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This essay assignment, you will write an analysis paper looking at how Critical Race Theory (systemic racism in American society) relates to the Maxsons, the family in August Wilson’s play, “Fences” (Literature 657-709). You are only allowed to use this play for this essay.
Your introduction must include a one-sentence summary of the play. The summary must include the full title of the play and the full name of the author. The introduction must end with your thesis, arguing on how racism affects Troy and his family.
For your body paragraphs, focus on Troy and show how being African American damaged his dream of becoming a professional baseball player.
For the following body paragraphs, focus on how his shattered American dream affected the rest of his family – his wife, Rose, and his sons, Cory and Lyons.
Use only the given play as support in your body paragraphs. Do not do any research. You must also explain the relationship between the support and your topic sentence in the body paragraphs. Do not summarize the whole play again in the body paragraphs. What I am looking for is your close reading on particular lines or sections of the play. Also, only use direct, not indirect, quotations from the play as support.
The essay must be at least 1,500 words, typed and double-spaced. It must include an eye-catching title and a Work Cited page, following the MLA Format.Links to an external site.
Introduction
___ An opening statement to attract the reader to the thesis statement.
___ A summary of each work that is only one sentence long and mentions the author’s full name, the title of the work and the key points of the work.
___ A strong, well-focused Thesis Statement that reveals everything about the essay.
Body Paragraphs
___ Transitions between each paragraph (“First,…”; “Second,…”; “On the other hand,…” etc.).
___ A strong, well-focused topic sentence related to the thesis statement.
___ Support, presented as direct quotations taken from assigned poems. It must be introduced by a lead-in (such as, who stated the quote) and/or followed by the correct in-text citation. Note: For most lead-ins, use the present tense.
___ Explanations, showing the logical connection between the support and the topic sentence/thesis statement.
Conclusion
___ Restatement (not a repeat) of the thesis.
___ Final thoughts for the reader.
Other notes
___ Follows the directions of the assignment.
___ Title Page included. Avoidance of a generic title.
___ Correct usage of MLA in Works Cited Page.
___ Correct usage of MLA in-text citations.
___ Avoidance of plagiarism.
___ Usage of specific, detailed and concise sentences and active voice.
___ Avoidance of wordiness.
___ Avoidance of vague, confusing, awkward sentence structures.
___ Avoidance of redundancies and repetitive phrases.
___ Avoidance of irrelevant sentences or phrases to the thesis, the topic sentence and/or poems.
___ Usage of formal, academic language.
___ Avoidance of first-person (“I”) and second-person (“you”).
___ Avoidance of contractions (“don’t”, “haven’t”, etc.).
___ Avoidance of spelling errors.
___ Avoidance of grammatical errors (run-ons, fragments, dangling/misplaced modifiers, inconsistency of verbs, inconsistency of pronouns, etc.).
___ Avoidance of punctuation errors.
___ If a direct quotation is longer than four lines, it is set off from the text and the quotation marks are omitted (MLA regulation).
___ Titles of books and websites are italicized.
___ Titles of short works (such as short stories and poems) are enclosed in quotation marks.

As an 22-year-old American and aspiring graduate student, you have an interview at Oxford University in Thom Yorke’s hometown. Your interviewers are: (a) Sir Gordon Downton-Downs, a 45-year-old aristocrat who holds a Ph.D. in Classics (Latin and Greek) from Oxford. He is wary, shall we say, of your ability as an American to fit into the university, although he’s willing to be proven wrong. (b) Gillian Feathenan, a 23-year-old radical who’s just graduated from Oxford with a degree in English and lit Postmodern Culture. She, too, is la tad suspicious of you because she doesn’t believe you took a hard-line stand in favor of the striking students and farmers in New York State, where you grew up and went to undergraduate school. She also, to be honest, has a crush on you; she doesn’t want this to come up during the interview, but it does. Handle her flirtation carefully! (c) The final member of the interviewing committee is the ghost of Joe Orton. Before his every comment, the wooden windows rise up and a chilling breeze blows into the room. You find it somewhat refreshing.
[All of the Complications need to be included in the text.]
praos Mondiasbon sift
The Complication, Part 1
$ 1010 me
Your current significant other, B.L..
.. is nervous because he or she is waiting for his or her
score on the Coral Gables Realtor’s Exam. He or she is five years older than you and doesn’t really like the idea of your moving to England for college. After the interview has started, he or she calls every five minutes to try to sabotage the interview. This has to be a part of your text.
The Interview
Each of your three interviews has three questions to ask you, with optional follow-ups.
(That’s nine questions total.) They are going to gauge your reactions to the reading, viewing, and listening list you have followed in preparation for this meeting (which happens to be all that we have studied this semester). Because they do not entirely trust you as an American, sometimes they are kind but sometimes they are cruel. Their questions range from the general (intended to let them know what stereotypes and preconceived notions you have of England) and specific (aimed to let them know how carefully you read the required texts). They will ask, and you will answer, specific questions!
The Format
The paper should be written in description and dialogue, like a play. Write yourself in the third person in italics, for example:
Eleanor sighs audibly. She realizes she had too many cups of English Breakfast Tea this morning at her bed-and-breakfast. She wishes she had also had some avocado toast.
he dialogue should look like this:
GHOST OF JOE ORTON: Let me be transparent, Get it, Peter? I’m a ghost!
The Distraction from Your iPhone
Johnny Depp is now in his 168th week of his counter-defamation suit against his former wife, Amber Heard. You’ve been watching it for almost a year, and you can’t stop but watching it in your lap, hopefully unnoticed by your interviewers. For full credit, you must include excerpts from the actual 2022 legal testimony. You’re also waiting for the latest single to drop from. Lil Nas X, who’s recently dating your cousin from Nashville;
this single may or may not drop during your interview.
The Complications, Parts 2, 3, 4, and 5
At the three-minute mark, one of the interviewers asks a question that seems a tad too personal; your character gets upset, but eventually bounces back.
At the five-minute mark, an Olde English Sheepdog wanders in, creating a brief havoc.
She seems to have eaten something she shouldn’t have and feels demonstrably guilty.
At the seven-minute mark, you receive a call from a prominent American back in the states; his or her call changes your interview considerably, for better or worse.
At the nine-minute mark, a WWII-vintage RAF fighter plane crash-lands outside the classroom in which you are interviewing. A pilot with a handle-bar mustache and a bright yellow scarf wanders into the classroom to ask you the final questin of your interview.

THIS IS WHAT IT WRITES ON MY ASSIGNMENT PAGE 
Building on your close analysis skills, you will now zoom out and shift from a primarily academic to a popular/public audience. Imagine you are writing a cultural studies piece for a venue like Slate, Atlantic, New Yorker, New Republic, LA Review of Books, or Jacobin. You will zoom in on a few key moments or scenes from the text, film, or TV show you’re analyzing, but your goal now is to situate that text within broader cultural and artistic conversations in order to make an argument for the text’s political, social, or philosophical significance. For example, you could examine Anatomy of a Fall as an innovative take on the whodunit, one that draws attention to the slipperiness of narrative. How does the film draw on but also depart from thrillers and mysteries, and how does its genre allow it to illuminate something about narrative in unique ways—ways that other genres or forms perhaps couldn’t or won’t? Or how does The Good Place draw on and innovate within the tradition of the sitcom in order to stage new conversations about what it means to be a good person? And why does this matter?
Consider a contemporary (from the last five or 10 years) text, film, or TV series and analyze the way it innovates (or fails to innovate!) within a genre or genres. Think about how and why this matters. How does the text’s use of genre(s) or tradition(s) illuminate cultural, political, or social questions? You can choose a text that asks interesting and complicated questions by innovating within a genre, or you can choose a text you think is dangerous or problematic (or simply disappointing) for its use or misuse of genre.
– THE MOVIE I PICKED IS SPLIT BY M. NIGHT SHYAMALAN
– YOU ALSO NEED TO PROVIDE A WORK CITED PAGE 
THE LINK I PROVIDED IS AN EXAMPLE OF WHAT IT’S SUPPOSED TO LOOK LIKE