In a few words, describe what Anna Quindlen means by 'A Quilt of a Country'?
America is an improbable idea. A mongrel nation built of ever-changing disparate parts, it is held together by a notion, the notion that all men are created equal, though everyone knows that most men consider themselves better than someone. “Of all the nations in the world, the United States was built in nobody’s image,” the historian Daniel Boorstin wrote. That’s because it was built of bits and pieces that seem discordant, like the crazy quilts that have been one of its great folk-art forms, velvet and calico and checks and brocades. Out of many, one. That is the ideal. 2 The reality is often quite different, a great national striving consisting frequently of failure. Many of the oft-told stories of the most pluralistic nation on earth are stories not of tolerance, but of bigotry. Slavery and sweatshops, the burning of crosses and the ostracism of the other. Children learn in social studies class and in the news of the lynching of blacks, the denial of rights to women, the murders of gay men. It is difficult to know how to convince them that this amounts to “crown thy good with brotherhood,” that amid all the failures is something spectacularly successful. Perhaps they understand it at this moment, when enormous tragedy, as it so often does, demands a time of reflection on enormous blessings.
Anna Quindlen believes that a nation's diversity is its strength. She writes about how the United States is made up of many different cultures, beliefs, and backgrounds. Quindlen believes that embracing these differences makes us stronger together as a nation.
A Quilt of a Country,
Draw a burger lifting weights and saying "I must beef up!"
Quilt of a Country: a metaphor used to describe the diverse cultural and historical elements that make up a nation Argument: a way of presenting ideas or beliefs in a formal and structured way to persuade a particular audience Anna Quindlen: an American journalist, opinion columnist, and author, who wrote the essay 'A Quilt of a Country' to express her views on cultural diversity
4 What is the point of this splintered whole? What is the point of a nation in which Arab cabbies chauffeur Jewish passengers through the streets of New York—and in which Jewish cabbies chauffeur Arab passengers, too, and yet speak in theory of hatred, one for the other? What is the point of a nation in which one part seems to be always on the verge of fisticuffs with another, blacks and whites, gays and straights, left and right, Pole and Chinese and Puerto Rican and Slovenian? Other countries with such divisions have in fact divided into new nations with new names, but not this one, impossibly interwoven even in its hostilities. 5 Once these disparate parts were held together by a common enemy, by the fault lines of world wars and the electrified fence of communism. With the end of the cold war there was the creeping concern that without a focus for hatred and distrust, a sense of national identity would evaporate, that the left side of the hyphen—African-American, Mexican-American, Irish-American—would overwhelm the right. And slow-growing domestic traumas like economic unrest and increasing crime seemed more likely to emphasize division than community. Today the citizens of the United States have come together once more because of armed conflict and enemy attack. Terrorism has led to devastation—and unity.
What does Anna Quindlen mean when she says 'A Quilt of a Country' in her Argument?
- A representation of America's diversity
- A metaphor for the American Dream
- A description of the different cultures of the US
- A representation of the American Flag
What is Anna Quindlen's main argument in her piece, 'A Quilt of a Country'?
Yet even in 1994, the overwhelming majority of those surveyed by the National Opinion Research Center agreed with this statement: “The U.S. is a unique country that stands for something special in the world.” One of the things that it stands for is this vexing notion that a great nation can consist entirely of refugees from other nations, that people of different, even warring religions and cultures can live, if not side-by-side, then on either side of the country’s Chester Avenues. Faced with this diversity there is little point in trying to isolate anything remotely resembling a national character, but there are two strains of behavior that, however tenuously, abet the concept of unity. 7 There is that Calvinist undercurrent in the American psyche that loves the difficult, the demanding, that sees mastering the impossible, whether it be prairie or subway, as a test of character, and so glories in the struggle of this fractured coalescing. And there is a grudging fairness among the citizens of the United States that eventually leads most to admit that, no matter what the English-only advocates try to suggest, the new immigrants are not so different from our own parents or grandparents. Leonel Castillo, former director of the Immigration and Naturalization Service and himself the grandson of Mexican immigrants, once told the writer Studs Terkel proudly, “The old neighborhood Ma-Pa stores are still around. They are not Italian or Jewish or Eastern European any more. Ma and Pa are now Korean, Vietnamese, Iraqi, Jordanian, Latin American. They live in the store. They work seven days a week. Their kids are doing well in school. They’re making it. Sound familiar?”
Draw a dinosaur holding an ice cream cone!
Do you agree with Anna Quindlen's argument? Why or why not?
What can you learn from Anna Quindlen's argument about the importance of acknowledging your country's differences?
Tolerance is the word used most often when this kind of coexistence succeeds, but tolerance is a vanilla-pudding word, standing for little more than the allowance of letting others live unremarked and unmolested. Pride seems excessive, given the American willingness to endlessly complain about them, them being whoever is new, different, unknown, or currently under suspicion. But patriotism is partly taking pride in this unlikely ability to throw all of us together in a country that across its length and breadth is as different as a dozen countries, and still be able to call it by one name. When photographs of the faces of all those who died in the World Trade Center destruction are assembled in one place, it will be possible to trace in the skin color, the shape of the eyes and the noses, the texture of the hair, a map of the world. These are the representatives of a mongrel nation that somehow, at times like this, has one spirit. Like many improbable ideas, when it actually works, it’s a wonder.