Critical Thinking and Writing Workshop:

Dr. Roopa Dhawan and Dr. Vinita Chandra

‘Imagine’ (1971)
John Lennon (1940-80)

Imagine there's no heaven

It's easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today...

Imagine there's no countries

It isn't hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace...

You may say I'm a dreamer

But I'm not the only one
I hope someday you'll join us
And the world will be as one

Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world...

You may say I'm a dreamer

But I'm not the only one
I hope someday you'll join us
And the world will live as one.
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

I
Question

Analyze the significance of the word 'imagine' in Lennon's song 'Imagine', and the
reasons why the poet thinks he will be called a 'dreamer'. In what ways is this imagined
world Utopian?

II

Thesis Statement

[I intend to show that] the repeated use of the word ‘imagine’ shows that the picture of
the world painted for the listener cannot become reality yet, and is therefore imaginary.
He knows he will be termed a ‘dreamer’ because this new world seems almost
impossible to make a reality, as it imagines concepts that are difficult to believe, such
as the absence of boundaries and a world without religion. This ideal and perfect
Utopian world is offered as an alternative to the orthodox and violent world of post-
World-War Britain.
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

III

Outline

I. Introduction

II. The word ‘imagine’ shows that the picture of the world painted for the listener
cannot become reality yet, and is therefore imaginary.
i) Examples

ii) Analysis

III. Termed a ‘dreamer’ because this new world seems almost impossible to
make a reality, as it imagines concepts that are difficult to believe.
i) Examples
ii) Analysis
IV. Utopic world as a future alternative to the orthodox and violent world of post-
World-War Britain.

i) Examples
ii) Analysis
V. Conclusion
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

IV
Expanded outline
I. Introduction.
II. The word ‘imagine’ shows that the picture of the world painted
for the listener cannot become reality yet, and is therefore
imaginary.
A. (1) imagining a world without an afterlife of
heaven and hell, and without religion (2)
imagining a world without any personal
possessions where surviving hunger is not the
basic goal of the individual
B. This shows that the world Lennon is
imagining is one where the causes for conflict
among people like religion, nationhood, and
greed for possessions will not exist.
III. Termed a ‘dreamer’ because this new world seems almost
impossible to make a reality, as it imagines concepts that are
difficult to believe
A. (1) Living just for the present, (2) living a life of
peace (3) inhabiting a world in which there is a
brotherhood of man. These concepts are completely
removed from reality.
B. These examples testify to the fact that the
alternative to the real economic, historic and socio-
political world can only yet be a dream, but when
everyone shares the same dream then it may become
reality.
IV. Utopic world as a future alternative to the orthodox and violent
world of post-World-War Britain
A. Present reality is one where (1) there is killing and dying in
the name of religion and country, (2) there is greed and
hunger and violence for possessions. (3) Post world war
Britain faced economic and political problems due to
capitalism, industrialisation, de-colonization. (4) Britain has
long had a history of religious struggle between the
Catholics and the Protestants.
B. Institutionalized religion, capitalism, and national
boundaries have historically created conflicts among people
that have been resolved through war and violence. Lennon
believes that the alternative is for everyone to share the
world equally and to live in peace. This can only happen
when the root causes for violence and conflict are removed.
V Conclusion
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

Introduction

The mid-sixties and early seventies in Britain were full of social turmoil and political
upheaval due to which creative expression like music and art often displayed a critique
of society and a yearning for social and cultural change. It was in such a vibrant and
challenging atmosphere that John Lennon wrote and performed ‘Imagine’, a song that
expressed the concerns of the time and was ranked by Rolling Stone magazine as the
‘third greatest song of all time’ in its list of ‘The 500 Greatest Songs.’ In this essay [I
intend to show that] the repeated use of the word ‘imagine’ shows that the picture of
the world painted for the listener cannot become reality yet, and is therefore imaginary.
He knows he will be termed a ‘dreamer’ because this new world seems almost
impossible to make a reality, as it imagines concepts that are difficult to believe, such
as the absence of boundaries and a world without religion. This ideal and perfect
Utopian world is offered as an alternative to the orthodox and violent world of post-
World-War Britain.

VI
Conclusion

The world that Lennon imagines in his song is a world in which boundaries and
religions, no longer exist, and all the people are united. Other music groups were
envisioning similar dream-states; in the same year that ‘Imagine’ was written, Led
Zeppelin wrote a song about a lady who was buying a ‘Stairway to Heaven’ in the
foolish belief that her material wealth could help her reach spiritual fulfillment; and six
years later, Pink Floyd was beginning work on ‘The Wall’, which sought to tear down
all kinds of walls, education, state authority, cultural thought control, and so on.
Lennon’s song expresses not just a sentiment but a socio-cultural climate, one that was
not just restricted to Britain but reverberated during the sixties and seventies across
America and Europe.
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

Signposting words and phrases

To show addition:
And, also, besides, further, furthermore, in addition, moreover, next,
too, first, second

To give examples:
For example, for instance, to illustrate, in fact, specifically

To contrast;
But, however, on the other hand, in contrast, nevertheless, still, even
though, on the contrary, yet, although, in spite of, despite

To compare:
Also, in the same manner, similarly, likewise

To summarize or conclude:
In other words, in short, in summary, in conclusion, to sum up, that is,
therefore

To show time:
After, as, before, next, during, later, finally, meanwhile, then, when,
while, immediately
To show place or direction:
Above, below, beyond, farther on, nearby, opposite, close, to the left
To indicate logical relationship:
If, so, therefore, consequently, thus, as a result, for this reason, since
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

CHECK LIST FOR ESSAYS

THESIS STATEMENT:
o Should appear towards the end of your first (introductory) paragraph.
o Should answer the question: ‘What am I going to prove?’
o Should be specific to YOUR answer.
o Should state precisely which areas you will address in each of your subsequent
paragraphs.
o The sequence of points in your thesis should correspond to the sequence of
points in your paragraphs.

EACH SUBSEQUENT PARAGRAPH SHOULD HAVE:

o A ‘mini’ thesis statement, right in the beginning, perhaps in the first sentence.
This statement should indicate the point you’re going to discuss in that
particular paragraph.
o The ‘mini’ thesis should be followed by an elaboration of this point.
o At least one example from the text, either a quotation, or a reference to a
particular incident, WITHOUT relating the entire incident. Do not tell the
story; do not give a detailed account of a conversation. Simply refer to a
scene or moment, paraphrase key comments by characters if necessary, and
then devote the bulk of your time analyzing rather than summarizing.
o When generalizing, stay close to the work that you’re looking at. Generalize
about form, structure, genre, narrative devices etc, but NOT about life in
general.
o Perhaps also a quotation from or a paraphrase of a critic. The critic’s
comment should either support what you’re saying, or you should be
disagreeing with it, and explaining why you disagree. Either way, the point
you’re making should be useful for your thesis. Simply quoting a critic for the
sake of quoting is no use at all. Do not quote a critic unless you have
something to say about that quotation.
o A concluding sentence, consolidating the point you have made in the
paragraph.

STYLE CHECK LIST:

o Begin each sentence with a capital letter.
o Proper nouns should be capitalized.
o Play titles and book titles should be underlined. No quotation marks.
o Poem titles should be within single or double quotation marks. No
underlining.
o Spellings of proper nouns like titles, author names etc. should be accurate.
o Pay close attention to grammar and punctuation.
o Vocabulary: avoid repeating the same word. Use synonyms.
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

Writing Program Proofreading Guide

All essays in 101 should be proofread and edited to repair basic errors in grammar and punctuation. This is a
checklist of the most common sources of error in 101 essays at Rutgers. It is not a comprehensive guide but a
working guide for the final stage of the revision process—editing for basic errors.
Sentence Grammar
1. Subject-Verb Agreement: Singular subjects take singular verbs. Plural subjects take plural verbs.

The thoughts that a reader is thinking is only considered "great" when others know those thoughts.
—> The thoughts that a reader is thinking are only considered "great" when others know those
thoughts.
2. Verb Tense Shift: Avoid unnecessary shifts from present to past, or past to present tense.
When Wideman had the conversation with his brother, Robby confesses to him that he did have a
problem with drugs. —> When Wideman had the conversation with his brother, Robby confessed
to him that he did have a problem with drugs.
3. Pronoun-Antecedent Agreement: Pronouns often refer to something the writer has already named—an
antecedent. The pronoun and its antecedent should agree in number and person.

Agreement in Number (Singular or Plural)

The word "valid" must be defined by the reader. They determine what an acceptable meaning is.
—> The word "valid" must be defined by the reader. He or she determines what an acceptable
meaning is.
Agreement in Person (First. Second, or Third)
His theory was to avoid their rules by living your life under your own set of rules (a shift from
third person—his, to second—your). —> His theory was to avoid their rules by living his life
under his own set of rules.
4. Vague Pronoun Reference: Often found in sentences beginning with this, these, they, it. she, or he. The
writer has to decide what the vague pronoun refers to and rewrite to make the reference clear.
We feel we must own the latest car, the latest clothes, the latest technology. This is created by the
media. —> We feel we must own the latest car, the latest clothes, and the latest technology. This
feeling is created by the media.
Sentence Integrity: Make sure that your thoughts do not fall apart into fragments or slide together into run-on
sentences and comma splices.
1. Sentence Fragments: A fragment is an unattached phrase or dependent clause. Most fragments belong to the
sentence that precedes or follows. The following example can be revised by simply changing the first
period to a comma.
We see Imogene through Marya's point of view. A point of view that is somewhat altered
and deranged.

2. Rum-on or Fused Sentences: Run-on sentences contain two sentences brought

together without punctuation. The writer must decide how he or she will revise the run-on, using a period
or a conjunction:
 Critical Thinking and Writing Workshop:
Dr. Roopa Dhawan and Dr. Vinita Chandra

There is no separation between the private and the public in American culture violation of
privacy is always present.
There is no separation between the private and the public in American culture. Violation of privacy
is always present. or There is no separation between the private and the public because, in
American culture, violation of privacy is always present.
3. Comma splices: the writer uses a comma instead of a period.
Miller writes about the African landscape, he fails to write about the people who inhabit it.

To revise, substitute a period for the comma or use a coordinating conjunction after the comma (and, or, nor,
but, for, yet) .
Punctuation: Comma

1. Between the items in a series of words, phrases, or clauses.

We all know that we are important no matter what we drive, but we also know that the automobile
still causes jealousy, anxiety, and competition.
2. Between two independent clauses:
We judge people by their economic status, and in doing so we build a scale called the "social
hierarchy."
3. On either side of a non-restrictive clause (the clause often begins with who, whose, which, when, or where) :
The Shield soap commercial shows the wife, whose name is Gail, as the "handyman" in the house.
4. After an introductory phrase or dependent clause:
After Imogene and Marya's friendship begins, one constantly wonders how long it will last.
Apostrophe to Show Possession
1. . Add an _’s to singular and to collective nouns to show ownership: singular nouns Miller's
experiences, the city’s budget collective nouns a society's codes, the group's
work
2 . When the singular noun ends in an s, add the _’s and then say the word aloud (boss's, Luis's, Coles's). If it sounds
too awkward, drop the final s, but keep the apostrophe (Fuentes’ story) .
3. To form the possessive of plural nouns ending in s, add only an apostrophe (consumers' desires,
students’ rooms).
4. Don't confuse personal pronouns (no apostrophe) with contractions (always an apostrophe).
its = possessive pronoun (Its leaves have fallen.)
it's = a contraction of it is (It's a confusing chapter.)
your = possesive pronoun (your pen, your paper, your words)
you're = a contraction of you are (You're right.)