyone is writing about pirates it can get pretty boring after awhile if you use a similar plot line like everyone else. Find a fresh way of telling the same story, maybe from a captive’s point of view or how someone became an unwilling pirate. Use the phrase what if. Ask what if such and such happens what would be the result and if this happened what would be the outcome. This is the time to use your imagination. Get creative and see where it leads you. The last form I will talk about is creative nonfiction. Not a lot of people know what it is and it can take on different styles: a narrative, personal essays, memoir, travel writing, food writing, biography, literary journalism, short stories, etc. It’s where you research a topic just as a journalist does but the writer must write in scenes. They don’t think of facts as the basic building blocks of their stories; they think scenes instead. A scene in creative nonfiction occurs in a specific place (where); usually the narrator and one or more others are there (who); at a particular time (when); something happens (what); people converse (dialog or captured conversation); and sometimes someone thinks about something. We like to see scenes in front of us since life does seem to occur as a series of scenes. To get a story from a particular subject you may have to be pokey by uncovering innermost thoughts and feelings of those interviewed. There’s highly involved research effort required that the writer should be willing and financially able to stick with a story for weeks, months, or even years. The creative nonfiction writer can’t work out of his or her memory and imagination alone, he or she must conduct research out in the real world, the raucous world, the dirty world. You should go around collecting facts from dusty records at City Hall, interviewing experts, and talking with the people involved. Also talk with the people immediately involved in the tory to flush out, and add fresh ideas, ideas you might never have come up with on your own, provide different angles, views, perspectives, and insights on the person or the topic under study. This requirement to work away from the studio or the study turns some writers away from this form of writing. Others love that side of the profession, it’s what draws them in. An important consideration before you begin to write in scenes is choosing the structure of your writing in the first place. â€Å"Structure is the arrangement of parts and all the techniques you use to hold the parts together and make it do what it is intended to do† (Gerard, 156). Most creative nonfiction writers may have a structure well in mind before writing at all because the material is promoted in the subconscious. Having the security of structure, or even just some structure, enables the writer to relax and play with any number of creative possibilities to perk up each scene. Since creative nonfiction is typically written scene by scene and is usually joined or separated by passages from a running account of what is happening at the moment, you need to study and perfect the structure. Some of these potential scenes will be embedded in the narrative synopsis, but it’s important to first identify the scenes that make up a story. The writer needs to select only those events that seem to have the greatest potential and then organize them into what seems will be the best sequence, which is not always chronological. â€Å"The hardest part of writing creative nonfiction is that you’re stuck with what really happened – you can’t make it up† (Gerard, 5). The goal is to communicate information, just as a reporter does, but in the way you construct a story. The relationship between the one who tells the story and the story itself may help determine if the story should be told in the first or third person point of view. Some say the third person point of view is the most difficult but the most rewarding since the author has to stay more out the way. In writing in first person narrative you need to learn how to get out of the way by being subjective but maintain objectivity. Just remember that you are the first person or narrator. It’s a balancing act but it has to do with finding a voice. Once the voice is found, the writer can posture, say things not meant, imply things not said, and have fun. Once you find the right voice for a piece of writing, it allows warmth, concern, compassion, flattery, and shared imperfections. You can also show something about a person by letting the reader hear him or her speak when people appear, particularly when they begin to converse, to help the story come to life. We have to learn to watch people unusually close, especially for anything unusual or distinct. Include in your report poses, posturing, habitual gestures, mannerisms, appearances, and glances. Writers frequently describe a group’s entertainment as a way to understand the group frequently looks at the way people dress. Writing about the typical daily life of a person helps illuminate a book and brings in the focus. The creative nonfiction writer can and should occasionally vividly describe the day-to-day life of one person. You should capture conversations and also show the reader how things look to your character in the world, leaving the reader to interpret what it all means. Although usually done sparingly, you might introduce your thoughts on the situation or the people. This emotional content enables you to create dramatic, vivid, accurate scenes. Creative nonfiction is the ability to capture the personal and the private by making it mean something significant to a larger audience. It also provides intellectual substance that will affect readers perhaps even provoke them to action or to change. The relationships of Creative Writing and R & C to one another deserve attention in a number of ways. When we put words onto a paper, it’s our own individual way of expressing what we want to say. As I stated earlier, poetry is possibly the most comprehensive way we have of expressing ourselves. Poetry works at a deep level of emotion. The fact that poetry and prose have coincided in a long line in rhetorical study is, of course, a rewarding area of study. In fact, there’s much to be learned about audience and rhetorical situation by positioning oneself as the writer of poems. Even though rhetoricians might cringe at the idea of having students write styles of poetry, this area of study would be of great benefit to those examining the practice of rhetoric. It might also help rhetoric’s become better communicators to examine their own language to become more fluid, more colorful, and more imaginative. Also it would benefit all audiences to think of writing as a beautiful relationship of language and author. That’s if only because the process has such potential to benefit from the voices and views of others on their own journeys and might allow a fuller recognition of ways composition studies and creative writing coincide.