Saturday, July 11, 2015
My rating: 4 of 5 stars
In half an hour, looking through this book and reading Koren's text will have you rethinking what you think you know about rock gardens. It is a pragmatic look at gravel and sand as "possibly art," and while that may not seem very enticing, it is arguably a more valuable exploration of these gardens than all the new age, Zen, and run-of-the-mill garden books put together. Koren argues that many of the gardens "were not even designed or constructed by Zen practitioners at all by by gardeners/garden designers who were of the lowest social class; there is nothing Zen-like or "spiritual" about them" (32). While his arguments may not impact the integration of said gardens into modern Zen practice, it is refreshing to find new ways of seeing these spaces that are not cliché and rhetorical.
Tuesday, July 7, 2015
This is a classic and it is easy to see why. I have been familiar with Elbow's ideas (e.g. "the doubting and believing game") for quite sometime, but had received much of the information secondhand. For their time, the ideas in the book were revolutionary. In today's culture of "flipped classrooms" and the like, I hope that he finds more sympathetic reception for his ideas. A "teacherless writing group" isn't necessarily realistic within most college curricula, but I think every teacher who grades papers needs to read this book. The book could also be called "Reading for Teachers"--although admittedly some of this information is subtextual. It is rather dreadfully unfair when you consider what happens in most undergraduate classrooms with "term papers"---and indeed most written assignments. Students have very little chance to muck out their ideas and the motivation for doing so is almost always external (going for the grade). Elbow advocates personal freewriting as an inroad for students to find an investment in their own writing. But he also--and this was my takeaway--admonishes the overly critical, doubting attitude that has swallowed up academia and intellectual culture. It is possible to uphold critical thinking as a value, but that can include the "practice [of] getting the mind to see or think what is new, different, alien" (173). By *believing* in other perceptions and experiences, we widen the scope of our ability to "make a gestalt" as Elbow says. While I'm still inclined to grade papers because I think assessment is too systemic to chuck it out the window at this point, I think I can integrate a lot of the ideas of the teacherless writing group into my classes--more so than I already have--and even more importantly, into my reading and grading.
The slightly ironic aspect of the book is Elbow's defiant use of repetition and metaphor to address his detractors. He writes on the defensive at times, and the new edition makes clear why this is, but it can feel a bit tiresome when one is playing the believing game with his book. At the same time, it is "meta" in some respects, because Elbow is clearly playing the doubting and believing game in his own prose. So his "invisible" detractors are sometimes advocates and sometimes naysayers. The most fascinating part are the windows into his own process--particularly the second appendix of the twenty-fifth anniversary edition where he shares some of his messy freewriting that eventually found voice in the book.
Friday, June 26, 2015
My rating: 4 of 5 stars
While somewhat dated (the book was published in 1987), Fulwiler's book is full of good lessons and exercises for teachers who wish to engage more with writing in their classes. It is essentially a teacher workshop in book form, and each chapter has pre- and post- journal writing exercises.
The handouts that are included at the end of each chapter are particularly helpful. I will be using many of them in my classes next semester. The handout on "Following Directions" at the end of Chapter 8 is fantastic as it serves as a reminder that prompts are as important as the assignments we receive. The handout breaks down the nuanced differences between words like "analyze", "compare", "contrast", "justify", etc. for our students and in turn makes us more conscious about what we ask them to do.
Admittedly, Fulwiler's scenarios are a bit rosy at times, and he doesn't address working with ELL students in any kind of meaningful way. Many of these activities fail when there is not a uniform level of English ability in the classroom. Chapter 7 on "Research Writing" spends a lot of time on conducting interviews as a major source of research. That's likely to be more helpful in some subjects more than others, and the chapter really doesn't offer ideas for motivating students to do other kinds of research, although it recognizes that as a major problem. Fulwiler also encourages collaborative editing and proofreading among students outside of class, saying "Such cooperative work does not amount to cheating; virtually all serious writers rely on outside editorial help." There's the problem, however--it isn't really "outside" when you're talking about students in the same class. It can open the door for plagiarism, even if it is not intentional.
Overall, however, Fulwiler's book is still a very relevant resource for any teacher in any subject who wants to integrate writing as a tool for learning, not just evaluating.
Monday, June 15, 2015
My rating: 4 of 5 stars
I share the concerns of those who dislike the idea of templates, but I can see their usefulness, at least in part. There are a lot of valuable ideas in this little book, however, and I think it can be a great resource for teachers who can then tailor the exercises to achieve similar goals. For example, my department feels strongly that students should NOT use first person for scholarly research writing (in disagreement with the authors of the book). That doesn't mean that the book is useless. I've gone through and highlighted the examples that are in third person. I found certain sections a bit questionable (e.g. "Mix Academic and Colloquial Styles") but the authors write very much in the spirit of suggestion, rather than dogma. The book provides some very admirable and engaging ideas as to how one might tackle the mega-question: Why does writing matter? Getting students to enter a dialogue with unseen respondents is difficult, but this book presents several exercises (many of which are not dependent upon templates) that can help students engage with writing as part of a much larger conversation, rather than a single assignment for a teacher or professor.
Wednesday, June 10, 2015
This is a beautifully written book that is ultimately sensitive and perceptive about the cloistered life. Yet, as much as it *is* about a nun, it is not. Salzman lets the universal truths of our humanity blossom throughout the book, without being preachy or cliché. Sister John of the Cross's waking dreams are the key not just for the protagonist, but for the reader as well. The end did seem to be abrupt, in terms of narrative flow, but it is one instance where the lack of conclusion seemed apt. A good read for anyone who is devoted to a passion and has crafted a life around that passion.
Monday, June 1, 2015
My rating: 4 of 5 stars
I had a hard time getting into this novel because it made me feel conspicuous as a musicologist. The first quarter of the book seemed to be trying too hard to establish its musical street cred, but I understand now…that may have been the point. The protagonist spends his life trying to establish his own credibility, most importantly with himself. There are many references to some of the biggest composers and pieces of the twentieth century, and Powers is very gifted in the artistic and nuanced way he writes about music. By the midpoint of the novel, Peter Els--the main character--seems to adopt a more Cagean-sense of music and Powers, too, seems more comfortable in his prose. He's a tough character, Els--you never really know how to connect to him (and he never really knows how to connect to anyone). He's an Orpheus running from the Underworld, but not to rescue Euridice. The undertow of music pulls at him constantly, and his life cycles through submitting to that force and fighting against it. Powers is masterful in his ability to recount narrative through multiple flashbacks which, at the end, help us understand that we are all fugitives of one sort or another.
Tuesday, March 17, 2015
The real take-away here is in Armstrong's final chapter: "The mythos of compassion tells us what to do. Instead of becoming depressed by our repeated failures, we should remember that constant practice does indeed make perfect and that if we persevere, we too can become a force for good in the world" (192). Armstrong's big picture targets compassion as a force that has the potential to bring about peace on a global scale. Whether or not this is true is hardly the point--a case for everyday empathy is relevant no matter what the context. Her most valuable insight is that it is difficult and takes practice. She includes practical exercises for empathy and compassion, and avoids the patronizing and moralistic tone that so many books of this nature seem to adopt. She extends the work of Joseph Campbell from the theoretical to the practical.