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2
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Critical Thinking, Reading, and Writing

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Critical Thinking, Reading, and Writing
A Brief Guide to Argument

NINTH EDITION

SYLVAN BARNET
Professor of English, Late of Tufts University

HUGO BEDAU
Professor of Philosophy, Late of Tufts University

JOHN O’HARA
Associate Professor of Critical Thinking, Reading, and Writing, Stockton
University

6
For Bedford/St. Martin’s
Vice President, Editorial, Macmillan Learning Humanities: Edwin Hill
Editorial Director, English: Karen S. Henry
Senior Publisher for Composition, Business and Technical Writing,
Developmental Writing: Leasa Burton
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Text Design: Laura Shaw Feit
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Cover Photo: Martin Hardman/Getty Images
Composition: Jouve
Printing and Binding: LSC Communications

Copyright © 2017, 2014, 2011, 2008 by Bedford/St. Martin’s.

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, except as may be expressly permitted by
the applicable copyright statutes or in writing by the Publisher.

Manufactured in the United States of America.

1 0 9 8 7 6
f e d c b a

For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA

02116
(617-399-4000)

ISBN 978-1-319-03545-7

Acknowledgments

7
Text acknowledgments and copyrights appear at the back of the book on page
477, which constitutes an extension of the copyright page. Art acknowledgments
and copyrights appear on the same page as the art selections they cover.

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Preface
This book is a text — a book about reading other people’s arguments and writing
your own arguments — and it is also an anthology — a collection of dozens of
selections, ranging from Plato to the present, with a strong emphasis on
contemporary arguments and, in this edition, the first in full color, new modes of
argument. Before we describe these selections further, we’d like to describe our
chief assumptions about the aims of a course that might use Critical Thinking,
Reading, and Writing: A Brief Guide to Argument.
Probably most students and instructors would agree that, as critical readers,
students should be able to

summarize accurately an argument they have read;

locate the thesis (the claim) of an argument;
locate the assumptions, stated and unstated, of an argument;
analyze and evaluate the strength of the evidence and the soundness of the
reasoning offered in support of the thesis; and
analyze, evaluate, and account for discrepancies among various readings on
a topic (for example, explain why certain facts are used, why probable
consequences of a proposed action are examined or are ignored, or why two
sources might interpret the same facts differently).

Probably, too, students and instructors would agree that, as thoughtful writers,
students should be able to

imagine an audience and write effectively for it (for instance, by using the
appropriate tone and providing the appropriate amount of detail);
present information in an orderly and coherent way;
be aware of their own assumptions;
locate sources and incorporate them into their own writing, not simply by
quoting extensively or by paraphrasing but also by having digested material
so that they can present it in their own words;
properly document all borrowings — not merely quotations and
paraphrases but also borrowed ideas; and
do all these things in the course of developing a thoughtful argument of
their own.

11
 In the first edition of this book we quoted Edmund Burke and John Stuart Mill.
Burke said,

He that wrestles with us strengthens our nerves, and sharpens our skill.
Our antagonist is our helper.

Mill said,

He who knows only his own side of the cause knows little.

These two quotations continue to reflect the view of argument that underlies this
text: In writing an essay one is engaging in a serious effort to know what one’s
own ideas are and, having found them, to contribute to a multisided conversation.
One is not setting out to trounce an opponent, and that is partly why such
expressions as “marshaling evidence,” “attacking an opponent,” and “defending a
thesis” are misleading. True, on television talk shows we see right-wingers and
left-wingers who have made up their minds and who are concerned only with
pushing their own views and brushing aside all others. But in an academic
community, and indeed in our daily lives, we learn by listening to others and also
by listening to ourselves.
We draft a response to something we have read, and in the very act of drafting
we may find — if we think critically about the words we are putting down on
paper — we are changing (perhaps slightly, perhaps radically) our own position.
In short, one reason that we write is so that we can improve our ideas. And even if
we do not drastically change our views, we and our readers at least come to a
better understanding of why we hold the views we do.

12
Features

THE TEXT
Part One: Critical Thinking and Reading (Chapters 1–4) and Part Two: Critical
Writing (Chapters 5–7) together offer a short course in methods of thinking about
and writing arguments. By “thinking,” we mean serious analytic thought,
including analysis of one’s own assumptions (Chapter 1); by “writing” we mean
the use of effective, respectable techniques, not gimmicks (such as the notorious
note a politician scribbled in the margin of the text of his speech: “Argument
weak; shout here”). For a delightfully wry account of the use of gimmicks, we
recommend that you consult “The Art of Controversy” in The Will to Live by the
nineteenth-century German philosopher Arthur Schopenhauer. Schopenhauer
reminds readers that a Greek or Latin quotation (however irrelevant) can be
impressive to the uninformed and that one can knock down almost any
proposition by loftily saying, “That’s all very well in theory, but it won’t do in
practice.”
We offer lots of advice about how to set forth an argument, but we do not offer
instruction in one-upmanship. Rather, we discuss responsible ways of arguing
persuasively. We know, however, that before one can write a persuasive
argument, one must clarify one’s own ideas — a process that includes arguing
with oneself — to find out what one really thinks about a problem. Therefore, we
devote Chapter 1 to critical thinking; Chapters 2, 3, and 4 to critical reading
(Chapter 4 is about reading images); and Chapters 5, 6, and 7 to critical writing.
Parts One and Two together contain thirty readings (seven are student papers)
for analysis and discussion. Some of these essays originated as op-ed newspaper
pieces, and we reprint some of the letters to the editor that they generated, so
students can easily see several sides to a given issue. In this way students can, in
their own responses, join the conversation, so to speak. (We have found, by the
way, that using the format of a letter helps students to frame their ideas, and
therefore in later chapters we occasionally suggest writing assignments in the
form of a letter to the editor.)
All of the essays in the book are accompanied by a list of Topics for Critical
Thinking and Writing.1 This is not surprising, given the emphasis we place on
asking questions in order to come up with ideas for writing. Among the chief
questions that writers should ask, we suggest, are “What is X?” and “What is the
value of X?” (pp. 226–27). By asking such questions — for instance (to look only
at these two types of questions), “Is the fetus a person?” or “Is Arthur Miller a
better playwright than Tennessee Williams?” — a writer probably will find ideas

13
coming, at least after a few moments of head scratching. The device of
developing an argument by identifying issues is, of course, nothing new. Indeed,
it goes back to an ancient method of argument used by classical rhetoricians, who
identified a stasis (an issue) and then asked questions about it: Did X do such and
such? If so, was the action bad? If bad, how bad? (Finding an issue or stasis — a
position where one stands — by asking questions is discussed in Chapter 6.)
In keeping with our emphasis on writing as well as reading, we raise issues not
only of what can roughly be called the “content” of the essays but also of what
can (equally roughly) be called the “style” — that is, the ways in which the
arguments are set forth. Content and style, of course, cannot finally be kept apart.
As Cardinal Newman said, “Thought and meaning are inseparable from each
other. . . . Style is thinking out into language.” In our Topics for Critical Thinking
and Writing, we sometimes ask the student

to evaluate the effectiveness of an essay’s opening paragraph,

to explain a shift in tone from one paragraph to the next, or
to characterize the persona of the author as revealed in the whole essay.

In short, the book is not designed as an introduction to some powerful ideas

(though in fact it is that, too); it is designed as an aid to writing thoughtful,
effective arguments on important political, social, scientific, ethical, legal, and
religious issues.
The essays reprinted in this book also illustrate different styles of argument
that arise, at least in part, from the different disciplinary backgrounds of the
various authors. Essays by journalists, lawyers, judges, social scientists, policy
analysts, philosophers, critics, activists, and other writers — including first-year
undergraduates — will be found in these pages. The authors develop and present
their views in arguments that have distinctive features reflecting their special
training and concerns. The differences in argumentative styles found in these
essays foreshadow the differences students will encounter in the readings assigned
in many of their other courses.
Parts One and Two, then, offer a preliminary (but we hope substantial)
discussion of such topics as

identifying assumptions;
getting ideas by means of invention strategies;
finding, evaluating, and citing printed and electronic sources;
interpreting visual sources;
evaluating kinds of evidence; and
organizing material as well as an introduction to some ways of thinking.

14
Part Three: Further Views on Argument consists of Chapters 8 through 12.

Chapter 8, A Philosopher’s View: The Toulmin Model, is a summary of the

philosopher Stephen Toulmin’s method for analyzing arguments, covering
claims, grounds, warrants, backing, modal qualifiers, and rebuttals. This
summary will assist those who wish to apply Toulmin’s methods to the
readings in our book.
Chapter 9, A Logician’s View: Deduction, Induction, Fallacies, offers a
more rigorous analysis of these topics than is usually found in composition
courses and reexamines from a logician’s point of view material already
treated briefly in Chapter 3.
Chapter 10, A Psychologist’s View: Rogerian Argument, with an essay by
psychotherapist Carl R. Rogers and an essay by a student, complements the
discussion of audience, organization, and tone in Chapter 6.
Chapter 11, A Literary Critic’s View: Arguing about Literature, should help
students to see the things literary critics argue about and how they argue.
Students can apply what they learn not only to the literary readings that
appear in the chapter (poems by Robert Frost and Andrew Marvell and a
story by Kate Chopin) but also to the readings that appear in Part Four, A
Casebook on the State and the Individual. Part Three concludes with
Chapter 12, A Debater’s View: Individual Oral Presentations and Debate,
which introduces students to standard presentation strategies and debate
format.

Finally, Part Four: A Casebook on the State and the Individual consists of
Chapter 13, which asks the question, How Free Is the Will of the Individual
within Society? Nine authors explore this enduring question through essays,
letters, poems, and a play.

15
What’s New in the Ninth Edition
This ninth edition brings highly significant changes. The authors of the previous
eight editions established a firm foundation for the book: Hugo Bedau, professor
of philosophy, brought analytical rigor to the instruction in argumentation. and
Sylvan Barnet, professor of English, contributed expertise in writing instruction.
They have now turned the project over to John O’Hara, professor of critical
thinking, to contribute a third dimension, augmenting and enriching the material
on critical thinking throughout, especially in the early chapters. Other changes
have been made to ensure practical instruction and current topics.
Fresh and timely new readings. One-third are new, as are topics such as
genetically engineered foods, protection of religious rights in prison, and
marijuana regulation.
A revised casebook in Part Four. Chapter 13 offers selections from Plato,
George Orwell, Walter T. Stace, Martin Luther King Jr., Peter Cave, Thomas
Hardy, T. S. Eliot, Susan Glaspell, and Mitsuye Yamada that explore a question
both timeless and current: How Free Is the Will of the Individual within Society?
A vibrant new design. A new full-color layout makes the book more engaging
and easier for students to navigate, and an expanded trim size allows more space
for students to annotate and take notes. Over fifty new visuals, including ads,
cartoons, photographs, and Web pages, provide occasions for critical inquiry.
Expanded coverage of critical thinking in Part One. Part One has been
heavily revised to help better show students how effective reading, analysis, and
writing all begin with critical thinking. Enhancements include an expanded
vocabulary for critical thinking, instruction on writing critical summaries,
guidance on confronting unfamiliar issues in reading and writing, new strategies
for generating essay topics, and extended critical reading approaches.
New “Thinking Critically” activities. Throughout the text, new interactive
exercises test students’ ability to apply critical thinking, reading, and writing
concepts. Students can also complete these exercises online in LaunchPad.
Expanded discussion of developing thesis statements in Chapter 6. This
updated section helps better illustrate for students what the difference is between
taking a truly critical position versus resting on their laurels in argumentative
essays.
Updated coverage of visual rhetoric in Chapter 4. The “Visual Rhetoric”
chapter has been expanded to include discussion of how to analyze images
rhetorically, including how to recognize and resist the meanings of images, how
to identify visual emotional appeals, and what the difference is exactly between
seeing passively and truly looking critically.

16
 LaunchPad for Critical Thinking, Reading, and Writing. This edition of
Critical Thinking, Reading, and Writing includes access to LaunchPad — an
interactive platform that brings together the resources students need to prepare for
class, working with the textbook. Features include interactive questions and
exercises and quizzes on all of the readings and instructional content, allowing
instructors to quickly get a sense of what students understand and what they need
help with. You and your students can access LaunchPad at
macmillanhighered.com/barnetbedauohara. Students receive access
automatically with the purchase of a new book. Students can purchase standalone
access at macmillanhighered.com/barnetbedauohara. To get instructor access,
register as an instructor at this site.

17
Acknowledgments
Finally, the authors would like to thank those who have strengthened this book by
their comments and advice on the ninth edition: Stacia Bensyl, Missouri Western
State University; Christine Brooks, Community College of Vermont; Syble Davis,
Houston Community College – Central; Africa Fine, Palm Beach State College;
Erin Fujinami, Clovis Center Community College; Deanna Gabrielson, Morehead
State University; Melinda Mejia, Houston Community College – Central;
Veronica Reyes, California State University Los Angeles; Daniel Sabol, Mercy
College; Rachel Savorelli, University of Pittsburgh; Kay Siebler, Missouri
Western State University; Celeste Sonnier, Morton College; Jim Wilkins-Luton,
Clark College; and our anonymous reviewers from Los Angeles Mission College,
Mission College, and Palm Beach State College. We would also like to thank
Kalina Ingham, Elaine Kosta, Martha Friedman, Angela Boehler, and Jen
Simmons, who adeptly managed art research and text permissions.
We are also deeply indebted to the people at Bedford/St. Martin’s, especially
to our editor, Alicia Young, who is wise, patient, supportive, and unfailingly
helpful. Steve Scipione, Maura Shea, John Sullivan, and Adam Whitehurst, our
editors for all of the preceding editions, have left a lasting impression on us and
on the book; without their work on the first eight editions, there probably would
not be a ninth. Others at Bedford/St. Martin’s to whom we are deeply indebted
include Edwin Hill, Leasa Burton, Karen Henry, Joy Fisher Williams, Jennifer
Prince, Elise Kaiser, and Jessica Gould, all of whom have offered countless
valuable (and invaluable) suggestions. Intelligent, informed, firm yet courteous,
persuasive — all of these folks know how to think and how to argue.

18
Get the Most Out of Your Course with Critical
Thinking, Reading, and Writing
Bedford/St. Martin’s offers resources and format choices that help you and your
students get even more out of your book and course. To learn more about or to
order any of the following products, contact your Macmillan sales representative,
e-mail sales support (sales_support@bfwpub.com), or visit the Web site at
macmillanhighered.com/criticalthinking9e/catalog.

LAUNCHPAD FOR CRITICAL THINKING, READING, AND

WRITING: WHERE STUDENTS LEARN
LaunchPad provides engaging content and new ways to get the most out of your
book. Get an interactive e-book combined with useful, highly relevant
materials in a fully customizable course space; then assign and mix our resources
with yours.

Auto-graded reading quizzes, comprehension quizzes on argument

topics, and interactive writing templates help students to engage actively
with the material you assign.
Pre-built units — including readings, videos, quizzes, discussion groups,
and more — are easy to adapt and assign by adding your own materials
and mixing them with our high-quality multimedia content and ready-made
assessment options, such as LearningCurve adaptive quizzing.
LearningCurve now includes argument modules focusing on topic, purpose,
and audience, arguable claims, reasoning and logical fallacies, and
persuasive appeals (logos, pathos, and ethos).
LaunchPad also provides access to a Gradebook that provides a clear
window on the performance of your whole class, individual students, and
even results of individual assignments.
A streamlined interface helps students focus on what’s due, and social
commenting tools let them engage, make connections, and learn from each
other. Use LaunchPad on its own or integrate it with your school’s learning
management system so that your class is always on the same page.

To get the most out of your book, order LaunchPad for Critical Thinking,
Reading, and Writing packaged with the print book. (LaunchPad for Critical
Thinking, Reading, and Writing can also be purchased on its own.) An activation

19
code is required. To order LaunchPad for Critical Thinking, Reading, and Writing
with the print book, use ISBN 978-1-319-10223-4.

CHOOSE FROM ALTERNATIVE FORMATS OF CRITICAL

THINKING, READING, AND WRITING
Critical Thinking, Reading, and Writing is available in a variety of e-book
formats. For details about our e-book partners, visit
macmillanlearning.com/ebooks.

SELECT VALUE PACKAGES

Add value to your text by packaging one of the following resources with Critical
Thinking, Reading, and Writing. To learn more about package options for any of
the following products, contact your Bedford/St. Martin’s sales representative or
visit macmillanhighered.com/criticalthinking9e/catalog.
Writer’s Help 2.0 is a powerful online writing resource that helps students
find answers whether they are searching for writing advice on their own or as part
of an assignment.

Smart search: Built on research with more than 1,600 student writers, the
smart search in Writer’s Help 2.0 provides reliable results even when
students use novice terms, such as flow and unstuck.
Trusted content from our best-selling handbooks: Choose Writer’s Help
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students have clear advice and examples for all of their writing questions.
Adaptive exercises that engage students: Writer’s Help 2.0 includes
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already know and helps them focus on what they need to learn.

Student access is packaged with Critical Thinking, Reading, and Writing at a

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Hacker Version or ISBN 978-1-319-10220-3 for Writer’s Help 2.0, Lunsford
Version to ensure your students have easy access to online writing support.
Students who rent a book or buy a used book can purchase access to Writer’s
Help 2.0 at macmillanhighered.com/writershelp2.
Instructors may request free access by registering as an instructor at
macmillanhighered.com/writershelp2.
For technical support, visit macmillanhighered.com/getsupport.
Portfolio Keeping, Third Edition, by Nedra Reynolds and Elizabeth Davis,
provides all the information students need to use the portfolio method

20
successfully in a writing course. Portfolio Teaching, a companion guide for
instructors, provides the practical information instructors and writing program
administrators need to use the portfolio method successfully in a writing course.
To order Portfolio Keeping packaged with this text, contact your sale
representative for a package ISBN.

INSTRUCTOR RESOURCES
macmillanhighered.com/criticalthinking9e/catalog

You have a lot to do in your course. Bedford/St. Martin’s wants to make it easy
for you to find the support you need — and to get it quickly.
Resources for Teaching Critical Thinking, Reading, and Writing is available as
a PDF that can be downloaded from the Bedford/St. Martin’s online catalog at the
URL above. In addition to chapter overviews and teaching tips, the instructor’s
manual includes a sample syllabus and suggested classroom activities.
Join Our Community! The Macmillan English Community is now
Bedford/St. Martin’s home for professional resources, featuring Bedford Bits, our
popular blog site offering new ideas for the composition classroom and
composition teachers. Connect and converse with a growing team of Bedford
authors and top scholars who blog on Bits: Andrea Lunsford, Nancy Sommers,
Steve Bernhardt, Traci Gardner, Barclay Barrios, Jack Solomon, Susan Bernstein,
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In addition, you’ll find an expanding collection of additional resources that
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21
1 The paragraphs in the essays are, for ease of reference, numbered in increments of
five (5, 10, 15, and so on).

22
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23
Brief Contents
Preface

PART ONE CRITICAL THINKING AND READING

1 Critical Thinking
2 Critical Reading: Getting Started
3 Critical Reading: Getting Deeper into Arguments
4 Visual Rhetoric: Thinking about Images as Arguments

PART TWO CRITICAL WRITING

5 Writing an Analysis of an Argument
6 Developing an Argument of Your Own
7 Using Sources

PART THREE FURTHER VIEWS ON ARGUMENT

8 A Philosopher’s View: The Toulmin Model
9 A Logician’s View: Deduction, Induction, Fallacies
10 A Psychologist’s View: Rogerian Argument
11 A Literary Critic’s View: Arguing about Literature
12 A Debater’s View: Individual Oral Presentations and Debate

PART FOUR CASEBOOK ON THE STATE AND THE

INDIVIDUAL
13 How Free Is the Will of the Individual within Society?

Index of Authors and Titles

Index of Terms

24
this page left intentionally blank

25
this page left intentionally blank

26
Contents
Preface

PART ONE CRITICAL THINKING AND READING

1 CRITICAL THINKING
Thinking Through an Issue: Gay Marriage Licenses
On Flying Spaghetti Monsters: Analyzing and Evaluating from Multiple
Perspectives
Critical Thinking at Work: From Jottings to a Short Essay
A Student’s Essay, Developed from a Cluster and a List
Stirred and Strained: Pastafarians Should Be Allowed to Practice in
Prison (Student Essay)
The Essay Analyzed
Generating Ideas: Writing as a Way of Thinking
Confronting Unfamiliar Issues
Topics
NINA FEDOROFF, The Genetically Engineered Salmon Is a Boon for
Consumers and Sustainability
The Evan Pugh professor emerita at Penn State University argues in favor
of GMO foods, citing AquaBounty’s genetically modified salmon as
“tak[ing] pressure off wild salmon and mak[ing] salmon farming more
sustainable.”
THINKING CRITICALLY: GENERATING TOPICS
A CHECKLIST FOR CRITICAL THINKING
A Short Essay Calling for Critical Thinking
LYNN STUART PARRAMORE, Fitbits for Bosses

27
 The author warns against the “brave new world of workplace
biosurveillance.”
Overall View of the Essay
Examining Assumptions
A CHECKLIST FOR EXAMINING ASSUMPTIONS
JENA McGREGOR, Military Women in Combat: Why Making It
Official Matters
“Ending the restrictions [will give] the military the best pool of talent
possible and the most diverse viewpoints for leading it.”

2 CRITICAL READING: GETTING STARTED

Active Reading
Previewing
A Short Essay for Previewing Practice
SANJAY GUPTA, Why I Changed My Mind on Weed
“I had steadily reviewed the scientific literature on medical marijuana
from the United States and thought it was fairly unimpressive… . Well, I
am here to apologize.”
THINKING CRITICALLY: PREVIEWING
Reading with a Careful Eye: Underlining, Highlighting, Annotating
“This; Therefore, That”
Defining Terms and Concepts
THINKING CRITICALLY: DEFINING TERMS AND CONCEPTS
Summarizing and Paraphrasing
Paraphrase, Patchwriting, and Plagiarism
A CHECKLIST FOR A PARAPHRASE
Strategies for Summarizing
Critical Summary
SUSAN JACOBY, A First Amendment Junkie
A feminist argues against those feminists who seek to ban pornography.
Summarizing Jacoby
A CHECKLIST FOR GETTING STARTED
Essays for Analysis

28
 ZACHARY SHEMTOB AND DAVID LAT, Executions Should Be
Televised
The authors argue that “a democracy demands a citizenry as informed as
possible about the costs and benefits of society’s ultimate punishment.”
GWEN WILDE, Why the Pledge of Allegiance Should Be Revised
(Student Essay)
A student concludes that “those who wish to exercise religion are indeed
free to do so, but the place to do so is not in a pledge that is required of all
schoolchildren and of all new citizens.”
A Casebook for Critical Reading: Should Some Kinds of Speech Be
Censored?
SUSAN BROWNMILLER, Let’s Put Pornography Back in the Closet
The founder of Women against Pornography argues that “contemporary
community standards” should be decisive.
CHARLES R. LAWRENCE III, On Racist Speech
“Whenever we decide that racist speech must be tolerated because of the
importance of maintaining societal tolerance for all unpopular speech, we
are asking blacks and other subordinated groups to bear the burden for the
good of all.”
DEREK BOK, Protecting Freedom of Expression on the Campus
Prompted by the display of Confederate flags hung from the window of a
Harvard dormitory, the president of Harvard says that students have the
right to display the flags, but he expresses his “regret” and suggests that
students who are offended by the flags should simply “ignore them.”
THINKING FURTHER: FREEDOM OF EXPRESSION AND SOCIAL MEDIA

3 CRITICAL READING: GETTING DEEPER INTO ARGUMENTS

Persuasion, Argument, Dispute
THINKING CRITICALLY: ESTABLISHING TRUSTWORTHINESS AND CREDIBILITY
Reason versus Rationalization
Some Procedures in Argument
Definition
THINKING CRITICALLY: GIVING DEFINITIONS
Assumptions
Premises and Syllogisms

29
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