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Painting the Tamsin River Bridge, Remembered (oral-history interview transcript)
Source line: Ada Brennan, interviewed by Marcus Ilunga for the Pinecrest Oral History Project, 9 March 2024, transcript pages 6–8. Ms. Brennan worked on the crew that repainted the Tamsin River Bridge in the summer of 1978. Sentences [1] to [5] are on page 6, [6] to [10] on page 7, and [11] to [14] on page 8.[1] Ilunga: You were part of the crew that repainted the Tamsin River Bridge in 1978, so could you describe how you came to have that job? [2] Brennan: I had just finished my second year at the community college, and my uncle, who supervised the county paint crew, needed someone who was not afraid of heights. [3] I accepted before I even asked about the pay, because I badly wanted a summer outdoors instead of in an office. [4] Ilunga: What did the work involve on an ordinary day? [5] Brennan: We started at six, because by early afternoon the steel became so hot that the paint would dry before you could spread it evenly, leaving streaks visible from the riverbank.
[6] First we scraped and wire-brushed every patch of rust down to bare metal, which took far longer than the painting itself, and then we applied primer that had to dry overnight. [7] The color was a dark green that the county had used since the bridge opened, and I remember that we went through more than four hundred gallons before September. [8] Ilunga: Were you ever worried about safety? [9] Brennan: My uncle was strict about harnesses and safety lines, and I believe that is why the whole summer passed without a single accident, though I did not enjoy the first week. [10] Ilunga: Some residents say the bridge was painted green to match the hills, while others say the county bought the cheapest paint available; what did you hear at the time?
[11] Brennan: Honestly, I heard both stories that summer, and I never saw anything in writing either way, so I would not want my name attached to either one. [12] What I can tell you is that the paint arrived in plain cans from a supplier in the city, and nobody on the crew discussed the color as if it were a decision. [13] I have crossed that bridge hundreds of times since, and whenever I look at the railings I think about the work hidden under one coat of green. [14] It may sound strange, but I am prouder of that summer than of almost anything else I have done in the forty-six years since.
Ari quotes Brennan's sentences [6] and [7] in an MLA 9 paper, where they will run six lines. How should the quotation be set out?
- On a new line, indented half an inch, with no quotation marks, and (Brennan 7) before the final period.
- On a new line, indented half an inch, with no quotation marks, and (Brennan 7) after the final period.
- Inside the paragraph, in quotation marks, with (Brennan 7) after the closing mark and then the period.
- On a new line, indented half an inch, inside quotation marks, and (Brennan 7) after the final period.
Bo writes about why the bridge is green. Which sentence quotes Brennan in a way that keeps the meaning of the source?
- Brennan recalls that “nobody on the crew discussed the color as if it were [the county's] decision” (8).
- Brennan “heard both stories that summer” but “never saw anything in writing either way” (8).
- Brennan states that she “heard both stories that summer, and . . . saw [one] in writing” (8).
- Brennan says that the county “bought the cheapest paint available” for the bridge (7).
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Painting the Tamsin River Bridge, Remembered (oral-history interview transcript)
Source line: Ada Brennan, interviewed by Marcus Ilunga for the Pinecrest Oral History Project, 9 March 2024, transcript pages 6–8. Ms. Brennan worked on the crew that repainted the Tamsin River Bridge in the summer of 1978. Sentences [1] to [5] are on page 6, [6] to [10] on page 7, and [11] to [14] on page 8.[1] Ilunga: You were part of the crew that repainted the Tamsin River Bridge in 1978, so could you describe how you came to have that job? [2] Brennan: I had just finished my second year at the community college, and my uncle, who supervised the county paint crew, needed someone who was not afraid of heights. [3] I accepted before I even asked about the pay, because I badly wanted a summer outdoors instead of in an office. [4] Ilunga: What did the work involve on an ordinary day? [5] Brennan: We started at six, because by early afternoon the steel became so hot that the paint would dry before you could spread it evenly, leaving streaks visible from the riverbank.
[6] First we scraped and wire-brushed every patch of rust down to bare metal, which took far longer than the painting itself, and then we applied primer that had to dry overnight. [7] The color was a dark green that the county had used since the bridge opened, and I remember that we went through more than four hundred gallons before September. [8] Ilunga: Were you ever worried about safety? [9] Brennan: My uncle was strict about harnesses and safety lines, and I believe that is why the whole summer passed without a single accident, though I did not enjoy the first week. [10] Ilunga: Some residents say the bridge was painted green to match the hills, while others say the county bought the cheapest paint available; what did you hear at the time?
[11] Brennan: Honestly, I heard both stories that summer, and I never saw anything in writing either way, so I would not want my name attached to either one. [12] What I can tell you is that the paint arrived in plain cans from a supplier in the city, and nobody on the crew discussed the color as if it were a decision. [13] I have crossed that bridge hundreds of times since, and whenever I look at the railings I think about the work hidden under one coat of green. [14] It may sound strange, but I am prouder of that summer than of almost anything else I have done in the forty-six years since.
Source A: the interview transcript above.
Source B: A 2015 report by the Tamsin County roads office listing each repainting of the bridge since it opened, with dates, gallons of paint and costs taken from county records.
Source C: A 2023 travel-magazine article by a writer for the Tamsin Valley visitors' bureau, praising the bridge's color and the view from its walkway.
Esme is writing about what repainting the bridge was like for the workers. Which source should Esme use, and why?
- Source B, because county records give exact dates, gallons and costs for each repainting.
- Source A, because Brennan did the work herself and describes a day of it firsthand.
- Source C, because a travel writer describes the bridge and its view vividly.
- Source A, because it is the most recent of the three sources on the list.
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Painting the Tamsin River Bridge, Remembered (oral-history interview transcript)
Source line: Ada Brennan, interviewed by Marcus Ilunga for the Pinecrest Oral History Project, 9 March 2024, transcript pages 6–8. Ms. Brennan worked on the crew that repainted the Tamsin River Bridge in the summer of 1978. Sentences [1] to [5] are on page 6, [6] to [10] on page 7, and [11] to [14] on page 8.[1] Ilunga: You were part of the crew that repainted the Tamsin River Bridge in 1978, so could you describe how you came to have that job? [2] Brennan: I had just finished my second year at the community college, and my uncle, who supervised the county paint crew, needed someone who was not afraid of heights. [3] I accepted before I even asked about the pay, because I badly wanted a summer outdoors instead of in an office. [4] Ilunga: What did the work involve on an ordinary day? [5] Brennan: We started at six, because by early afternoon the steel became so hot that the paint would dry before you could spread it evenly, leaving streaks visible from the riverbank.
[6] First we scraped and wire-brushed every patch of rust down to bare metal, which took far longer than the painting itself, and then we applied primer that had to dry overnight. [7] The color was a dark green that the county had used since the bridge opened, and I remember that we went through more than four hundred gallons before September. [8] Ilunga: Were you ever worried about safety? [9] Brennan: My uncle was strict about harnesses and safety lines, and I believe that is why the whole summer passed without a single accident, though I did not enjoy the first week. [10] Ilunga: Some residents say the bridge was painted green to match the hills, while others say the county bought the cheapest paint available; what did you hear at the time?
[11] Brennan: Honestly, I heard both stories that summer, and I never saw anything in writing either way, so I would not want my name attached to either one. [12] What I can tell you is that the paint arrived in plain cans from a supplier in the city, and nobody on the crew discussed the color as if it were a decision. [13] I have crossed that bridge hundreds of times since, and whenever I look at the railings I think about the work hidden under one coat of green. [14] It may sound strange, but I am prouder of that summer than of almost anything else I have done in the forty-six years since.
Kira writes about safety on the 1978 crew. Which sentence quotes Brennan in a way that keeps the meaning of the source?
- Brennan recalls that her uncle “was strict about harnesses . . . though [she] did not enjoy” them (7).
- Brennan says that she was “worried about safety” on the bridge through the summer (7).
- Brennan credits her uncle, who “was strict about harnesses and safety lines,” for a summer “without a single accident” (7).
- Brennan believes that “[luck] is why the whole summer passed without a single accident” (7).
Use this
Painting the Tamsin River Bridge, Remembered (oral-history interview transcript)
Source line: Ada Brennan, interviewed by Marcus Ilunga for the Pinecrest Oral History Project, 9 March 2024, transcript pages 6–8. Ms. Brennan worked on the crew that repainted the Tamsin River Bridge in the summer of 1978. Sentences [1] to [5] are on page 6, [6] to [10] on page 7, and [11] to [14] on page 8.[1] Ilunga: You were part of the crew that repainted the Tamsin River Bridge in 1978, so could you describe how you came to have that job? [2] Brennan: I had just finished my second year at the community college, and my uncle, who supervised the county paint crew, needed someone who was not afraid of heights. [3] I accepted before I even asked about the pay, because I badly wanted a summer outdoors instead of in an office. [4] Ilunga: What did the work involve on an ordinary day? [5] Brennan: We started at six, because by early afternoon the steel became so hot that the paint would dry before you could spread it evenly, leaving streaks visible from the riverbank.
[6] First we scraped and wire-brushed every patch of rust down to bare metal, which took far longer than the painting itself, and then we applied primer that had to dry overnight. [7] The color was a dark green that the county had used since the bridge opened, and I remember that we went through more than four hundred gallons before September. [8] Ilunga: Were you ever worried about safety? [9] Brennan: My uncle was strict about harnesses and safety lines, and I believe that is why the whole summer passed without a single accident, though I did not enjoy the first week. [10] Ilunga: Some residents say the bridge was painted green to match the hills, while others say the county bought the cheapest paint available; what did you hear at the time?
[11] Brennan: Honestly, I heard both stories that summer, and I never saw anything in writing either way, so I would not want my name attached to either one. [12] What I can tell you is that the paint arrived in plain cans from a supplier in the city, and nobody on the crew discussed the color as if it were a decision. [13] I have crossed that bridge hundreds of times since, and whenever I look at the railings I think about the work hidden under one coat of green. [14] It may sound strange, but I am prouder of that summer than of almost anything else I have done in the forty-six years since.
Source A: the interview transcript above.
Source B: The minutes of the Tamsin County Board meeting of 2 April 1931, the year the bridge opened, recording the board's vote on the bridge's paint and the reason the members gave.
Source C: A 2019 post on a town history website by a retired teacher, retelling the story that the green was chosen to match the hills, with no sources named.
Luz is writing about why the county chose green for the bridge. Which source should Luz use, and why?
- Source C, because it tells the town's favorite story in clear, friendly words.
- Source A, because Brennan painted the bridge herself and heard the town's stories.
- Source B, because the board recorded its own decision and its reason when it chose the color.
- Source B, because it is the oldest of the three sources on the list.
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The Horses of Linden Park (book excerpt (history))
Source line: Book by Carla Ferraro, a museum conservator who led the restoration of the Linden Park carousel, *Painted Ponies: The Linden Park Carousel, 1912–2012* (Ashgrove Books, 2016), pages 63–65. The book quotes a 1912 letter by the carver Anton Weiss. Sentences [1] to [5] are on page 63, [6] to [10] on page 64, and [11] to [14] on page 65. Stars mark italics.[1] When the Linden Park carousel opened in 1912, its forty-eight wooden horses came from a small carving shop that had never built a machine of that size. [2] The head carver, Anton Weiss, had trained as a furniture maker, and the careful joints that still hold the horses together show it. [3] Like most carousel animals of the period, each horse was built from basswood blocks glued into a hollow body, which made it lighter and less likely to crack. [4] The carvers saved their finest work for the outer row and for the side of each horse facing the crowd, which carvers called the romance side. [5] The inner rows, which few people examined closely, received plainer manes and simpler saddles, saving weeks of work without changing how the carousel looked from the path.
[6] Weiss explained this practice in a March 1912 letter to the park's board, which had complained that the work was behind schedule. [7] "The outer horses must be perfect, for every rider will judge the whole machine by them," he wrote, "but the inner horses may be plain, and no rider will love them less for it." [8] He promised the carousel by the Fourth of July, and park records show that it opened on the third. [9] For the next sixty years the horses were repainted every few seasons, often in bright colors that covered the original paint and blurred the carving. [10] When our team began the restoration in 2009, some horses carried eleven layers of paint, and several had cracked where glue joints had dried out.
[11] We removed the layers one at a time under magnification, and on most horses we discovered the original colors: soft grays, browns and creams. [12] Not every conservator would have made our choice, which was to return the horses to Weiss's quieter colors rather than the brighter ones generations of riders had known. [13] Some longtime visitors said the carousel no longer resembled the one they remembered, and their disappointment was genuine, even if the change was faithful to the carvers. [14] I believe the decision was right, because the original paint shows the carving as Weiss intended, but I understand why others would disagree.
Milo quotes Ferraro's sentences [12] to [14], which will run seven lines in an MLA 9 paper. How should the quotation be set out?
- Set it off as a block: new line, half-inch indent, no quotation marks, and the final period followed by (Ferraro 65).
- Keep it in the paragraph: quotation marks around it, then (Ferraro 65), then the period.
- Set it off as a block: new line, half-inch indent, no quotation marks, and (Ferraro 65) followed by the final period.
- Set it off as a block: new line, half-inch indent, quotation marks around it, and the final period followed by (Ferraro 65).
Noah writes about how visitors felt about the restored colors. Which sentence quotes Ferraro in a way that keeps the meaning of the source?
- Ferraro admits that some visitors' “disappointment was genuine, even if the change was faithful to the carvers” (65).
- Ferraro admits that “the change was [not] faithful to the carvers” and disappointed visitors (65).
- Ferraro claims that “. . . every conservator would have made our choice” of quieter colors (65).
- Ferraro agrees that the restored carousel “no longer resembled the one they remembered” (65).
Use this
The Horses of Linden Park (book excerpt (history))
Source line: Book by Carla Ferraro, a museum conservator who led the restoration of the Linden Park carousel, *Painted Ponies: The Linden Park Carousel, 1912–2012* (Ashgrove Books, 2016), pages 63–65. The book quotes a 1912 letter by the carver Anton Weiss. Sentences [1] to [5] are on page 63, [6] to [10] on page 64, and [11] to [14] on page 65. Stars mark italics.[1] When the Linden Park carousel opened in 1912, its forty-eight wooden horses came from a small carving shop that had never built a machine of that size. [2] The head carver, Anton Weiss, had trained as a furniture maker, and the careful joints that still hold the horses together show it. [3] Like most carousel animals of the period, each horse was built from basswood blocks glued into a hollow body, which made it lighter and less likely to crack. [4] The carvers saved their finest work for the outer row and for the side of each horse facing the crowd, which carvers called the romance side. [5] The inner rows, which few people examined closely, received plainer manes and simpler saddles, saving weeks of work without changing how the carousel looked from the path.
[6] Weiss explained this practice in a March 1912 letter to the park's board, which had complained that the work was behind schedule. [7] "The outer horses must be perfect, for every rider will judge the whole machine by them," he wrote, "but the inner horses may be plain, and no rider will love them less for it." [8] He promised the carousel by the Fourth of July, and park records show that it opened on the third. [9] For the next sixty years the horses were repainted every few seasons, often in bright colors that covered the original paint and blurred the carving. [10] When our team began the restoration in 2009, some horses carried eleven layers of paint, and several had cracked where glue joints had dried out.
[11] We removed the layers one at a time under magnification, and on most horses we discovered the original colors: soft grays, browns and creams. [12] Not every conservator would have made our choice, which was to return the horses to Weiss's quieter colors rather than the brighter ones generations of riders had known. [13] Some longtime visitors said the carousel no longer resembled the one they remembered, and their disappointment was genuine, even if the change was faithful to the carvers. [14] I believe the decision was right, because the original paint shows the carving as Weiss intended, but I understand why others would disagree.
Source A: the book excerpt above.
Source B: A 1950 postcard of the carousel, a black-and-white photograph printed by a postcard company and sold at the park gate.
Source C: A 2020 brochure from the Linden Park gift shop, which sells painted model carousel horses and says the horses were "always bright red and gold."
Pia wants to know which colors the carvers first painted the horses in 1912. Which source should Pia use, and why?
- Source A, because Ferraro's team found the original paint under the later layers.
- Source B, because a photograph of the carousel was taken closer to 1912.
- Source A, because a book is more reliable than a postcard or a brochure.
- Source C, because the park's own shop states the original colors directly.
Use this
The Horses of Linden Park (book excerpt (history))
Source line: Book by Carla Ferraro, a museum conservator who led the restoration of the Linden Park carousel, *Painted Ponies: The Linden Park Carousel, 1912–2012* (Ashgrove Books, 2016), pages 63–65. The book quotes a 1912 letter by the carver Anton Weiss. Sentences [1] to [5] are on page 63, [6] to [10] on page 64, and [11] to [14] on page 65. Stars mark italics.[1] When the Linden Park carousel opened in 1912, its forty-eight wooden horses came from a small carving shop that had never built a machine of that size. [2] The head carver, Anton Weiss, had trained as a furniture maker, and the careful joints that still hold the horses together show it. [3] Like most carousel animals of the period, each horse was built from basswood blocks glued into a hollow body, which made it lighter and less likely to crack. [4] The carvers saved their finest work for the outer row and for the side of each horse facing the crowd, which carvers called the romance side. [5] The inner rows, which few people examined closely, received plainer manes and simpler saddles, saving weeks of work without changing how the carousel looked from the path.
[6] Weiss explained this practice in a March 1912 letter to the park's board, which had complained that the work was behind schedule. [7] "The outer horses must be perfect, for every rider will judge the whole machine by them," he wrote, "but the inner horses may be plain, and no rider will love them less for it." [8] He promised the carousel by the Fourth of July, and park records show that it opened on the third. [9] For the next sixty years the horses were repainted every few seasons, often in bright colors that covered the original paint and blurred the carving. [10] When our team began the restoration in 2009, some horses carried eleven layers of paint, and several had cracked where glue joints had dried out.
[11] We removed the layers one at a time under magnification, and on most horses we discovered the original colors: soft grays, browns and creams. [12] Not every conservator would have made our choice, which was to return the horses to Weiss's quieter colors rather than the brighter ones generations of riders had known. [13] Some longtime visitors said the carousel no longer resembled the one they remembered, and their disappointment was genuine, even if the change was faithful to the carvers. [14] I believe the decision was right, because the original paint shows the carving as Weiss intended, but I understand why others would disagree.
Ren quotes Weiss's words “The outer horses must be perfect”, about one line, from sentence [7]. How should the quotation be set out?
- Keep it in the paragraph with no quotation marks, then (qtd. in Ferraro 64), then the period.
- Keep it in the paragraph: quotation marks around it, then (qtd. in Ferraro 64), then the period.
- Keep it in the paragraph: quotation marks around it, the period inside them, then (qtd. in Ferraro 64).
- Set it off as a block: new line, half-inch indent, no quotation marks, and the final period followed by (qtd. in Ferraro 64).
Tala writes about how Weiss treated the inner horses. Which sentence quotes his letter in a way that keeps its meaning?
- Weiss wrote that “the inner horses may be plain” because “every rider will judge the whole machine by them” (qtd. in Ferraro 64).
- Ferraro writes that the inner horses “may be plain, and no rider will love them less for it” (64).
- Weiss wrote that “[the outer] horses may be plain, and no rider will love them less for it” (qtd. in Ferraro 64).
- Weiss wrote that the inner horses “may be plain, and no rider will love them less for it” (qtd. in Ferraro 64).