Writing With Sources

“The alert reader can discover, and take much pleasure in discovering remarkable verbal strategies, metaphoric patterns, repetitions and developments of sound, sense, and image throughout Emerson’s writing.”

—Joel Porte, “The Problem of Emerson”

Literary analysis involves summarizing, paraphrasing and quoting primary and secondary sources. In the coming weeks, as we read Emerson–and think and talk and write about his words–we will be working on the art of quotation. Here are some simple protocols to begin a larger conversation about writing conventions:

  • Quote only to provide evidence to demonstrate a claim or to develop the argument 
  • Introduce the quotation so that a reader understands your reason for quoting

The most succinct summary of Emerson’s philosophy of education appears in a journal entry dated September 13, 1831. “Education is the drawing out of the soul” (490).

Or, use signal phrases is an introductory clause to signal to the reader a shift from your point of view.

In a journal entry dated September 13, 1831, Emerson defined education as “the drawing out of the soul” (490).

  • Follow the quotation with a discussion of what you want the reader to take away from the quotation.

Calling explicit attention to the root of the Latin word Educare, to draw out or forth, Emerson once again locates learning in a continuum. “Because the soul is progressive,” Emerson begins his essay “Art,” “it never quite repeats itself, but in every act attempts the production of a new and fairer whole.”

  • When you introduce a quotation with a signal phrase, the quotation becomes part of your sentence. Make sure that the sentence is grammatically correct. If you are having difficulty, you can use brackets or ellipsis 
  • The choice of verb in a signal phrase will help you indicate to your reader information about the disposition of the source. Here is an example from an essay about Emerson’s writing by the literary critic Barbara Packer:

“In the late brilliant essay ‘Poetry and Imagination,’ published in Letters and Social Aims, he argues that all symbols were meant to hold only for a moment, and that it is the poet’s capacity to transfer significance endlessly from one symbol to another that makes [the poet] the emblem of human thought. ‘All thinking is analogizing, and it is the business of life to learn metonymy’” (732).

  • Continue to read as a writer. Pay attention to how critics use signal phrases. The models will provide you with examples of the conventions for citation in English studies.

Signal phrases need not all be the same. This injunction is a matter of structure and style. Rather than repeat “Emerson says. . .” or “Emerson writes. . .” use words that indicate what you take to the be the tone of the essay. (Emerson “insists,” or “suggest to the contrary,” or “notes that.” Consider “argues,” “adds,” “contends,” “points out,” “admits,” “comments,” “insists.”) Or, consider the use of a transitional phrase:

“In an apparent contradiction, Carlyle goes on to argue that. . . .”

  • Embed a quotation as a complete sentence in your essay. Or begin a sentence with Emerson’s prose and then add the signal at the end:

Emerson even goes so far as to say that the poetry we once admired “has long since come to be a sound of tin pans” (317).

Emerson is firm about the need to reinvigorate poetic form. “What we once admired as poetry has long since come to be a sound of tin pans” (317).

“What we once admired as poetry has long since come to be a sound of tin pans,” Emerson submits, for “many of our later books we have outgrown” (317).

  • Enclose short quotations (fewer than four lines) in quotation marks. An embedded quotation (that is, a quotation embedded into a sentence of your own) must fit grammatically into the sentence of which it is a part.

A simple formulation of this argument in favor of comparative thinking is provided by Arthur Kleinman, a psychiatrist and medical anthropologist at Harvard University. Kleinman’s “Eight Questions” do more than merely guide the medical practitioner toward the step of gathering information about cultural background. The questions prompt a reevaluation of one’s own cultural perspective as one that is not universal. As Kleinman explains, “If you can’t see that your own culture has its own set of interests, emotions, and biases, how can you expect to deal successfully with someone else’s culture?” (Qtd. In Fadiman 261). This position requires a radical reorientation from simply considering “the other” as outside the norm to understanding one’s own normative cultural conventions.

  • Set off long quotations (more than four lines) in wha tis called a “block quotation.” To set off a long quotation, begin a new line, indent ten spaces from the left margin, and double space throughout. Do not use quotation marks. Block quotations need adequate introduction and are most often immediately preceded by a full sentence ending in a colon. Too often the reader will get lost as you transition from your own writing into a long quotation. It’s better to use a short introductory tag (as described above) and then follow the quotation with your discussion.

Whitman Ah Sing’s resistance to a “hyphenated identity” is further illustrated near the opening of the final chapter in the novel, One-Man Show”:

There is no East here. West is meeting West. This was all West. All you saw was West. This is The Journey In the West. I am so fucking offended. Why aren’t you offended? Let me help you get offended. Always be careful to take offense. These sinophiles dig us so much, they’re drooling over us. That kind of favorableness I can do without. They think they know us—the wide range of us from sweet to sour—because they eat in Chinese restaurants. . . .  I’ve read my Aristotle and Agee, I’ve been to college; they have ways to criticize the theater besides for sweet and sourness. They could do laundry reviews, clean or dirty. Come on. What’s so ‘exotic’? (308)

Here Whitman is offended by the “sinophiles” who consider themselves knowledgeable about the experiences of the “Chinese.” Of course as the language of this passage suggests, Whitman is performing—he is on stage, speaking to the audience, waving the reviews in his hand. His veiled reference to Wu’s The Journey to the West reminds his audience, as he puts it elsewhere, that “we allthesame Americans” (282). His rambling monologue therefore has a very particular rhetorical end” to challenge his audience to see how easily they construct a binary opposition that forces him (“I’m common ordinary”) to be either American or Chinese.

  • Check your quotation for accuracy at least twice. If you intend to add or substitute a word in the quotation, enclose the words in square brackets. Indicate omissions of material with ellipses (three periods, with a space between each). If you omit words at the end of sentence, indicate the omission with three periods (an ellipses) and end punctuation (a period) 
  • MLA Persnickities: Commas and periods go inside quotation marks. Semicolons and colons go outside quotation marks. Question marks, exclamation points and dashes go inside if they are part of the quotation, outside if they are your additions.