2020 #8: Tutoring Second Language Writers (eds. Bruce/Rafoth)

Tutoring Second Language Writers by Shanti Bruce
My rating: 4 of 5 stars

This anthology, edited by the same team as ESL Writers: A Guide for Writing Center Tutors is an excellent collection of essays--all of which have use for anyone who teaches L2 learners. There is a strong leaning toward incorporation of diversity, equity, and inclusion principles in various essays that consider the complexity of "competency", multiple frameworks, and "accommodationist" principles (Carol Severino, 2006). Some of the offerings are short, but potent, such as Jose L. Reyes Medina's "Some Things I Did to Help Myself Learn to Write." Others, like Rebecca Babcock's "Examining Practice: Designing a Research Study" and case studies in Puerto Rico, as well as working with specific identities (such as Jocelyn Amevuvor's "Building A Cultural Bridge Between Ghana and the United States in the Writing Center") have more striking relevance in the writing center context. Those who are new to the concept of multi-faceted identity and how that informs a student's experience will appreciate Ben Rafoth's "Second Language Writers, Writing Centers, and Reflection," which, taking its cue from Harris and Silva (1993), recognizes the "diversity of concerns" of the L2 student. Likewise, Michelle Cox outlines the different facets of identity: those which we are born with, those we inherit, those we create, and those constructed for us as key to understanding how to address the multiple challenges of teaching a non-monolithic group of students who are nevertheless categorized as "ESL" (see her essay "Identity Construction, Second Language Writers, and the Writing Center."

As a teacher, the set of the essays that make up the fourth part ("Academic Expectations") was most useful. Valerie Balester reinforces the idea that understanding multiple identities is key to providing an equitable and inclusive experience for L2 students: "In truth, no single approach works, and applying a single approach to all L2 writers/speakers regardless of their needs, desires, or learning preferences, simply because we assume learning English grammar means learning English rhetoric, would constitute Othering." (200-- See Balester, "Tutoring Against Othering: Reading and Writing Critically"). Beyond philosophical considerations, Balester also provides helpful and concrete ways to use meaning to discuss local (lower-order) concerns in a student's writing. While Jennifer Craig's essay "Unfamiliar Territory: Tutors Working with Second Language Writers on Disciplinary Writing" addresses working with students outside one's own discipline, it is very helpful in understanding the challenges of building a general language proficiency and a disciplinary lexicon at the same time--not to mention writing conventions, tone, and style. Primyupa W. Praphan and Guiboke Seong's "Helping Second Language Writers Become Self-Editors" reconsiders "error correction" and its role in the tutoring experience. The authors also help clarify distinctions such as pragmatic errors vs. grammatical errors and recommend a set of strategies for before, during, and after a tutoring session. These principles are easily applied (and should be) to anyone who is assessing/reading L2 learners' writing. This last essay is particularly important as there are several alarming examples (throughout the book) of instructor/professor commentary on student papers that is ego-maniacal, counter-productive, and glaringly unhelpful in its Othering or complete cultural incompetency. In the context of the book the authors see the Writing Center as a place that mitigates this ignorance/bias on the part of the instructors, but teachers would do well to curb these practices at the outset.


Cross-posted at Musical Miscellaneous Mayhem

2020 #7: Jubilee: Recipes from Two Centuries of African American Cooking

Jubilee: Recipes from Two Centuries of African American Cooking: A Cookbook by Toni Tipton-Martin
My rating: 5 of 5 stars

To categorize this solely as a cookbook would not even come close to capturing this work of art. It is an exquisitely-written history that intertwines a wealth of research, nostalgia (in the best way), and a "larger vision of African American culinary history" (311) that both embraces and expands beyond soul food and the standard narrative. Toni Tipton-Martin says:

And I have tried to end dependency on the labels "Southern" and "soul," and on the assumptions that limit my ancestors' contributions to mindlessly working the fields where the food was grown, stirring the pot where the food was cooked, and passively serving food in the homes of the master class. (13)

There is no clichéd history here. Instead, Tipton-Martin crafts a story of urban enclaves in Los Angeles, Louisiana kitchens, Civil War plantations, West African villages, "African botanical heritage" (15), segregated black towns in Kansas...all of it, she says, to "help you see some of the ways dishes and styles have evolved over time, spurring your imagination, broadening your perception of the black culinary experience." (17) She picks up the unfinished work of Arthur (Arturo) Schomburg, the Afro-Puerto Rican historian who started an outline that would celebrate "black cooking as an expression of black achievement." (14)

Tipton-Martin sees all the moving parts of history--the shifting narratives, the untold stories, and the hegemonic stereotypes (e.g. Aunt Jemima). I have not yet read her The Jemima Code: Two Centuries of African American Cookbooks, but that is absolutely going on the list of must reads. Jubilee is fully deserving of its awards on merit of the narrative alone, but then there are the recipes...

For the uninitiated (like myself), there are some surprises in store. Despite two lengthier trips to New Orleans, I learned that "'Barbecue shrimp' is just the name Louisiana Creole cooks assigned to shrimp braised in wine, beer, or a garlic-butter sauce." My Italian grandma would have recognized the recipe as what she called "scampi" with...Worcestershire sauce. There are several wonderful meat recipes I haven't tried yet, but I've dug into some of the veggie ones. The "Braised Summer Squash with Onions" pairs rosemary, bacon drippings, and patience for probably the only summer squash I've ever actually enjoyed. The "Broccoli and Cauliflower Salad with Curried Dressing" might make you rethink your dislike of raw vegetables (do make this one ahead, however, unless you like very sweet mayonnaise--the sugar needs time to dissolve and draw out the flavor from the veggies). There are "classics" too, including an absolutely terrific "Country-Style Potato Salad" that will be my "go-to" recipe henceforth. Split into sections on appetizers, beverages, breads, soups & salads, sides & vegetables, main dishes, and desserts, it is hard not to keep this book on the kitchen counter everyday.

What is also very striking is how Tipton-Martin steps back (unlike so many other cookbook authors), and amplifies ancestral voices, colleagues' voices, and steps back in just to put in her own twist here and there. The photos by Jerrelle Guy and Eric Harrison are stunning. The food and its history take center stage.

And back to the barbecue shrimp-meets-scampi. As with many of the sentences she writes, Tipton-Martin packs in a lot of punch that reminds those of us who are not part of the African diaspora why we need to read the book:

When I tied all these diasporic practices together, I observed a culinary IQ that is both African and American, the very definition of fusion cooking. You might think this intelligence is not all that different when compared to other world cuisines. And you would be right. But the idea that African Americans shared these qualities with the rest of society has been ignored for far too long. (italics mine) (15)

And as much as there are common threads, there is also a "distinct African American canon" (14) that celebrates the creative force of hard truths, ingenious spirit, and culinary artistry that is the tapestry of African American food.