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62 Posts authored by: Susan Naomi Bernstein Expert

This semester, my classes  are once again reading James Baldwin’s “The Artist’s Struggle for Integrity,” a lecture that Baldwin gave in New York City in 1963 in the midst of the Civil Rights Movement. This year, I wanted to try a different approach to teaching analysis and interpretation. I hoped as well  to create an assignment that would actively demonstration Baldwin’s ideas of an individual’s responsibility to the community. 


With these goals in mind, the students and I collaborated on a crowd-source assignment, which is explained in detail below. Crowdsourcing would give many voices a chance to collaborate toward a common end: to allow students to do close reading and analysis of “The Artist’s Struggle for Integrity” and to work together as a community of first-year writers across classrooms and colleges to better understand Baldwin’s most significant ideas.


The crowdsourcing document is different from annotation because students must write several complete paragraphs that ask for analysis in depth rather than breadth. Students take responsibility for finding their own focus for contributing to the community’s analysis. Individuals receive credit through journal entries, while the community creates the document. In this way, the assignment explores tensions that Baldwin described between individual/community in “The Artist’s Struggle for Integrity.” 


Considered more broadly, students collaborated across my three classrooms (at two different colleges) to enact the work of analysis. This initial assignment was presented as follows:

  1. Choose at least 3 paragraphs from the list below, then respond in writing to both anonymously.   
    1. Summary: What does the paragraph SAY? 
    2. Interpretation: What does the paragraph MEAN?
  2. AFTER your response in the google.doc, write a journal entry on Blackboard explaining your choices. 
  1. Why do these paragraphs stand out to you? (200-500 words)
  2. Read the other entries in the crowdsourcing document. Describe your response to those entries (200-500 words)


Here are the steps that I took to present the assignment in all three first-year writing classes:


  1. Created a google.doc that listed the opening words of Baldwin’s twelve paragraphs.
  2. Invited students to write a brief summary and interpretation for at least 3 of the paragraphs in the text. Students did this anonymously so that there is no judgment of anyone’s interpretations or writing styles. 
  3. Added an end comment and marginal comments once the crowdsourcing document was completed.
  4. Acknowledged individual students’ participation: First, I express my trust in students to do this assignment, and to complete the assignment responsibly, without adding extraneous or inappropriate submissions. Second, in order to receive participation credit for this assignment, students needed to complete a 2-part journal entry. In the first part, students expanded on their interpretations of Baldwin’s lecture. For the second part, students read the crowd-sourced document and added their impressions.
  5. Observed students’ innovations to the original assignment. The most significant of these innovations is changing the font, size, and text color for their own submissions-- making sure that it is different from the submission above theirs.
  6. Asked students to complete anonymous follow-up exit slips with students assessments of the crowdsourcing document.
  7. Offered students the opportunity to cite the crowdsourcing document as part of the first writing project this semester.


The significance of community holds relevance through and beyond classroom collaborations, especially in class discussion of theClimate March in New York City on Friday September 20, 2019. The March took place on a day that I do not teach, and I photographed the above image as people gathered to begin the March at Foley Square in Manhattan. The March offers a wellspring of the inspiration of bearing witness to individuals of all ages and many different backgrounds gathering together in community. The students found deep connections between Baldwin’s Civil Rights era lecture, their own participation in the crowd-sourcing document, and the implications of Baldwin’s lecture for civic participation in the Climate March.  

Crowd shot of the Climate March in New York City, September 20th, 2019. Photo by: Susan Naomi Bernstein.


The students suggested that Baldwin urged individuals to participate in the life of their community. The crowd-sourcing document does this, the students said, by allowing students as individuals to take responsibility for learning and writing together as a community.


Further, the students offered, Baldwin persuades his audience to take a stand on events in the larger world. The Climate March offered individuals an opportunity to draw attention to and participate in a larger community statement. When conditions are as serious as climate change, the students advised, the people need to rise up and take responsibility for the world in which we live. The Climate March is a striking example of taking responsibility, as Baldwin impelled his audience in 1963. Connecting individual action to community responsibility continues to make Baldwin’s lecture relevant for our own time. 

In “The Importance of the Act of Reading,” Paolo Freire wrote: “Language and reality are dynamically intertwined. The understanding attained by critical reading of a text implies perceiving the relationship between text and context” (6). 


 Our own stories of reading and writing are significant-- and at the same time those stories do not exist in a vacuum. My thoughts this summer return to the literacy narrative assignment, and how to complicate that assignment for first-semester students enrolled in their first writing course in college. The writing project that I envision would combine literacy narrative and analysis, as described below. This combination allows students to understand the broader contexts of the literacy narrative, and to practice analysis of a model literacy narrative.


 Students would begin by reading Paolo Freire’s literacy narrative and lecture, The Importance of the Act of Reading. In Freire’s work, students are offered a model of analytic writing alongside a literacy narrative of reading, writing, language learning, and education inside and outside the classroom. After practice with the difficult language of this lecture, students are invited to analyze ideas from Freire’s lecture in concert with their own experiences of education.


Why Reading?

Reading offers students opportunities to grapple with making meaning from difficult language. Working together in class and in journals, drafts, and revisions, students practice the skills they will need to be able to make sense of language and ideas in STEAM textbooks, and other texts that require persistence for comprehension. For more thoughts on the significance of this pedagogy for first-year writing, see McBride and Sweeney's A Place For Reading Instruction in Our Writing Classrooms and this post about reading and writing about a lecture by James Baldwin.  


Supporting Class Activities

  1. Jigsaw Method: Jigsaw  “The Importance of the Act of Reading.” Divide the class into groups and assign each group a section of the reading to summarize and explain to the rest of the class. Students can use dictionaries and languages other than English to come to an understanding of their reading. An example of using the jigsaw method to discuss reading can be found here, with an appendix here
  2. Important Quotes: Using medium-sized post-it notes, invite students to choose important quotes from  “The Importance of the Act of Reading.” Post the quotes on the classroom walls and ask students to discuss how each quote relates to the main point of the reading.
  3. Unfamiliar Words: Ask students to select difficult quotes from the reading. Project the quotes on the screen, one at a time. Together with students, look up unfamiliar words and make meaning from the quote. 
  4. Topic Sentences: On the screen, project the topic sentences of each paragraph of the reading. Invite students to discuss how these sentences offer an outline of the reading. 
  5. Examples: Remind students that any of the course readings can be used as models for their own essays. 


Concepts for Reading and Writing

  1. Interpretation: Cite a specific quote, paraphrase, or summary from Freire’s lecture. What is Freire saying here? What are the meaning(s) of Freire’s words, in English or another language? To aid understanding, use the context of the paragraph and surrounding paragraphs where the quote appears. Also consider the context of the entire lecture. Does Freire present the same idea in other parts of the lecture?
  2. Analysis: What are Freire’s main point? What is the relationship between specific parts of the lecture to the main point of the lecture? Why would the specific parts or the main point be important to Freire’s audience of teachers and university students attending the Brazilian Congress of Reading? 
  3. Supporting Evidence: Supporting evidence comes primarily from Freire’s lecture. Additional evidence can come from your own experiences, songs or other popular or social media, national, local, or international current events, and/or research on references used in Freire’s lecture (such as Gramsci).


Suggested Prompts

Following are 4 suggested prompts for essays that could be written in response to Paolo Frerie’s lecture “The Importance of the Act of Reading.” Note that each assignment invites writers to keep the main focus on interpreting and analyzing the meaning of Freire’s lecture.Your own experiences may be used as supporting examples to help interpret and analyze Freire’s lecture. 

  1. Research: Who is Gramsci? What is counter-hegemony? Why do you think Freire referenced Gramsci at the conclusion of his lecture (Freire 11)? Does Gramsci’s work hold relevance to your current or previous education? Why or why not?  How do your own experiences inform your response?
  2. Language: “Part of the context of my immediate world was also the language universe of my elders, expressing their beliefs, tastes, fears, values, and which linked my world to larger contexts whose existence I could not even suspect” (Freire 7).What does Freire mean by a “language universe”? Describe at least two different settings that form part of your own “language universe.” Some examples of settings are: elders and peers, home and school, school and social media. What connections and disconnections do you find in language use in these settings? How do your own experiences inform your response?
  3.  Education: On page 5 Freire writes: “Reading the world precedes reading the word, and the subsequent reading of the word cannot dispense continually reading the world.” What does Freire’s statement suggest about education? Do you agree or disagree with Freire’s statement? How do your own experiences inform your response?
  4. Multimedia: Take a look at the gif “Writing is the hardest thing ever.” What details stand out to you in the gif?  Why do these details stand out? What quotes and ideas from “The Importance of the Act of Reading” support and contradict the gif? How do your own experiences inform your response?


Remember: Writing is the hardest thing ever -- and potentially the most rewarding.

Guest Blogger: Andrew Anastasia (he/him/they) earned his Ph.D. from the University of Wisconsin-Milwaukee where he worked on bridging conversations between rhetoric and composition pedagogy and social work methodologies. He is Assistant Professor of English at Harper College, a large two-year institution outside of Chicago, Illinois. His current research project is a qualitative case study of relationships between trauma-informed first-year course design and retention and persistence rates. He is also the community manager for ACEs in Higher Education


Adverse childhood experiences (ACEs) and exposure to trauma are relatively common in U.S. children under the age of 18. These experiences range from living with an adult with mental illness, to divorce, to abuse and neglect. The greater the instances of exposure, the more likely it becomes that one will experience negative emotional, behavioral, and health outcomes as an adult.


According to Sacks and Murphey (2018), one in ten children have experienced three or more ACEs, and in some states, that number is one in seven. Over the past decade, educators have learned how intimately tied ACEs and trauma exposure are to behavioral and cognitive barriers in the classroom. This is why trauma-informed approaches to primary and secondary education are gaining traction in the U.S., and why we need to bring trauma-informed approaches to postsecondary education. In my view,  rhetoric and composition teacher-scholars are particularly well-suited to bring this emergent work into the field as part of helping students (and teachers) understand their own rhetorical situations.


If you work in higher education, you’ve likely found that attention to student mental health falls dangerously short. Given the statistics of ACEs trauma and the lack of accessible mental health care at the college level, I have started to describe this gap as “trauma-as-an-invisible fire,” an engulfing threat that feels real and urgent to some but that is often hard to fight, or convince others of its reality.


We know that the majority of students have a history of ACEs (Smyth, 2008), that 61% of college students seeking counseling report anxiety and 41% report depression (Winterman, 2017) and that 66% of college students reported exposure to a Criterion A trauma (Read et al., 2011). Students struggle to access the mental health support they desperately need; the mean ratio of counselor-to-student ratio in the U.S. in 2017 was 1737:1 (Winterman 2017) as colleges across the country outsource counseling services (see “Universities outsource”) or shift to scalable “grit,” “wellbeing,” or “resilience” models that can be implemented without a specialized degree (or a specialized hire).


Yet trauma-informed, ACEs-science work is more difficult to implement than grit or resilience models alone: the fire is invisible in part because it is us, but also because we ignite it in others all the time. For example, I recently sat down with an amazing teacher who wanted to know how to be a more trauma-aware educator. After talking for a while, I asked if she provided an opportunity for students to share their chosen names and gender pronouns. I could tell she was taken aback by my question until I explained that for many genderqueer, non-conforming, and/or trans* people, “deadnaming” students in front of peers can be viscerally terrorizing. The thought never crossed her mind that reading names off the roster and ascribing gender pronouns without asking might participate in racial and gendered microaggressions.


There are concrete steps individuals and systems can take today to avoid such microaggressions and to become more trauma-informed. Nonetheless, I want to caution readers that engaging trauma-informed work is an ongoing process of self-reflection and discomfort. Doing this work justice means doing justice to people, bodies, and experiences one may have been trained to ignore, invalidate, and oppress, including asking whether and how white language supremacy participates in systems of racism linked to ‘root causes of modern trauma.’

With such cautions in mind, here are four practical suggestions for the classroom.

  1. Have all your videos captioned as a matter of Universal Design.
  2. Create participation opportunities that reward non-verbal communication. I prefer to use engagement tickets that reward all kinds of engagement with processes or content.
  3. Refrain from taking attendance until you know a student’s preferred name or pronunciation of their name. Mispronunciations can have a lasting impact on a student’s sense of worth, safety, and belonging.
  4. Invite students to revisit and revise course policies. Susan Naomi Bernstein has a wonderful beginning of the semester activity that uses note cards to empower students and encourage equity.


We need not change our course outcomes to account for ACEs trauma. Rigor and the pedagogical benefits of didactic discomfort may create the conditions necessary for our pedagogical goals to manifest. When students are saturated or activated, the stress hormones produced prevent higher-order thinking. Students who feel validated or heard are more likely to stay in class and persist with the tough stuff.   

For a primer on the 1998 ACEs study and ACEs science, please see “ACEs Science 101 and “ACEs Primer.”  Also see the appendix for materials that begin to address this question, including additional readings that address  ACEs trauma.

How can we encourage students to dive beneath the surface of complex readings? Each term I puzzle over this question and experiment with different responses. This year, the answer has been a puzzle itself: the jigsaw discussion.


I first encountered jigsaw classrooms almost twenty years ago, when I worked with a public elementary school as a teaching artist in creative writing. At the elementary level, the intent of the jigsaw is to enhance group learning. Each group works with a specific concept, and each group member focuses on a particular aspect of that concept. The idea is that students will cooperate in assembling the pieces of an intricate puzzle as they practice skills for cooperative learning.


This semester, I introduced jigsaw discussions for different purposes in College Writing 1 and College Writing 2. For College Writing 1, we worked together to analyze the film Black Panther. We had already practiced close reading through encounters with James Baldwin’s essay “The Artist’s Struggle for Integrity” and Dr. Martin Luther King, Jr.’s final speech “I’ve Been to the Mountaintop.” In order to create a synthesis essay, students needed to be able to find the interconnections. Part of the process of close reading of a popular film is to push past its popularity toward a deeper understanding of the many historical and thematic contexts of any cultural artifact. As I explained to the students, this was my intention for reading Baldwin and King, and watching Black Panther together for the same assignment.


Our first attempts to draw deeper thematic interconnections proved difficult. In particular we struggled with the concept of analyzing a scene from a film as one might a chapter of a novel. A film, the students reminded me, is not the same flat surface as a novel. There are sounds and visuals to consider, music and costumes, plots and characters. I wondered if jigsawing could help. Rather than trying to analyze a scene as a whole, we would break the scene into different categories, and from those categories draw deeper meaning and thematic interconnections to our readings of Baldwin and King. The students requested that we do this jigsaw as a whole class discussion, and asked me to take notes on their ideas. The first appendix shows the questions we asked, and the students’ responses.


In College Writing 2, our task was slightly different. In order to better understand the historical contexts of Lorraine Hansberry’s 1959 drama, Raisin in the Sun, I invited students to read scholarship on the Great Migration and housing segregation in the northern United States. One of our readings was the introduction to Farah Jasmine Griffin’s 1996 scholarly work, Who Set You Flowin?: the African-American Migration Narrative. Nearly all of the students were approaching literary scholarship for the first time. Besides their introduction to a new genre, students would be dealing with unfamiliar references to literary sources.


For this jigsaw, we decided to break the class into groups of 2-4 students. Each student group was assigned to summarize two pages of the ten-page introduction. We opened a google.doc with blank spaces for each set of page numbers. When the jigsaw was complete, we had a concise summary of the article that we could analyze and discuss together. Students could experience for themselves the process of breaking down a complicated reading into its component parts, then reassembling the parts into a whole. The second appendix shows the directions for this assignment and a sample of one group’s brief summary (see example here).


In my college writing courses, students come together in the classroom through many varying intersectionalities of life experience, languaging, and college preparation. The conflicts and alliances that bring communities together-- and pull communities apart-- also play a role in how arrive in the classroom. Even with very hard work, it can be challenging to find common ground for class discussions across a multiplicity of identities, abilities, and needs, much less to learn to dive beneath the surface features of complex readings. Jigsaw discussions can help to experience the synergy that comes from the many voices present in the room.


*Spoiler AlertIf you have not seen the film Black Panther, you may want to skip Appendix 1.

Guest Blogger: Rochelle Spencer is currently a scholar in Dr. Maryemma Graham's Black Book Interactive Project at the University of Kansas. Rochelle is author of AfroSurrealism: The African Diaspora’s Surrealist Fiction (Routledge 2019) and co-editor, with Jina Ortiz, of All About Skin: Short Fiction by Women of Color (Univ of Wisconsin Press, 2014). A VONA alum, a former board member of the Hurston Wright Foundation, a current member of the National Book Critics Circle, and co-curator for the Digital Literature Garden and Let's Play, Rochelle recently defended the first dissertation on AfroSurrealism.


How do we demonstrate radical love and trust towards our students, especially when exploring painful or traumatic subjects? If we, as a writing community, teach arguments and logos, ethos, and pathos, then it seems to me that we are left with critical questions: How do we create empathy? How do we decide when it’s “convenient” to care about someone?


These questions point to a community-centered pedagogy. Years ago, a student of color told me about being harassed by police right in front of the campus where I then taught. That student was Asian, and I am Black. I understood the student’s fear because I’ve been harassed by the police too. Last fall, as I prepared to teach a lesson on #BlackLivesMatter, I realized the bullying and intimidation my former student experienced may have happened to other students. Or they may have friends or family who have experienced police violence, perhaps while arrested or incarcerated.


Addressing these traumas while teaching argumentation, I have found that we’re always thinking about representation. I want to suggest to students that they don’t have to fit any particular image to be treated fairly. If someone’s skin is dark, or their pants sag, or if they wear a hijab or speak a language other than English, then should they be subjected to harassment or life-ending violence? It’s more than problematic to decide someone’s humanity based on whether they’re wearing a suit or tie--or a skirt with a slip. (We have a history of telling women and perhaps non-binary genders that sexual violence can be a result of the way they’re dressed. And I realize our brothers are raped and sexually violated but this specific condemnation seems mostly aimed at women.)


At the same time, I understand how people respond to those who [outwardly] convey power, through their dress or speech. We want our students’ voices to be heard and we want them to be taken seriously, especially as they work to create positive changes in their communities.

One lesson plan that grew out of this idea centered on visual arguments. In class, we watched  this video from CNN about Botham Sean Jean, who was killed inside his apartment by an off-duty police officer in Sept. 6, 2018, and Frank Ocean’s Nike 2016 video, which juxtaposed images of Trayvon Martin with sensual and surreal images. Using the following questions, we held a class discussion as a prelude to our writing assignment on visual argument:


  • Botham Jean’s family attorney says Jean “lived his life virtually without blemish,” how is that life portrayed in the video? Do you feel empathy towards Jean? Do you think this video generates empathy?
  • What do you think of Ocean’s incorporation of the Trayvon Martin photograph? Do you think it serves a purpose? Do you think the photograph is used respectfully? Why do you think Ocean juxtaposes so many contrasting images alongside the photograph? Does Ocean’s video create empathy?


In their in-class writings, which addressed these questions, my students helped me to understand the Ocean video as commentary on our emotional landscapes. While a few students viewed the Ocean video as a disjointed arrangement of startling scenes, others argued Ocean‘s kaleidoscopic images make it difficult to view a man of color, such as Ocean--or anyone really--through a one-dimensional lens. These students argued for Ocean’s video, with its multi-racial and intergenerational cast, as depicting a pluralistic society and the ways people must work together and fight for each other’s survival.


If Ocean's work exploits respectability politics, then history's portrayal of Rosa Parks only further reveals their complexity.We know about Rosa Parks’ work as the leader of the Montgomery Bus Movement but, in the 1950s, if a young, pregnant, and unmarried woman  had led the movement, would her sexual history--rather than the cause--have been the topic of discussion?  We create narratives about people that omit details. I think we tend to think of Parks, perhaps, as a silent image; we remember the quiet and dignified black-and-white photo of her sitting on the bus, but less known is Parks’ work as an outspoken and ardent investigator and activist who fought for justice for Recy Taylor, a black woman raped by six white men.


The challenge for our students, and for all writers whose work concerns people and our relationships to each other, is figuring out how to show our complexity, our totality--while helping our readers understand and care about our stories.

This semester, I am teaching a second semester college writing class on writing about literature through a rhetorical understanding of academic writing. The class includes English majors and potential majors in the humanities, as well as students whose interest range from STEM to social sciences. The diversity of majors and the course constraints offer interesting questions for building a syllabus (as explained in a previous post) and for designing assignments. In selecting readings and tasks for the course, I considered the following challenges in critical thinking and motivation:


  • Critical Thinking.: What would encourage students to think outside the box of previous training? Whether students excelled as creative writers in high school, or studied literature for the sole purpose of succeeding in standardized tests, how might students discover new approaches to understanding literature?
  • Motivation. How can the class present students with opportunities to experience for themselves implications of literature for everyday life? How
    could students observe the persuasive power of language while challenging themselves to grow as writers through rhetorical practice?


Inspiration emerged as a keyword for both challenges. Inspiration allows us to think outside the box, while providing connections between the sublime and everyday life. According to the Oxford English Dictionary, the word inspire has these origins:


Middle English enspire, from Old French inspirer, from Latin inspirare 'breathe or blow into' from in- 'into' + spirare 'breathe'. The word was originally used of a divine or supernatural being, in the sense 'impart a truth or idea to someone'.


Inspiration as breathing is a powerful metaphor. Considering these roots, I understood that it would be important to choose the readings for our first day with great care. I offered the class this introduction to the course:


This section of the course is based on the principle of what the 19th-century poet John Keats called negative capability, inspirational power of beauty. Writing may not be easy, and sometimes writing is not very pretty -- but writing, both process and product, can be a powerful inspiration in our lives. Keats and James Baldwin (who we will read later this semester) believed this-- and so do I. This is the reason I became a writer and this is why I am a teacher. Welcome to this Spring 2019 community of writers!


Our next step would be to read and listen to the words of two seemingly different examples: Kendrick Lamar’s i (from the album To Pimp a Butterfly) and Shakespeare’s Sonnet 116 (“Let me not to the Marriage of True Minds.”). Yet these readings share a deep sense of the emotional labor of love and love’s connections to inspiration. Kendrick Lamar’s text repeats the refrain, “I love myself,” and his words and body language in performance underscore the hard work involved in honoring this love. Shakespeare’s sonnet, in describing what love is not, address the constant need for discovering what love is. Considered in the same moment, these readings point to literary approaches to questions of love, and the meaning of such questions for everyday life. I imagine that students will offer even more insights into these connections.


With these considerations in mind, we will work our way toward beginning the first essay of the semester that will hopefully inspire my students critical thinking and motivation in their writing.


Follow these steps to complete Essay #1:

  1. Write journal entries that summarize and analyze each of the poems in your own words. Use evidence from the poems and the literary terms to support your ideas. All journal entries are based on your interpretations and opinions using evidence from the readings.


  1. Select at least one of the literary terms|key words that interests you. Write a journal entry that applies the literary terms to one of the poems. Refer to previous journal entries to explain your selection. You can write the entry as a poem, or as a conventional journal entry in paragraph form. Refer to previous journal entries to explain your selections.


  1. Choose at least one of the poems from the list below as a focus for Essay #1. Write a journal entry that explains your choice. Refer to previous journal entries to explain your choice.


  1. Investigate negative capability in the poem, the inspirational power of beauty (Poetry Foundation Website). Write a journal entry that responds to this prompt:


Which Literary Terms|Key Words allow you to better understand this inspiration? Why? Offer as many details as possible. Include details from previous journal entries as appropriate. This entry serves as a draft.


  1. Revise drafts for a  final essay that showcases your best work on Unit 1. Make a google.doc for your final essay and share it with me. Copy and paste a link to your google.doc in the course management submission portal. Only submissions with shared google.doc links can be evaluated.


POEMS: Eight poems spanning more than 400 years of British and American Literature:

Sonnet 116: Let Me Not to the Marriage of True Minds (William Shakespeare 1609)

The Tyger (William Blake 1794)

Aunt Jennifer’s Tigers (Adrienne Rich 1951)

Harlem by Langston (Langston Hughes 1951)

kitchenette building (Gwendolyn Brooks 1963)

My Brother at 3 A.M. (Natalie Diaz 2012)

A Small Needful Fact (Ross Gay 2015)

i  (single version)(Kendrick Lamar 2015; performance 2014)


LITERARY TERMS: A poem is as intricate as a motherboard and just as complex. Just as there are specific words that can help users to explain a motherboard’s wiring, there also are terms that allow readers and writers to explicate the circuitry of a poem. All of the terms are applicable to your own writing for the course, and can be for rhetorical analysis to better understand the meanings of persuasive language and the impact of this language for the audience (Aristotle’s definition of rhetoric). Here are several of those terms: imagery, irony, personification, tone.

This spring I will teach a second-semester first-year writing course that engages literary studies through the lenses of rhetoric and composition. In other words, the course aims to present literary readings (poetry, prose, drama) and invites students to engage these texts rhetorically, with careful attention to language and its uses, audience, purpose, and persuasion. In creating this course syllabus, I will adhere to the writing program constraints, but will be able to choose my own readings to fashion the required assignments.


It helps to teach my passions, of course, but it is necessary as well to consider how to introduce students to readings and means of approaching readings that will open doors in their own living, thinking, reading, and writing. Reading and writing need to be more than school subjects and a set of strategies or commodities.


At the same time, I also want to include readings that will open the way to help me learn from my students. Perhaps this was the most important lesson learned from last semester’s Final Writing Project: Create Your Own Course Syllabus. Since students could choose their own subjects for this assignment, I was able to gauge a wide variety of general interests through three sets of classes of racially, ethnically, and linguistically diverse traditional-age college students at two different institutions. The most common subjects included:


  • Creative arts classes for non-majors (music, filmmaking, comics)
  • Health: (mental and physical health, self-help, food studies)
  • Courses in a special topic not offered by their colleges (sports science and history, religious studies and social justice,  business theory and practice)


My sense in planning the syllabus is to introduce literary readings through these general lenses, while keeping in mind the concerns of students. “I don’t like poems that don’t rhyme,” one student told me last semester, and then recommended that I listen to Kendrick Lamar’s “To Pimp a Butterfly,” of which, at the time, I had only passing awareness.


The students’ interests in comics offered additional considerations. After we finished our second writing project on Black Panther (Listening to Students: Revising an Assignment and Teaching Black Panther) last fall, and they wrote their reflections, two students included long lists of movies I needed to see to better understand Black Panther’s place in the Marvel Universe. For students who have come of age in diverse racial, ethnic, and linguistic spaces, Black Panther and other films in the Marvel Universe are not only allegorical, but also material reality.


In other words, in real life students have faced situations equivalent to Black Panther’s most symbolic moments, such as journeying to the ancestral plane or creating community in the aftermath of war and destruction.In transitioning to college, students often struggle with unanticipated borders between home and school communities. In choosing readings for the spring semester course, I remember that such borders can be deeply complex and contested. I also remember how my own encounters with literary works helped me to navigate and negotiate the struggles of college transitions.


For example, I think back on my experience of reading Rimbaud’s poetry for the first time as an undergraduate. For my advisor, a specialist in French 19th century literature, Rimbaud’s work was an exemplar of French symbolist poetry. Yet for me  Rimbaud’s poems felt as real and as full of transcendent possibilities as life itself. In “Novel,” (“Roman” in French) Rimbaud writes:


Night in June! Seventeen years old! —We are overcome by it all

The sap is champagne and goes to our head . . .

We talked a lot and feel a kiss on our lips

Trembling there like a small insect . . .


These lines felt as ethereal as the popular culture worlds in which I lived as a teenager in the 1970s.  Rimbaud’s words were as resonant as the theme from Star Wars, and as poignant as Bowie’s genderqueer teenager in Rebel, Rebel. Popular art fused with the language hidden away in literary works unknown to me before college. In the midst of that fusion, the future opened before my eyes, allowing me to reach toward language and life experiences I had never before imagined. Literature, in my experience, remains a significant means of engaging with worlds outside of my own, and of envisioning futures beyond the limited scope of everyday life.


My hope is that the new syllabus will create a more fluid universe and collapse the binaries between the old and the new, remixing canons and drawing connections and similarities in spaces where the mind and the heart have been trained to perceive only difference and separation. These difficult times call for nothing less.

There are moments in our teaching lives that can feel epic, as much for what happens outside the classroom as inside. This semester was my first semester teaching in New York City after five years away, and it has often felt like a journey with a strong sense of purpose: non-linear, a quest or picaresque narrative, where kairos matters more than destination. Nonetheless, we have arrived at the end of the semester, and it is time for final reflections.


The reflection assignment for this term invites students to consider their first semester in college and their first college writing course as a journey. My hope is that this reflection will invite students to consider writing as a process that goes hand-in-hand with their self-discovery in their first semester.


Good journeys to all!


End-of-Semester Reflection

Consider your work in this writing course as a journey that began in August 2018 and that culminates in a significant destination in December 2018. As part of that journey, reflect on the significance of our theme: The Rhetorical Power of Stories. Your reflection should be 600-800 words and can be arranged in paragraph form. Select at least 3 (or more) of these questions to frame your reflection.


  1. What are some of the most important stories about this journey?
    • Beginning or end points?
    • Stopping places?
    • Places of celebration and/or frustration?
  2. Where does your WP 3 fit into this journey?
  3. What did you learn about the rhetorical power of stories from our course texts?
  4. What is your philosophy of writing?
    • What wisdom did you gain that you can call on in future writing experiences inside or outside of the classroom?
    • What awareness did you achieve about writing that you would like to share with others, including the professor and students just beginning the writing course?
  5. What do you want to add that isn’t included here?

Our final writing project for the fall semester is based on an assignment created in the late 1960s and early 1970s by Adrienne Rich, poet, feminist theorist, and SEEK (Search for Education, Elevation, and Knowledge) teacher at City University of  New York. The assignment comes from Professor Rich’s collected papers in the CUNY Lost and Found Series. Professor Rich imagined the assignment, in part, as follows:


Write a description of a course you would like to take some day-- on any subject, or covering any kind of material. Talk about how you feel this material could best be taught, and what you would hope to be doing in that course (Rich 8, Adrienne Rich: Teaching at CUNY, 1968-1974).


I chose Professor Rich’s assignment for two critical reasons. First of all, one of the courses I teach at City University of New York is part of the SEEK Program, one of the oldest surviving programs in the United States for students from economically undeserved communities. Mina Shaughnessy, as part of her original vision for SEEK, hired poets and other creative writers to teach students in courses called Basic Writing. Many writers participated, including Audre Lorde, June Jordan, and Toni Cade Bambara, in addition to Adrienne Rich, who wrote about her experiences in the essay Teaching Language in Open Admissions and the poem The Burning of Paper Instead of Children.


Second of all, the writing programs for which I am teaching this semester require a research paper for the final writing project. It is part of our work in first-year writing to offer tools for students to transfer knowledge across the curriculum. In creating their own syllabus, students can gain insight into how and why syllabi are constructed, and also can take part in the research needed for syllabus construction.


As a model, I offered students “Images of Women in Poetry by Men,” a syllabus found in Rich’s

collected papers (24-35). The syllabus offers Rich’s assumptions behind creating the course, as well as long and details annotated bibliographies and other sections. I suggested to students that their own syllabus could borrow from Rich’s template, which I delineated as follows:


  1. Course Title: What is the course called? Why is this title significant?
  2. Course Description and Goals : What will happen in the course? What will students and the instructor learn and do? Why are these goals significant?  (4-6+ paragraphs)
  3. Rationale: Why is the course needed? (4-6+ paragraphs)
  4. Assignments: What writing, multimedia, service learning, or other projects will students be asked to do? Why are these assignments significant? (4-6+ paragraphs)
  5. Assumptions and Biases: What are your assumptions about the course and about students who will take the course? What are your biases as as a course designer? Why are this assumptions important for grounding your course?  (4-6+ paragraphs)
  6. Annotated Lists of Texts (Reading, Viewing, Listening Lists): What texts should be required? Why? What texts should be optional? Why? (4-6+ annotated texts = Citation + short summary of the text)


Students have begun brainstorming course titles for their syllabus. Following are some of their favorites. An update will follow as this assignment continues.


History and Stan Lee

The Science Behind Singing

FL (Fruity Loops Music Program) Studio 101

Learning Basic Instrumental Technique and Posture

Sports Analytics (Statistics for Sports Fans)

Introduction to Cultural Contexts of Harry Potter

History of Dance (Hip Hop)

Politics and Immigration

An Outsider Comes Home: The Story(ies) of Black Panther

In Memory of Stan Lee (1922-2018)


Writing workshop for our Black Panther synthesis project.

The words printed in black ink are:

Most important: If it seems too hard, WRITE ABOUT  IT ANYWAY.


I was reminded of the power of listening to students when student input led me to revise our second writing project for this fall semester. The original project would be an analysis of a multimedia storytelling artifact, chosen by the student: either a music video or a TED talk. The end goal was to create a synthesis of three texts: two course readings and the storytelling artifact.


To introduce the idea of a storytelling artifact, I played a music video that initially appeared to be a suitable subject for analysis. My students began a heated discussion about how the video portrayed race, class, and privilege. While the students seemed thoroughly engaged by the discussion, they were not inspired by the transparency of the video’s message and they did not admire the lack of complexity in its composition. It was clear that while the assignment I had envisioned prompted discussion, students felt that it was neither inclusive enough, nor addressing suitable cultural and technological complexities.


As the discussion about the video was coming to a close, a student and I began a side conversation about the film Black Panther, which is now available on Netflix. I had not initially considered Black Panther for two reasons. The first was, as much support as I could offer for synthesizing the film with more academic texts, I know next to nothing about the Marvel Universe. But my student argued that, even without knowledge of the Marvel Universe, the film is culturally relevant and accessible to a very wide audience, nationally and internationally.


While the first reason was reconcilable by relying on my students’ knowledge of this subject, the second reason was the one that gave me most pause. In the anonymity of the movie theater, I had wept openly for the entire second half of Black Panther. I worried about the impact that my emotions would have on my ability to teach this film as an objective text for practicing synthesis. But my student, yet again, re-framed my emotional response as an asset, reminding me that many people had very emotional reactions to Black Panther. My emotional response to the film thus became a teachable moment regarding the appeal to pathos.


Indeed, given the ongoing discord of our current world, recent events outside the classroom had disturbed students profoundly. If I wanted this classroom were to become a safer space, I needed to remember my utopian goal: achieving classroom community through shared experiences and common aims. What to do?


Revising the assignment at this late date to explore not storytelling artifacts but Black Panther – which was clearly speaking to my students in a way music videos and TED talks were not – would require significant shifts in lesson plans, and we would lose time to watching the film together as a class. However, could I re-envision lost time as time regained? I became a writing teacher because I love to write, and to share the passion, power, and beauty of good writing. Black Panther as a film had the potential to offer the kind of shared experience that most compels my work as a writer and a teacher of writing, and that would fulfill the aims and goals of practicing synthesis. Perhaps most significantly, sharing a film that we knew and loved would allow us to do our best work together.


And so it was decided. I would revise the assignment and we would watch and write about Black Panther together.


There were so many different pieces to this assignment that it was difficult to choose just one for this blog post. However, the activity that follows gave me a chance to share my thought processes with students, and allowed us to work together to take on the problem of creating clear and precise writing from strong feelings and seemingly inexplicable emotions.


Guest blogger Ann Green is currently a professor of English at Saint Joseph’s University where she teaches in the Inside/Out Prison Exchange Program. She also teaches “Hospital Stories,” a service-learning course in narrative medicine and other immersion and service learning courses. She received the 2017 Outstanding Leader in Experimental Education Award from the National Society for Experiential Education. She has published in The Intima, CCC, The Huffington Post, and The LARB Blog, and she grew up on a working dairy farm in North-Eastern Pennsylvania.


I regularly teach in the The Inside-Out Center program, in which half of the students are incarcerated and half of the students are traditional college students. The class meets once a week in a local prison or jail, and our class, a team-taught philosophy and English course, is called “dimensions of freedom.” Inside/Out, as described by the founder, Lori Pompa, is a space where “the process of investigation and discovery is both communal and collaborative” (Prison Journal, 132). Started by Pompa at Temple University, Inside/Out classrooms are half “inside” or incarcerated students and half “outside,” or traditional university students. (I/O is now an international program with 800 trained teachers in 130+universities and 130+correctional facilities.)


The creation of classroom community and the importance of boundaries around people’s lives is particularly important in my experiences teaching in the Inside/Out Prison Exchange Program. In her essay “Macaroni and Cheese is Good Enough,” my colleague, Jenny Spinner, writes that not every classroom or every student needs to reveal intimate details of his/her/their life in class or in writing. Community building does not need to rely on over-sharing or false intimacy, but can draw from the significant details of our lives from which we can find common ground. In other words, community building paves the way for empathy.


When bringing inside and outside students together, building an intentional community is crucial as students from both groups harbor assumptions and stereotypes about the other. Classes typically meet once a week from two and a half to three hours and often begin, or end, with an exercise that gets students to engage with one another. These community-building exercises create space for students to decide when and what to disclose; in fact, since many of our “inside” classmates are waiting for trial, it is particularly important that icebreakers do not ask anyone to reveal details of their alleged crime. (Inside/Out students sign agreements not to have contact with one another beyond the classroom community.)  


Here are five exercises (and links to more details) that you can adapt to different moments in the semester as building blocks for community, to address a difficult class dynamic, or to use as a brainstorming activity for a writing assignment. With gratitude, all of these come from different experiential learning communities I have experienced (the Inside/Out community; Corrymeela, Ireland’s oldest Peace and Reconciliation Community; and the work of Sharon Browning on “JUST Listening – …for the common good.”)


  1. Name on the Board: Each student writes their name on the board and explains, in a sentence or two, where their name came from. It is also good as everyone hears how names are pronounced. (Thanks to Colin Craig, Corrymeela.)
  2. Wagon Wheel (orConcentric Circles”): Half of the class makes an inner circle facing out, the other half forms an outer circle facing a partner in the inner circle. A question is posed, each person has a minute or two to answer the question, and then the outside of the circle rotates to the next person. Questions can be adapted for brainstorming, to address a class dynamic, or to any need.
  3. Listening Circle: The set up is the same as the Wagon Wheel, but participants who are listening are instructed to “just listen,” not to nod, affirm, or ask a question while the partner speaks for one to two minutes. During the debrief, participants are asked to consider what it was like to “just listen” and to consider whether it was easier to talk or listen.
  4. First Sentence of Autobiography: Participants write down the first sentence of their imagined autobiography and then share with the group. The group listens for both what is included and what is left out. (Thank you to Pádraig Ó Tuama of Corrymeela for leading us in this exercise.)
  5. Six Word Memoir: Participants write the story of their life (or part of their life) in six words, then share. This is similar to the first sentence of the autobiography except for the conciseness of the words, but both are great if typed and shared with participants at a later class.


Classroom communities require ongoing attention and maintenance, and they are important for our students’ learning. If we are asking students to share writing with one another, both through formal peer review and informal activities, it is helpful if students “know” one another. I place “know” in quotation marks because our community building should also strive to create a space for the introverted and/or shy. While no space can be entirely “safe,” we can create classroom communities through sharing the details of our lives that Sonya Sotomayer suggests, “build bridges and not walls.”

A recent discussion of the Writing Program Administrators listserv asks the questions,How many of us have asked students their voter registration status?” Respondents submitted practices based on their varying perspectives and teaching locations. Some respondents offer their students extra credit opportunities to register to vote. Others bring registration forms to class or show voter registration websites. Additional respondents believed that offering extra credit was coercive, while others stated that extra credit for registering to vote would not be equitably available to all students because of immigration status or status in the criminal justice system, and still others suggested alternative extra credit options, noting that voter education plays a vital role in rhetorical education.


Here is my experience. Many years ago, in the months leading up to a presidential primary, I brought to class a stack of voter registration forms procured from a table in the lobby of our classroom building. I presented the cards in what felt like a neutral, non-partisan manner, discussing the history of voting rights, the importance of voting no matter one’s political affiliation, and so on.


My students listened patiently. A few students politely pocketed the cards. But by far, the majority of students in the class said:


“Dr. Bernstein, I am not a US citizen.”


In that moment, I experienced a sense of humility that I have carried with me to this day. That moment is held with other sacred memories of voting-- and not voting: accompanying my mother into the voting booth as a preschooler and watching her flip the little levers of the old-fashioned voting machine; registering to vote for the first time at eighteen; voting for president for the first time absentee as a first-year college student far from home (and watching the debates for that election on television at night in the student union).


Yet the memory of my students, disenfranchised even as they paid taxes, troubles me still. As recently as 2016, some of us in the county where I was living-- myself and my colleagues included-- were denied the right to vote in the presidential primary because our voter registrations were misfiled as “independent,” rather than with a specific political party needed to vote in that state’s closed primary system. At the same time, in that same county, other citizens found themselves waiting to vote for many hours. The county government had drastically reduced the number of polling places. Poor communities of color were especially hard hit with the reduction of polling places.


All of these experiences have helped me to consider the necessity, and the difficulty, of addressing the intersections of political and rhetorical education in the classroom. Given the speed with which events cycle in and out of the news, my inclination is to return to my training in close reading gleaned from rhetorical history and comparative literature, and to share practices of textual explication with students. We first apply these practices to Civil Rights Movement readings, and texts that are densely packed, such as speeches by James Baldwin, or Dr. Martin Luther King, Jr. Then I invite students to apply those same practices of persuasion and analysis to their own writing.


Currently in my classes, students are nearing the completion of their first writing projects, a culmination of a series of assignments that have unfolded over the last six weeks. The process looks something like this:


Reading: Read not only for main idea and supporting evidence, but also at the sentence level and for word choice and repetition.


Writing: Write the body paragraphs first, and summarize the text, not only in terms of thesis and support, but again, for how the text is constructed, and the role of construction in effective persuasion of the reader.


Revising: Divide long paragraphs into shorter ones, and make sure that each new paragraph has an introductory and concluding sentence to help with transitions between them, adding additional citations from the text as needed for evidence.


Reframing: Add an introduction that dives directly into the main idea of your own essay. Offer a conclusion that presents the main idea as powerfully as possible, so that the reader is persuaded to accept, or at least to consider, the significance of the main idea.


These steps then become the grading criteria for the essay.


In fast-paced times, this work can feel slow, difficult, and painstaking. Yet the aim of this work is that students will learn not only to analyze dense material through reading and writing, but also that, through reading and writing, they will learn to explore the possibilities of imagining in challenging historical moments, with Baldwin or King and others a more hopeful and productive future.

Over the summer, I moved across the country, from the southwestern United States back to New York City, and from full-time lecturer back to work as a term adjunct. These changes have allowed me to pay close attention to new classroom situations, and the necessity of reexamining my approaches to teaching in order to fit ever-changing circumstances.


My work with charting such shifts began on the second day of class as I reconsidered an activity I had adopted a few years ago, the File Card Discussion: A Beginning-of-Semester Activity. Two years ago, I wrote about this activity because I appreciated its relevance for building classroom community, especially for students who appreciate alternatives to traditional class discussion.


In the File Card Discussion, students worked individually to come up with questions about the course syllabus. Those questions, written at the beginning of the second day of class, were submitted to me anonymously, and I spent the entire class period clarifying writing and reading assignments, due dates and extended deadlines, grading criteria, and other course policies. This activity was intended to familiarize students with the course syllabus and with the work of the course as described by the syllabus.


But on the first day of class where I am teaching this fall, in each of the locations where I am teaching, the synergy felt different. The first day was spent diving into the work of the course, engaging briefly with the syllabus, then moving into the first reading of the year. Students seemed eager to engage with one another, and with the work of the course. So on the second day of class, the File Card Discussion very quickly became Ask Me Anything.


For Ask Me Anything, I invited students to:


  • Form groups of 2-4 members.
  • Introduce themselves to each other.
  • Compose 4 or more questions as a group, attending to individual questions as well as to questions that the group shared.


The questions covered a much broader range of subjects than anything I had tried in recent years. Students asked not only the usual questions about the course, but also questions about the readings, and questions about my own schooling. They wanted to know about my favorite books and authors, and why I felt so strongly about writing. Students also were interested in my reasons for choosing James Baldwin’s “The Artist’s Struggle for Integrity” as our first reading. (See Why Is Writing So Hard? A Writing Assignment for Difficult Times)


Additionally, I added a culminating activity for the first week, Exit Tickets. In the last several minutes of class, Exit Tickets ask students to:


  • Reflect on the first week of college, including our writing course and other experiences, inside and outside the classroom.
  • Respond in writing to the question: What did you learn this week?


This activity has two goals. First, student often will be asked to make sense of complex ideas in a short amount of time. Exit Tickets provide students with an initial experience to process those ideas in writing. Second, I read the Exit Tickets carefully to see what themes emerge from the students’ brief writing, often no more than a sentence or a quick paragraph. From these themes, I will become better able to plan future course activities.


At the end of each class, students left Exit Tickets on the table, and I eagerly awaited the train ride home to consider and absorb their thoughts and concerns. From this early work, our classroom communities would begin the arduous journey of learning and growing together as writers.

This post is the third in a series on Memorable Reading. For the first post and second posts, see Memorable Reading, Part 1: Fiction, Poetry, and Drama and Memorable Reading, Part 2: History, Philosophy, and Psychology


It is August, and the minds of many of us are turning back to school and the need for creating new syllabi, retooling old ones, or learning how to teach the ones that we are required to use. As I began the process of course preparation, I thought back to the many texts in my education that stuck with me. Especially significant were texts I discovered in times of transition, between high school and college, post-college employment and my MA, the MA and the PhD. I remember the readings that kept me motivated through difficult moments, and the texts that opened my mind to new possibilities.


I wanted to know what still inspired other educators in and out of school, so I posted my question to my Facebook timeline and to several Facebook groups engaged with writing studies. The responses are listed in two separate blog posts. The first post covers fiction, poetry, and drama and the second post concentrates on philosophy, pedagogy, and non-fiction. Some responders listed more than one text across genre lines. In this case, I have grouped their responses with the first genre mentioned.


The purpose of these lists is to reflect on texts that has inspired the responders over time, rather than to fashion a new canonical mandate. For me, these inspirations, read in aggregate, are powerful reminders of how much good writing matters, and how, for many of us, good writing, carefully read, can help to shape the course of life and vocational choices.


My hope is that the lists offer memories of our own inspirations and, in doing so, allow us to make wise choices as we prepare our courses for the coming term.


Hive mind: What is one reading from your education that you still remember? That transformed you, perhaps? That sticks with you, even though it's been years? NOT something that you taught, but something that impacted you deeply as a student -- in or out of school?

WHY do you still remember it? What impression did it make on you? Why was it relevant to the rest of your life?

I'm considering compiling these readings in a blog post, so let me know if I can use your name, or if you would rather be anonymous.

Thanks in advance for all responses !


Brett M Griffiths In Search of Our Mothers’ Gardens and 1955 by Alice Walker. Countee Cullen and Langston Hughes, everything. I discovered them in the library on vacation around 3rd grade, bottom shelf, halfway back, poetry section at the Leland public library. Spent days each summer reading and memorizing and considering.


Bri DiBacco So many. But I keep going back to Lad Tobin's Writing Relationships. It continues to remind me that a sense of community is vital to good writing.


Caitlin Howell For grad school it was definitely The Rhetorical Stance by Wayne Booth. Something about how seemingly simple it was really struck me, and I do make it a point to cover the issues from that text in my teaching (and I teach it when I teach critical thinking courses). This article combined with various post-process theory research forms a large portion of my pedagogy.


Cara Minardi-Power Mike Rose's Lives on the Boundary because it helped my understand some students' struggles as well as my own.


Charlene Cambridge Paolo Friere's Pedagogy of the Oppressed did everything it said that literacy should do. It confirmed everything I instinctively knew about the way I was educated. It allowed me to have compassion for myself and my teachers.


Christian Sisack Mike Rose's Lives on the Boundary, which I read early in my graduate career. This incredible book gave voice to my views on the relationships between class and education and the lives that could be changed despite/because of that. As importantly, the book (and all of Rose's work) was and remains for me a model of absolutely beautiful and precise and human(e) prose.


Deborah SanchezI Won’t Learn from You” by Herb Kohl! His own experience of subconsciously not learning Yiddish in order to be in solidarity with his mother sticks with me.


Debra Berry Peter Elbow—every student has something to say and the ability to say it.


Jim Lee Errors and Expectations by Mina Shaughnessy taught me that there is no normal in teaching beginning writing. I must meet the students on their level and work with them toward proficiency.


Lee Einhorn Herbert Kohl's essay "I Won't Learn From You"—the reflections of a K-12 teacher coming to terms with the resistance he finds from his students and learning how to meet them at a place of empathy, mutual understanding, and progress; turned me into a teacher and a better human being before I knew what either meant.


Paul T. Corrigan Parker Palmer's To Know as We Are Known: Education as a Spiritual Journey. It was recommended by a teacher during college. It really spoke to me at a time when I was deciding to be a teacher myself. I had a sense that I would spend my life trying to live out the vision of that book. I am rereading it now, more than a decade later, and it's interesting to see how the book feels now that I'm in a very different place.


Sandra Kolankiewicz “Just Walk on By”...Brent Staples. When I am in hostile environments or places where others might feel intimidated by me, such as the first day of class in a dev ed classroom, I whistle too.

This post is the second in a series on Memorable Reading. For the first post, see Memorable Reading, Part 1: Fiction, Poetry, and Drama.


It is August, and the minds of many of us are turning back to school and the need for creating new syllabi, retooling old ones, or learning how to teach the ones that we are required to use. As I began the process of course preparation, I thought back to the many texts in my education that stuck with me. Especially significant were texts I discovered in times of transition, between high school and college, post-college employment and my MA, the MA and the PhD. I remember the readings that kept me motivated through difficult moments, and the texts that opened my mind to new possibilities.


I wanted to know what still inspired other educators in and out of school, so I posted my question to my Facebook timeline and to several Facebook groups engaged with writing studies. The responses are listed in two separate blog posts. The first post covers fiction, poetry, and drama and the second post concentrates on philosophy, pedagogy, and non-fiction. Some responders listed more than one text across genre lines. In this case, I have grouped their responses with the first genre mentioned.


The purpose of these lists is to reflect on texts that has inspired the responders over time, rather than to fashion a new canonical mandate. For me, these inspirations, read in aggregate, are powerful reminders of how much good writing matters, and how, for many of us, good writing, carefully read, can help to shape the course of life and vocational choices.


My hope is that the lists offer memories of our own inspirations and, in doing so, allow us to make wise choices as we prepare our courses for the coming term.


Hive mind: What is one reading from your education that you still remember? That transformed you, perhaps? That sticks with you, even though it's been years? NOT something that you taught, but something that impacted you deeply as a student -- in or out of school?

WHY do you still remember it? What impression did it make on you? Why was it relevant to the rest of your life?

I'm considering compiling these readings in a blog post, so let me know if I can use your name, or if you would rather be anonymous.

Thanks in advance for all responses !


Aaron Kerley The Ethics of Ambiguity. It freed me from thinking being an individual as an intrinsically selfish pursuit.


Christina Fisanick Judith Butler's "Performative Acts and Gender Constitution" because it helped me understand how reality is social constructed AND that not only could I read thick cultural theory, but I could understand and teach it!


George Yatchisin Orwell’s “Politics and the English Language.” Still so pertinent.


Jeff Cook Ken Wilber’s A Brief History of Everything. He convinced me that seeing a work through multiple perspectives is better than trying to solve its riddle and find it’s ‘meaning.’  After Wilber, (which sounds like a Mister Ed biopic) I started asking those questions about all of my life. ‘What’s another way to see it?’ It got applied to dirty dishes, car crashes, and people who wear socks with sandals.


Joanna Howard I remember my grad school professor giving me a copy of an essay “I and Thou” in which Martin Buber discusses the difference between having a job and having a vocation—and while I can’t remember if it related to teaching, our discussion did, and I have thought of that conversation from time to time over the years.  The significance was that I was a grad student who wanted to be a community college instructor, a teacher, and this conversation and Buber’s piece validated my choice.


Let me add that theology classes in high school and my coursework in grad school often helped me reflect on what I was doing in my life, what did I want it to become, what did I want to do, which is why Marge Piercy’s poem, “To Be Of Use” was (and is) a poem that I keep coming back to in moments when I feel I’ve lost direction. Buber and Piercy’s works are like rudders prodding me back to a considered direction. Buber reminds me to view my students as ”Thou” and not “It,” I have been my happiest and most successful with this perspective, and have gained the most as a fellow human being from it. (No pun intended.)


Lynn Reid As an undergrad When Abortion Was a Crime was transformative in my thinking about Roe v Wade. And a book called The Tattooed Soldier might be the one I most remember reading (and later teaching). Women of Sand and Myrrh, too. In grad school, Time to Know Them by Marilyn Sternglass.


Pf Lengel I and Thou, by Martin Buber. Buber, in collaboration with the beloved late Ken Morrison, opened a pathway between my mind and my heart, a path where life and relationships live in infinite Presence. I can't always find my way to that place, but it is my enduring vision and my most cherished aspiration.


Sophia Snyder A Midwife's Tale by Laurel Thatcher Ulrich. I read it my freshman year of college and it was my first introduction to the power of academic feminism. I was familiar with popular feminist political writing about the present day (this was 2003, in the midst of the heyday of the feminist blogosphere!) but I had never encountered the idea that we never finish re-writing history, and that *who* writes the history books and sees value in what historical documents is vitally important.


Steve Cormany Walden by Henry David Thoreau. Simplify, simplify, simplify. Try not to complicate things. Live life in an elemental way. Be conscious of your place in the universe. It allows you to live your life carefully.


Susan Naomi For me it was “The Myth of Sisyphus” by Albert Camus. As a student struggling to transition from high school to college, life often felt like rolling that rock up that mountain, only to see it tumbling away me at the peak and having to start all over again. Now, as I reread The Myth, I focus more on the moment of joy, on Camus's notion that: "One must imagine Sisyphus happy."

Valorie Worthy Maslow’s Toward a Psychology of Being— self actualization and peak experiences!