2025 #39 DEI Deconstructed (Zheng)

 

DEI Deconstructed: Your No-Nonsense Guide to Doing the Work and Doing It Right by Lily Zheng
My rating: 5 of 5 stars

I let this book sit for far too long on my shelf. I've long admired Lily Zheng for their posts on social media (I follow them via LinkedIn). While Zheng has since introduced a new approach to DEI: the FAIR Framework (Fairness Access Inclusion Representation), it is essentially the outcome-driven approach she advocates in this book. While the current governmental attack on DEI has not that much to do with the weaknesses described in this book (at least politically), their advice is sound and certainly would have/would strengthen DEI initiatives at all sorts of institutions: companies, higher ed, etc. It is truly "no-nonsense" -- very "tell it like it is" without unnecessary abrasiveness or grandstanding. They really want to help us all do better. Chapter 2, where Zheng "reformulate[s] the key terms and concepts of the DEI space away from their feel-good buzzword roots and toward operationalized and tangible outcomes" is particularly useful.
There were several "mic-drop" moments for me, such as:
"Identity isn't morality. Being privileged or marginalized on one or more dimensions of identity doesn't make us any better or worse as people; it simply positions us differently and offers us different advantages and disadvantages within broader systems. It changes the power we have access to and our ability to understand experiences similar to and different from our own." (165)
It doesn't get much more "no-nonsense" than that.
What is really helpful is that Zheng's approach can help ANYONE first, identify their stakeholder role (as well as their relationships to other roles), and then provides helpful reflections and exercises to make those things a reality within our varied spheres of influence.
Really essential reading for anyone doing work in the "DEI" sphere -- even if the acronym has changed, it is worth thinking about the pitfalls because they can easily occur no matter the abbreviation we use.

View all my reviews

FTL2025 5B challenge DEI Deconstructed---->Demian (Hesse)

#2025 #38 On Tyranny (Snyder)

 

On Tyranny: Twenty Lessons from the Twentieth Century by Timothy Snyder
My rating: 5 of 5 stars

Is this some lofty tome packed with new critical insights and expansive historical knowledge? No. Does it aim to be? No. Did it actually take me five months to read? No. But I had to put it down because I read before bed, and well -- this should keep you up at night. But hopefully with a sense of energy and resolve.

What the book IS, however, is a reminder. A reminder of the things you should hold dear. The things that truly COULD make us great, or at least could reinvest in real patriotism. It is an expanded listicle of 20 "lessons" from the twentieth century. The book opens with: "History does not repeat. But it does instruct." Heather Cox Richardson illuminates that in her "Letters from an American" posts. If you feel you lack courage to resist, throw this tiny book in your bag and take it out and reread it as you wait for the bus.

Make eye contact and small talk (#12).
Start somewhere.



View all my reviews

2025 #33 The 1619 Project: A New Origin Story (Hannah-Jones, ed)

 

The 1619 Project: A New Origin Story by Nikole Hannah-Jones
My rating: 5 of 5 stars

No book or project could ever be comprehensive when it comes to exploring and capturing the history and legacy that began in 1619, when enslaved Africans set foot on the shores of North America, a year prior to the arrival of the Mayflower. The book is an enlargement of Hannah-Jones's foundational The 1619 Project, published in the New York Times Magazine. However, as a reclamation of American History, this book is a chronicle, a celebration of poetry, art, and writing, and a call for understanding and moving forward. "A truly great country does not ignore or excuse its sins, it confronts them and then works to make them right," Hannah-Jones says in closing.

The contributors to the book are many and varied, with some of the most profoundly powerful and influential voices of our time: Claudia Rankine, Khalil Gibran Muhammad, Michelle Alexander, Ibram X. Kendi, Henry Louis Gates, Terry McMillan, and so many more.

In the audiobook, some readers are more compelling than others, but the words are potent, well-researched, and a true call for understanding how conventional narratives of American history have been whitewashed. Turning points, such as Abraham Lincoln's assassination, are reframed so that we understand that when Andrew Johnson took over the presidency for a brief two-month period, he tried to rescind wartime Order No. 15 (known as "Forty Acres and a Mule") and that these original reparations never truly materialized in a way that provided widespread and sustained land ownership to Black Americans. The connection of this (and preceding events) to the current wealth gap between Black and white Americans is made clear.

Ibram X. Kendi's truth-telling is particularly powerful, especially as it targets and demolishes narratives of "post-racial" America. The criticisms may be hard to hear for some, but the cycle of attempts to declare any and all "wins" as progress has largely clouded the narrative in its failure to recognize the persistence of neglect and abuse toward Black Americans, and the systemic infrastructure that perpetuates it.

It is not an easy book to read/listen to -- nor should it be. There is deep and painful beauty expressed in the poems. Few facets of modern life are left un-addressed, whether it is healthcare or mass-incarceration. The book can be (and has been) excerpted to great effect, but sitting with it from start to finish has its own benefits. As a white American, it was invaluable to be reminded of the things I have learned, to be invited to de-center white historical narratives, and to critically consider how much we truly owe to the legacy of Black Americans and how we have failed (and continue to fail) to honor it and fight for it. There has been a lot of backlash and vitriol aimed at the project. I recommend engaging with the book instead of allowing the controversies to subsume the content.


View all my reviews

2025 #30: More Than Words: How to Think About Writing in the Age of AI (Warner)

 

More Than Words: How to Think About Writing in the Age of AI by John Warner
My rating: 5 of 5 stars

One might draw parentheses around "in the Age of AI" when it comes to John Warner's excellent book. If there is one thing that is certain, generative AI has made it necessary to think about writing in general, as the assumed ubiquity of AI has implied definitions of writing that are certainly unsatisfactory from a pedagogical standpoint, and stand as evidence of the marketplace's power to (try to) shape our destiny. But this isn't just another example of capitalism's dominion. Many uses of AI ask us how much of our humanity we are willing to relinquish? The answer is demoralizing for many of us, yet Warner does provide a framework which he details in the last section of the book: Resist. Renew. Explore.

Warner starts, however, at the "beginning". He eschews "intelligence" as a synonym for "automation" --the real function of AI. I'll admit to a strong confirmation bias, but Warner puts AI through its paces to offer a well-considered and informative critique that I found incredibly helpful in quieting the bile that rises in my throat when it seems everyone has just obeyed our AI overlords in advance. He begins with an accessible explanation of what ChatGPT is and what it is doing when activated. While it is informative, it also serves to remind us that, at some level, we must understand how technology works rather than just allow ourselves to be uniformly awed (or galled) by its "magic." He is openly critical of the propaganda put forth by AI advocates who stand to gain financially (e.g. Sam Altman), but carefully debunks their claims rather than resorting to panicked invective.

Some of the chapter titles read like tongue-in-cheek clickbait, but it adds to Warner's overall sense of humor, which pops up throughout the narrative. To be sure, we are reading a very human writer.

Chapters 3 to 9 offer a more personalized view--almost a mini-memoir of Warner's own life as a writer-- but peppered with rather significant points about semiotics and rhetoric that are a heckuva lot more reader-friendly than most of what is written about semiotics and rhetoric. On a personal level, Chapter 6, "Writing is Feeling" touched me the most, and I think mileage will vary on that depending on the life experiences of the reader. I wasn't quite prepared for tears in encountering one of the most perfect meditations on grief I've ever read. I won't quote it here, but it is on p. 84 (hardcover). It underscores that this is very much a book about being human.

Chapter 7, "Writing as a Practice" felt a bit less useful and more of a (gentle) mouthing-off against the "one key thing" mentality that prompts us to enthusiastically adopt the shiny thing du jour. His diplomatic takedown of Gladwell and Duckworth's themes felt more gratuitous than other parts of the book, but that may be because I needed no convincing at the outset.

Writing teachers (and teachers that use writing) will find chapters 11 to 14 particularly useful, especially if they are interested in having conversations with their students about AI--or rather, about writing. The title for Chapter 16 privileges an anecdote that Warner uses to address one of the most important points of all: writing as intention.

Importantly, Warner encourages constant education, but measured by our own specialities and areas of focus. We cannot possibly read all the things about AI (my Substack feed overwhelms me every day), but it is important to push back at our own confirmation bias as well. I appreciated that Warner notes that he is almost "more obligated to read [Ethan Mollick] because I disagree with him.' (275). There's hope if we engage with thoughtful voices like Mollick, Marc Watkins, and others. Warner says we must foster community:

"Our communities inevitably must contain both those with whom we agree and those with whom we differ. As long as they are willing to see themselves as a member of the community with the well-being of the community in mind, they should be welcome." (275).

I'd like to print that out banner-size and hang it in a few places...

From the morally questionable beginnings of the founding of AI, the degradation of labor (and human-ness), to the careless implementation of automated grading, Warner is clear that we are leaning toward a Faustian bargain when it comes to AI. As a teacher, I was particularly struck by this:

"Writing is meant to be read. Having something that cannot read [AI] generate responses to writing is wrong. It is a moral betrayal of our responsibilities to students." (240) Far too often in discussions of AI I have heard "efficiency" used as a synonym for "pedagogy" and they are certainly not the same thing.

But Warner is also pragmatic: "There is no wishing away AI at this point, meaning it must be grappled with and done so in a way that preserves our humanity." (128) He allows for the limited use of LLMs in processing text (not reading, not writing): "Only humans can read. Only humans can write. Don't let anyone tell you otherwise.." (123)

AI has made it necessary (possible?) to critique our values when it comes to a lot of things, but especially writing. Most educational systems are founded on valuing product over process, so we can't be that surprised when we find that students are using ChatGPT to "cheat." Efficiency is key in the systems we uphold. If we want to truly have our students embrace the "messiness of learning", we have to stop honoring that which privileges standardization and the mechanization of education. The second part of Warner's framework is "renew" and he makes a more-than-convincing case that we can refuse to assimilate into some sort of algorithmic Borg, and instead embrace the human processes of reacting, observing, analyzing, and synthesizing as cause for celebration, rather than erasing them in the name of efficiency.



View all my reviews

2025 #27 Let Only Red Flowers Bloom (Feng)

 

Let Only Red Flowers Bloom: Identity and Belonging in Xi Jinping's China by Emily Feng
My rating: 4 of 5 stars

In her acknowledgements, Emily Feng thanks NPR for being a place "where creative storytelling and sharp news reporting are valued in equal measure" (274). To be sure, that describes Let Only Red Flowers Bloom. Feng lived in China for seven years and the book gathers together stories, using a tale of one or two to reflect the many. Each chapter has a focus, e.g. "The Lawyer" or "The Businessman" or "The Detained", but certain "characters" become threads that tie the chapters together. Kenny, for example, we meet first in "The Protestor" (Chapter 9) as a youthful idealist who is one of approximately 40K demonstrators in Hong Kong who believe they are peacefully protesting an extradition law. Kenny protests at night, unbeknownst to his parents, committing to a highly organized, underground network, that includes volunteer doctors and medics, as injured protestors were getting arrested when taken to the hospital. Kenny then has a new identity in Chapter 10 -- The Fugitive.

These stories serve as a mere primer on just *some* of the basic conflicts in China: the attacks on the Uyghurs and Mongolians, ethnic minorities of all stripes on the mainland, the battle for identity and sovereignty in Hong Kong and Taiwan, and much more. I chose this book because I realized I had a knowledge deficit when it comes to China, and I wanted to know more. Feng's narrative is compelling, well-researched, and wide-reaching--the final chapter, "The Diaspora," pulls back the curtain on the "long-arm" of the Chinese government but also the complexity of more than 5 million Chinese living in the U.S.

There are a few places where more careful editing might have curtailed some unnecessary repetition, especially in Chapter 11, but most of the book skillfully weaves in and out of the present and past, weaving with the cast of characters and their stories to ultimately express large questions. Feng herself had plenty of exposure to danger as well, but she instead choses to center the stories of those she interviewed, and does not inject her own challenges at the border or otherwise with any kind of dramatic hyperbole. If anything, her unadorned self-narrative is all the more chilling, as with her description of a high-speed chase wherein Feng and her driver are tailed after leaving the airport. After being detained, she notes:

"He [the driver] drove me back to the airport in silence. He gestured at his torso, then held a single finger up to his lips, motioning me not to speak. He had been bugged." (152)

The book is a powerful testament to storytelling as truth-telling, and it puts many human faces on complex issues that are reduced to inadequate headlines and social media blurbs in mainstream culture here in the U.S. A worthwhile read to remind us of the human spirit and how it has to endure in all sorts of contexts, all over the world.

View all my reviews

2025 #12 Every Day I Write the Book: Notes on Style (Kumar)

 

Every Day I Write the Book: Notes on Style by Amitava Kumar
My rating: 4 of 5 stars

Kumar captures the quirks as well as the slings and arrows of writing in academia through a mish-mosh of anecdotes, short essays, and what feels at times to be scrapbooking (in a good way). The book is divided into nine parts: I) Self-Help; II) Writing A Book: A Brief History; III) Credos; IV) Form; V) Academic Interest; VI) Style; VII) Exercises; VIII) The Groves of Academe and IX) Materials.

Those interested in a writing "guide" can just skip to Appendix A: "Ten Rules of Writing", but as the strikeout text on the book's cover implies, this is not a guide (in the traditional sense) nor a report on style. Instead, it is a memoir (in parts) of a writing life, interspersed with nuggets of widsom, dry humor. Fans of Anne Lamott's Bird by Bird may recognize Kumar's small pencil and folded index card that he carries in his pocket, and indeed many of his recommendations align with Lamott's, albeit with a slightly less sardonic tone.

While one would expect Kumar to be "well-read," he shares his knowledge pragmatically, without pomp, and always with clarity of meaning. We don't just get a vast bibliography shared through an eclectic set of "notes", but actual motivation to read those essays and books. There's an earthiness and honesty in Kumar's voice, that manages to critique academia while still acknowledging his own role within. A few bits felt more self-indulgent than instructive, although sometimes the shortest offerings packed a punch, such as the final note of part III: "Credos remain meaningless abstractions unless put to use." (68). He reminds us that one can read endlessly about writing, but to be a writer, one must... write. And let's face it -- reading about writing provides comfort, as if filling our brains with what we ought to do is a substitute for actually doing it (and is a better alternative to binge-watching television).

Struggling academic writers would be well-advised to keep this book close at hand, as even picking one bit of it at random might help jolt you out of a slump. It can also be read in small doses, rather than cover to cover, and I might even suggest out of order, depending on your need at one moment (although there's a certain joy to the sections Kumar offers, and fun little surprises such as the wit about credos mentioned above).


View all my reviews

FTL2025 3B challenge Every Day I write the BooK-----> Kindred by Octavia Butler

2025 #7: The Discarded Image (Lewis)

 

The Discarded Image: An Introduction to Medieval and Renaissance Literature by C.S. Lewis
My rating: 5 of 5 stars

The subtitle of this book is misleading in some respects. If you are not already well-versed in literature (not just medieval and Renaissance lit, but Hellenic antiquity as well), you might find yourself frustrated by Lewis's consistent references to items he believes should make up a core knowledge. That said, there is so much to be gained here and one should avoid distraction by getting too bogged down in the individual references. To do so is to miss the proverbial forest for the trees. Ultimately Lewis is building a case for a medieval model, and his epilogue addresses the complex and layered meaning behind that word. Ultimately he proposes more of a model-process: "The new Model will not be set up without evidence, but the evidence will turn up when the inner need for it becomes sufficiently great." (222-23).

Somehow, Lewis manages to bring us from talk of angels and daemons (not always demons), to an investment in the exercises of the human soul, such as Intellectus and Ratio:

"We are enjoying intellectus when we 'just see' a self-evident truth. We are exercising ratio when we proceed step-by-step to prove a truth which is not self-evident. A cognitive life in which all truth can be simply 'seen' would be the life of an intelligentia, an angel." (157).

It cannot be forgotten that Lewis was a literary scholar, a theologian, a poet, and himself a writer of science-fiction and fantasy. One gets the sense when reading Lewis, particularly in this book, that none of these are actually distinctively parsed for him. His acknowledgement and study of tropes seems to play out in real time, with statements that could be one or more layers of his intellectual onion. He critiques how we consider the past--as a 'costume play.' "This superficial (and often inaccurate) characterisation of different ages," he writes, " helps far more than we suspect towards ur later and subtler discriminations between them." (183). Indeed, I often remind my students (and myself) that history is more about patterns and tropes than pigeonholing figures, events, and art into narratively defined styles and genres.

The sum of the micro-literature reviews, the subtle 'digression' about digressions, and the encyclopaedic tone (something Lewis manages as an art), is an over-arching treatise on our human condition as it relates to literature (and art as a whole):

"Literature exists to teach what is useful, to honour what deserves honour, to appreciate what is delightful. The useful, honourable, delightful things are superior to it: it exists for their sake; its own use, honour, or delightfulness is derivative from theirs. In that sense the art is humble even when the artists are proud..." (214)

This book could be read in multiple ways. Perhaps when I have more time for curiosity, unhampered by the obligations of a career, I will sit again with this book and look up every treasure that Lewis cites. I will see the details of the collective contributions toward the medieval Model, and I suspect I will be richer for it. Lewis is not without his detractors, notably Philip Pullman (an author whose books I love), and others who have critiqued some of his works as sexist, and depictions in Narnia, in particular, as racist. Not having read any of those books since I was a child, I'm not equipped to comment on that at present, but I keep it in mind as I read Lewis's non-fiction works.

View all my reviews

Follow the Leader Challenge 2A ---> Enacting Musical Time by Marius Kozak

2025 #3 Grading for Growth (Clark/Talbert)

 

Grading for Growth by David Clark
My rating: 5 of 5 stars

David Clark and Robert Talbert's Grading for Growth is a truly useful book for anyone designing a course, full stop. Even those who may wish to stick to traditional grading structures (or have to, due to mandates), can benefit from thinking about the four pillars (as defined by the authors) of alternative grading: 1) clearly defined standards, 2) helpful feedback, 3) marks indicate progress, 4) reassessment without penalty. The challenge comes in fighting the pre-conceived notions of what letter grades stand for and their import.

The book offers some background on alternative grading: SBG (standards-based grading), specifications (specs) grading, and ungrading, although SBG gets pride of place in the authors' own assessment strategies. Because of this, sometimes it can be a bit blurry when they are talking "standards" as a pillar, or SBG as a specific system--especially later in the book. Chapter 5 does address standards-based grading quite specifically, and chapter 6 is devoted to specs grading, so the frameworks are fairly clear, but those new to these systems might benefit from additional reading, such as Linda B. Nilson's Specifications Grading.

The most significant part of the book (for me) was the Chapter 11 Workbook. I'm reminded of a wonderful professor I had for Macroeconomics in college. I was on the verge of failing her class--a first for me, and I came to her office in tears, one or two days before the final exam. She wrote out a schedule for my next 24 hours, specified exactly which carrel in the library I was going to sit in, when I would be taking breaks, eating, and sleeping. That list held my hand through studying for this final exam I thought I would surely fail. I didn't fail, and I passed the class with a very low grade, but I passed. What does this have to do with Chapter 11?

Well, it is truly a step-by-step guide to course design. It says it is a workbook for alternative grading, and certainly that is the focus, but the process the authors lead us through is a beautiful example of backward design. Now many teachers I know (myself included) always think that our learning outcomes are tied to our assignments, but I fully admit that my intentionality in making sure that's the case hasn't always been optimal. Administrative mandates about "phrasing" rather than helping faculty make the connections between outcomes and assessments haven't always helped either. About two years ago, I started numbering my course's learning outcomes and placing that number next to the various assignments. This was just something that made sense to me as I started to feel like LOs were becoming frivolous rhetoric--at least for the students. I didn't know that I was starting the process that undergirds alternative grading. Each of the 9 steps is clearly explained, with a time estimate for each step, as well as a continuous case study featuring "Professor Alice" and her "First Year Seminar" course that you review before working with your own course. Again, some of what's included might seem like basic common sense, but I suspect many instructors skip some steps here and there, and I know that I've certainly come up with coping strategies when I've not thought something through as well as I might. Steps 1-8 are doable in an entire day (and that's suggested), but I found it more effective (given my cognitive load preferences) to spread it out over several days, which allowed me to be fresh. The authors stress that one shouldn't spend TOO much time because essentially everything is fundamentally a draft. Most helpful to me were Step 3: Make A Prototype of the Marking Methods and What the A and C (D in my case) represent and Step 5: Build one Assessment and rehearse the Feedback Loop. Given my time constraints and the way I tend to think, I did sort of mush steps 6-8 together a bit, but perhaps those more disciplined can compartmentalize better. Whether one is designing a brand new course (which I think added to my inability to isolate those latter steps) or redesigning an existing one, this chapter is invaluable.

Chapter 12, "How to Do it," is also very useful, taking us out of the grade book and into reality, and reminding us of the big picture, e.g. building trust and promoting buy-in. The book can be used somewhat piecemeal, I suppose, although I think there is much to be gained by reading the chapters on large classes and lab classes, even if those scenarios are not directly applicable to one's own courses.

The authors, who have an absolutely terrific Substack of the same name (Grading for Growth), are humble and intentional. There is no smug grandstanding, or hyperbolic claims. Well-balanced in theory and practical advice, the book is one of the best I've read about teaching (in general). It models the collegiality that should be encouraging instructors to invest intentionally in their course assessment. While the authors don't specifically address UDL (Universal Design for Learning), the four pillars certainly intersect with the concept of building "expert learners" (old UDL guidelines), and "learner agency" (UDL 3.0 guidelines). Iterative work and feedback loops are at the heart of it all, and the spirit of the book is in keeping with the "plus-one" approach in Tobin/Behling's Reach Everyone, Teach Everyone (West Virginia University Press, 2018). If you are a teacher who has been feeling a bit "meh" about your courses, read this book. You'll find something to take with you. And do you yourself a favor, start reading it a month prior to your course (or at least get to Chapter 11). Learn from my mistakes.

View all my reviews

2025 #2: Bird by Bird (Lamott)

 

Bird by Bird: Some Instructions on Writing and Life by Anne Lamott
My rating: 5 of 5 stars

I've read many books about writing. I honestly cannot remember how or why this audiobook wound up on my list, but I'm so glad it did. While much of Lamott's advice is geared toward writers of fiction, the book is invaluable for anyone who writes (or frankly, reads). And if you want to get caught up in the eccentricities of broccoli as metaphor, that's fine, but...please, allow yourself to enjoy the comedy. Some of it is fairly irreverent and may not land 100% in 2025 social mores, but most of it is a lot less offensive than a lot of what comes flying out of the mouths of stand-up comedians. If you've understood life's absurdity through grieving someone close, you'll get it. Lamott's reading is perfect--think Lily Tomlin's character "Frankie" without the woo-woo stuff. And in between the quips and the sometimes a-bit-too-long tongue-in-cheek tirades, lo and behold--there are some sound lessons about "...being militantly on your own side," and how you don't want to "look at your feet to see if you're doing it right--just dance!". Lamott learned through trial and much error perhaps the biggest lesson of all: "being enough was going to have to be an inside job." Mic drop.

Proponents of mindfulness will value Lamott's observations such as: "You get your intuition back when you make space for it and stop the chatter of the rational mind." That seems key to a lot of art and creativity, not just writing. Truly, one of my favorite read-by-the-author audiobooks (sharing company with Anthony Bourdain reading Kitchen Confidential and Stanley Tucci's reading of Taste), and Lamott keeps you laughing while you nod your head in affirmation of the book's wisdom. If you find yourself in a slump (of any kind), give it a listen. Lamott's tell-it-like-it-is isn't doom-and-gloom, but instead very life-affirming. I've got a post-it note on my monitor now that reminds me: "bird by bird!"

View all my reviews

Follow The Leader Challenge 2025 1A ---> Discarded Image by C.S. Lewis

2025 #1 Call Us What We Carry (Gorman)

 Happy New Year. This might have been the perfect book to pick back up at the end of 2024 and to finish in these early days of 2025. I also want to note that I am partaking in two challenges this year: a 25 for 25 Follow the Leader Challenge (technically this means my next book title should start with the letter Y) and a "serious about series" challenge wherein I read one book a month that is a sequel, or part of series. I'm also dedicating 2025 year to working with my stash. I own far too many unread books.

Call Us What We Carry by Amanda Gorman
My rating: 5 of 5 stars

On the front flap of the dust jacket, the book reads:

This book is a message in a bottle.
This book is a letter.
This book does not let up.

This book does NOT let up, indeed. "What place have we in our histories except the present?" (123) Gorman asks in "War: What, Is it Good?" The book is a memoir, largely of the pandemic. But to read it is remember that it was more than Covid-19. It was a reckoning. It was a nightmare and a dream. It tested all of us, not all in the same ways.

Gorman's gifts with language are woven through poems that rhyme and poems that don't, pieces of prose by Corporal Roy Plummer (1896-1966) interspersed with Gorman's verse, a list of scenes to make up a filmic "Monomyth" that narrates the crumbling of normalcy beginning in December 2019 in Wuhan, through apocalyptic brushfires in Australia, through the murder of George Floyd, ultimately to emerge/submerge into the Unordinary World:

"We are not all heroes, but we are all at least human. This is not a
closing, but an opening, a widening--not a yawn but a scream, a
poem sung. What will we admit of & into ourselves. There is no such thing as "all over" and "all done". (191)

The short poem "Anonymous" on 180 features white letters on a black mask, an emblem so charged with meaning in this Unordinary World.

The title of the collection, Call Us What We Carry, truly captures a sense of the book as a whole, and is not just a reference to the penultimate poem "What We Carry" nor the poem "Call Us" (34) wherein we find that exact line. Naming and carrying both feature in much of the work, as does navigation and light.

There are seven sections of the book: Requiem, What a Piece of Wreck is Man, Earth Eyes, Memoria, Atonement, Fury & Faith, and Resolution. These titles become more like beacons as you read through the collection and pick up the various threads. For example, in the poem "Lucent", which is the first piece of "Earth Eyes", the meditation on lumen, lucent..."Our requiem as raptus" (60) reminds us of the role of light in a requiem Mass (luceat eis, lux aeterna) but also how "perhaps it is we who make/Falsities of luminscence--" (61).

In the middle of the book, in a piece called "Pre-Memory", Gorman reminds us:
"Storytelling is the way that unarticulated memory becomes art, becomes artifact, becomes fact, becomes felt again, becomes free."

Yes, the book does not let up, nor should it. We need to feel again. We need to be free.

View all my reviews

Follow the Leader Challenge 2025 1B -->Yellowface by R.F. Kuang

2024 #55 Specifications Grading (Nilson)

 

Specifications Grading by Linda B. Nilson
My rating: 4 of 5 stars

This is a great intro to specs grading, albeit maybe a bit dated. I would love to see an update that integrates UDL (Universal Design for Learning) in an overt way. Some of it is implicit, especially in the models that offer options/choice of assignments in learning bundles. I would have liked a better representation of counterargument literature, particularly as I still have questions about those students who sell themselves short already due to things like internalized racism. I'm also questioning the fairness of the specific model wherein "more work" = A, because students have different socio-economic circumstances and it may not be an option for some students to devote the extra time. I suppose it is then incumbent upon the professor to make sure that the "more work" levels are attainable by students just as they would (we hope) in traditional grading. It is a tricky business, on the other hand, because some students have to work so much just to pay their tuition and the cost comes at not being able to fully engage in that which they are paying for. I realize that issue goes beyond specs grading, but I do think it is part of the larger conversation.

Those questions aside, however, there are plentiful examples of application and syllabus language that are very helpful. Nilson explains relevant terms and makes the text very accessible. The index makes the book helpful as a reference.

View all my reviews

2024 #49 The Five Keys to Mindful Communication (Chapman)

 

The Five Keys to Mindful Communication: Using Deep Listening and Mindful Speech to Strengthen Relationships, Heal Conflicts, and Accomplish Your Goals by Susan Gillis Chapman
My rating: 4 of 5 stars

While there are five keys, the entire book centers upon an idea of stoplights:

Go with the green light.
Stop when the light is red.
Be careful when the light is yellow.

The author returns to this model in each of the segments of the book so there is some continuity. There are plentiful examples of what constitutes these green, yellow, and red light moments, and the walkthrough of mindful presence, mindful listening, mindful speech, mindful relationship, and mindful action is pretty clear. If the reader is new to mindfulness practice, this should be used in tandem with a book on basic meditation and mindfulness practices, as Chapman does not provide detailed suggestions. She does mention metta (aka "loving-kindness meditation), and it gets fairly spiritual, with images of "loving Mother" and such. She peppers in plentiful metaphors and analogies, some that work better than others, although mileage will inevitably vary on that front. What seems most crucial is to understand the "Stop when the light is red" not as a call to withdraw or freeze, but to turn inward and to recognize what she calls "closed conversation" patterns. There are some concrete "tips" and ultimately, as is the case with almost all books on mindful communication, it really is about practicing so that things like "speaking from the I" become habitual. I found the "seasons" analogy least helpful (applied in regard to relationships), but again, I think some parts will resonate differently with others. She did offer something about wedding vows that I thought quite potent: vows are statements of intention, but the import of those statements is no at the moment they are uttered, but when you come to those places in the road where those vows are inevitably tested. Seems obvious, but perhaps mindful attention to those vows as operating in this way could curtail (for some) a trip down the wrong path.

The audiobook was narrated by Gabra Zackman, and I had to keep reminding myself that I was not listening to the author. She has the perfect voice for the material, and keeps even the more ethereal/spiritual topics at an even keel, without that saccharine vibe that infects other books in the genre. The book has journal exercises, but what I found most helpful are the "seven stepping stones" at the end of the book. Others may benefit more from the self-reflection. As with most of these books, there is nothing earth-shattering that defies common sense, but Chapman does an admirable job of providing the stoplight anchor as a metaphorical model to encourage us to put mindful communication into practice.



View all my reviews

2024 #47 Uncommon Grounds (Prendergast)

 

Uncommon Grounds: The History of Coffee and How It Transformed Our World by Mark Pendergrast
My rating: 4 of 5 stars

I bought this book sometime in 2013 and have read it in fits and starts since then, but only in earnest since last year. Thus is the fate of books in my Kindle app, sometimes. But it is to the book's credit that I bought it for a specific reason--some context on the Coffee Cantata by J.S. Bach for a documentary project I was involved in--but I wound up reading the entire book because it was so exhaustive and fascinating. Indeed, from the Ottoman Empire to Starbucks, Pendergrast traces the commodification and history of the beverage itself, the drinkers, the farmers, the roasters, the purveyors, and some folks in between. If you need a fairly deep dive into the intimate relationship between coffee and world politics, this is a good one.

From myths of goatherds, to 18th-c feminist fights for coffee via Abigail Adams, onward to the U.S.'s dangerous dancing with Brazil, as well as domestic coffee wars, there are few stones left unturned here. At times the information felt a bit overwhelming, with some zooming in on economic minutiae that some readers might appreciate, but might disrupt the energy of the narrative for others. It is the kind of book, however, that makes you glad you learned more than you had set out to, and while it lays bare a lot of the unsavory practices and issues surrounding coffee, Prendergrast ultimately reminds us that it is part of a "matrix" and says:

Compared with many other products developed countries demand in cheap quantity, however, coffee is relatively benign. Laboring on banana, sugar, or cotton plantations or sweating in gold and diamond mines and oil refineries is far worse.

Whether that dose of relativism brings one solace or not is an individual experience, but regardless, Uncommon Grounds is an informative and multifaceted report that may make you take that morning cup of joe a bit less for granted.

View all my reviews

2024 #38 Rest is Resistance (Hersey)

 

Rest Is Resistance: A Manifesto by Tricia Hersey
My rating: 4 of 5 stars

It is necessary to take Hersey at her word that this is a manifesto. That can help clear out the discomfort of the lack of structure and repetition--at least a bit. The message is crucial and important, but a how-to book it is not. And that feels a bit frustrating at times. We know what we need more of: love, care, therapy, dreams, DreamSpace, naps, etc (from the list on p. 124). She gives us examples of what "resting can look like": meditation, slow dancing with yourself, not immediately responding to texts and emails". She suggests we begin by detoxing from social media, work on our trauma-informed boundaries, listen more...All of that seems do-able, but does NOT seem to be the ultimate goal of the manifesto. Resistance against and liberation from white capitalist grind culture is crucial, we understand. She clearly says "The time is up for any shallow wellness work that doesn't speak about dismantling the systems that are making us unwell. We must blame and interrogate the systems. They are the problem." (133) That message is repeated over and over again with passion and drive.

What's missing is how our choosing to stand for rest will perhaps impact those who are not empowered or are without agency to do the same. As a privileged white woman, I read her words carefully and thought about how grind culture disproportionately impacts Black women. I thought about how I might be upholding capitalism's reliance upon white supremacist models. But I am forced to wonder what happens when I say NO. Perhaps it is my role to say NO differently, or to different things, than the Black women who are reading the book. But what about the collateral damage? I'm not talking about losing my job--I'm talking about labor. Is it not an act of (white) privilege to decide to "rest" when there is so much work to be done to dismantle the very systems she cites? It is hard to believe that my "no" won't create labor for someone else--possibly someone already disenfranchised by capitalist systems.

Hersey extolls the value of sacred community. And certainly it echoes the proverb "If you want to go fast, go alone. If you want to go far, go together." But when she said "Individualism is leading us to the path of exhaustion and death," even though I know what she meant, I wanted more discussion of what "individualism" means there. Creativity, which she honors, could be argued to be very much tied to a concept of "individual." And I'm not looking to parse every word. I want to "stand in the gaps for each other" (189) and "be relentless in [my] support and witness" (189) and I didn't come away from reading the book with the strongest sense of how best to do that. I believe that rest will come in to play, yes, but I was struggling with how to reconcile that with activism.

This is an important message, and despite my struggles with the delivery, it is sitting with me. I'm looking for the best way to "spiritually disconnect from the shenanigans of grind culture while physically still living in it" (136). I think it is incumbent upon those of us with privilege to hear her message and think about how we strengthen and support "rest as a reimagined way of life" (136).

View all my reviews

2024 #35 Peace, Love, and Fibre (Smith)

 

Peace, Love and Fibre: Over 100 Fibre-Rich Recipes for the Whole Family by Mairlyn Smith
My rating: 4 of 5 stars

Mairlyn Smith, who has recently gained traction for her #FartWalk initiative (yes, you read that right) making the rounds on social media, is a professional Home Economist and former member of the Second City Comedy Troupe. Her winsome personality, that shines through in her videos, is no less present in the text of this cookbook. More than just recipes, Smith offers a practical (and humorous) way to incorporate more fiber in your diet. She warns that an increase in fiber needs to be gradual, coupled with an increase (usually) in water intake.

She weighs in on sugar and salt too, reminding us that table salt is not such a bad thing when you look at iodine needs. Ultimately, she offers a gameplan for the "Big Picture" by offering 10 healthy habits (that range from diet, exercise, to emotional well-being), and suggests picking one a month. After 10 months, you can perhaps find two good habits of your own devising, and you'll have a year's journey toward a healthy lifestyle. And no, I'm not sharing which habit I'm starting with.

There's a pragmatism behind Smith's advice that makes it seem achievable and her joie de vivre leaps off the page, whether it is her prose, or a photo of one of her prized teacups.

Since it is a cookbook, I've done my standard "3 recipes before reviewing" practice, although I have to say it is really 2.5 in this case. I used her "Potato & Asparagus Salad with Basil & Arugula Pesto" as a base recipe to use up some frozen Fennel frond pesto (from Hetty McKinnon), so I can't comment on the pesto in the recipe. The salad itself, however, was terrifically easy to put together (steaming baby potatoes is a great option rather than boiling), and it seems like it would adapt to most green pestos.

Next I made the "Chorizo, Brown Rice, and Lentils" and wow...this was terrific. High quality chorizo from a local butcher and Rancho Gordo's French-Style Green Lentils shone through and the spices were beautiful. While not light, it was surprisingly not as heavy as you might think--which was good since for some reason I felt like August was a good time to make it. I'll be returning to it in the fall!

And then "Traditional Overnight Oats for the Steel-Cut Purists"--I'm new to the concept of cooking overnight oats the next morning (which absolutely makes sense with steel-cut rather than rolled oats), and once again Smith's practicality comes into play -- after a couple 1 minute cycles in the microwave, the concoction sits for 15 minutes while "you run around getting ready for your day."

Each recipe comes with truly helpful and informative nutrition data per serving (newsflash: overnight oats have a lot of calories!), including fat breakdown, cholesterol, sodium, sugars, protein, potassium, and of course... fiber! If you are looking to make healthy changes to your diet and life, Smith offers some really sage (and fun) advice in this book.

View all my reviews

(Crossposted to Lady of Shallots)

2024 #34 High Conflict (Ripley)

 

High Conflict: Why We Get Trapped and How We Get Out by Amanda Ripley
My rating: 4 of 5 stars

I read this book because I'm going to be facilitating a conversation about it at work, and I found it far more interesting than I imagined. Ripley offers a variety of case studies: an attorney-turned-mediator, a gang member, a Colombian guerilla fighter, a rabbi and his congregation...and a lot more. Through excellent storytelling, Ripley weaves together these stories to both explain "high conflict" and offers great counsel for how to move out of it, and perhaps even avoid it. But the point that resonated the most for me is her discussion of "good conflict"--something that sometimes gets lost in a lot of conversations about peace and mediation. Curiosity is key. But we have to make the space to allow for curiosity. Also a key point about the conflict-industrial complex: "To keep conflict healthy in an adversarial world, the encounters can't end... But keeping the conversation going in a huge challenge in a country where people increasingly live, date, and marry in their own political tribes. As in any segregated society, encounters won't happen naturally." (273). I would have liked more about managing the sustainability of this process.

So, it takes work. The book offers many resources about how to do that work, but Ripley's main focus is how to identify high conflict in the first place. There are some major tips for preventing it as well: investigating the "understory", reducing binaries, marginalizing "firestarters", buying time and making space, and "complicating the narrative." It is this last one that I think is seldom talked about as part of reducing binaries. There is value in complexity, it turns out--sometimes we call it nuance--but actively seeking out the complexity can help us foster good conflict, instead of high conflict.

Ripley's writing is accessibly human, but backed up with research and journalistic insight. She seems to practice the humility necessary for good conflict, even in the way she approaches this topic. She shares the stories of people with care and consideration for multiple truths and lived experiences. This is an EXCELLENT book for a group read of folks who work together, but really most people could benefit from considering a thoughtful approach to conflict (rather than conflict avoidance, or firestarting, as polar extremes).

View all my reviews

2024 #30 Writings on Contemporary Notation: An Annotated Bibliography

 

Writings on contemporary music notation: An annotated bibliography by Gerald Warfield
My rating: 3 of 5 stars

I know that in-print bibliographies seem dated, and they are, but there's a certain pleasure in combing through them that just isn't equalled by using a contemporary database. Thanks to the Internet Archive, I was able to review Warfield's annotated bibliography which, at the very least, provides a fairly accurate snapshot of the state of research on notation in the 1970s. This was a heady time, with Kurt Stone and others initiating the Index of New Musical Notation project in 1971, and a significant conference on notation in Ghent in 1974. The typescript is frustrating in all the expected ways--the occasional typo, the taxing-to-read font, etc, but it is a valiant effort to at least include some European sources on notation (in French, German, Polish, Swedish, Dutch, Belgian) with annotations that were rather helpful in paring down what might be useful for my own research. Frustrating of course, were the items that were unavailable to Warfield (and his team) for review--some of which remain elusive (if not obsolete) today. The "mimeograph" items aren't connected to archives, so the bibliography is NOT helpful in terms of hunting down these things (often conference proceedings).

I was trained by an "old-school" (ethno)musicologist to value bibliographies. In grad school we spent HOURS looking at über-bibliographies and hunting down sources in the library, making notecards for each source (this was before Zotero was a thing, but you might be surprised to know the Internet was well into use by this time, haha). But there's something valuable about this enterprise, and combing through Warfield's bibliography reminded me of it. There's a human-to-human transfer that says "this is important" or "this might be of interest." There's a different impetus to sit and read through a bibliography that to type in a series of different search strings in hopes that you find what you are looking for. When you read this type of bibliography, you find things you didn't know you were looking for. And that, as far as I'm concerned, is the joy of research for research's sake.

View all my reviews

2024 #27 This is Ragtime (Waldo)

This Is Ragtime by Terry Waldo
My rating: 4 of 5 stars

CW: Offensive racial language quoted in song titles/genres

This is a fascinating book that is as relevant now as it was in its original release in 1974. Written for a more general audience, rather than an academic one, the book serves as a Who's Who in Ragtime from its beginnings in the nineteenth century through the 1970s (and the 2009 Jazz at Lincoln Center Library Edition adds some additional names and info), as well as an excellent primer on the genre/style. The JALC edition also has some beautifully digitized images of sheet music, that do not come without their share of problems in terms of context, as I will come back to. Also valuable is the discography and bibliography (although in need of an update).

The language reflects norms of the 1970s, so it would be nice to see any further updates consider paying attention to some of that, although I acknowledge it might be that in another twenty years those norms may change again. Waldo doesn't do much to engage with his own positionality as a white man, but he certainly has the professional and experiential credentials to write about Ragtime. The discussion of minstrelsy is fairly objective, and he hints at ideas of internalized racism and respectability politics without naming them. There are some "question mark" moments, particularly in regard to his discussion of the sheet music. For example, p. 22 reproduces sheet music for Ernest Hogan's "All Coons Look Alike to Me" with a strange caption: "This song actually has innocent lyrics and is not a typical "coon" song" with no further explanation until p.100-102 when he modestly clarifies: "...this song, which had very innocent lyrics, for its title alone became a symbol for racism and haunted [Hogan] for the rest of his life." It would have been good to see the actual lyrics, which are only innocent in the context of a Black man in the 1890s writing about being discarded for another man by Lucy Janey Stubbles. While it would have been beyond the scope of the book (and probably the time) to engage in a discussion of ownership of derogatory names (and Waldo does try to explain that "coon songs" became a much more egregious genre), one omission is any discussion of the "art" on the sheet music. The sheet music for this song, in particular, makes use of racial caricature, similar to that used by the Nazis for their publicity surrounding "Entartete Musik" ("degenerate" music), which Waldo does not mention in his otherwise ample discussion of the racial stereotypes and caricatures perpetuated in minstrelsy. Several of the color plates included in the book feature these caricature depictions--notably Harry von Tilzer's "Moving Day" on p. 92. Given the role of sheet music in marketing these songs, it seemed like a missed opportunity to mention the impact of the graphics in perpetuating ideas--even just of plantation nostalgia. In retrospect, it is hard to see any of it as "innocent."

As the book progresses, Waldo relies more upon anecdotal recollections of living performers, which is not a bad thing, but comes with it a responsibility to edit and frame. Six pages are given over to lengthy quotation from conversations with trumpeter Lu Watters (1911 - 1989) which felt better suited to an oral history project, particularly when they veered further afield from actually discussing Ragtime.

The information about Joplin's opera Treemonisha does a good job of mostly objectively explaining the sticky political mess of its copyright and initial productions, and unfortunately the "Introduction to the paperback edition" (1991) was just before University of Illinois at Urbana-Champaign mounted a production. There's no update given to what happens with the rights/royalties, which was in litigation as in 1976.

The book does suffer from some copyediting errors, including a rather significant typesetting issue with some musical examples, one that seems to have persisted through the three editions.

Waldo does present ample perspectives about performing Ragtime, although seems not to want to commit too strongly to parsing Ragtime from Jazz (although he does just that in many instances). The recollections from Joshua Rifkin stand in to represent the "academic" perspective (not that it is at all singular), and the subtext here is that "legitimacy" and "authenticity" are moving targets, depending on who is trying to defend what. Waldo notes: "So on a personal level, we all bring the bias of our particular disciplines to the music, we begin to categorize and nail it down in terms of what we already know" (223). This observation at the end of the 1974 edition lends a lot of value to the book as a whole, and helps keep the recollections in check in terms of documentary value. While the book is dated and deserves an update, it is a solid starting point for anyone interested in learning more about Ragtime.

View all my reviews

2024 #25: Looking for Spinoza (Damasio)

 

Looking for Spinoza: Joy, Sorrow, and the Feeling Brain by António Damásio
My rating: 5 of 5 stars

I love genre-less books...or at least ones that don't fit neatly into one category. This book is chockfull of accessible neuroscience with helpful diagrams, but it is also a memoir of searching, of curiosity, of embracing the past to understand the present. Damasio makes a strong case that Spinoza was ahead of the game in terms of understanding feeling and emotion in terms of a body-mind connection, but this is no dry scientific work of Spinozan-apologetics. Damasio embraces humanistic inquiry, contextualizing Spinoza's work in a well-researched (and sometimes suprisingly enjoyably sentimental) study of his life. Anathematized from the Sephardic community in Amsterdam, Spinoza's identity during his life was well-known, but his ideas were sub rosa. The inverse was to be his legacy (257). With this study, Damasio contends that Spinoza was a "forerunner of modern biological thinking" (259) in a very important and specific way. He does not resort to hero-worship--Damasio is clear regarding where he think Spinoza misses the mark. But in this book, the result of his "quiet simmering of hints and reflections" (263-4)--one of the best descriptions of the historian's craft I've encountered--Damasio concludes the big takeaway from Spinoza is that "Science can be combined with the best of a humanist tradition to permit a new approach to human affairs and lead to human flourishing." (283). But he is more expansive yet, making the case that our brain, with all its mappings and homeostatic processes and endeavor for self-preservation, is crucial in carrying out Spinoza's "virtuous life in civitas" (274), and that ultimately, even in the face of all we see in the news, "there simply is no alternative to believing we can make a difference." (288)

View all my reviews

2024 #22 Eight Flavors: The Untold Story of American Cuisine (Lohman)

 

Cross-posted at Lady of Shallots 

Eight Flavors: The Untold Story of American Cuisine by Sarah Lohman
My rating: 5 of 5 stars

The best food histories are just histories. Sarah Lohman captures a whole lot of history in narratives about eight flavors that she feels best define American cuisine: black pepper, vanilla, chili powder, curry powder, soy sauce, garlic, monosodium glutamate (MSG), and sriracha. I could feel my resistance when I read MSG, but it is worth quoting the book here:

Today there’s a double standard when it comes to the perception of MSG. If it’s in Chinese takeout, it’s called MSG, and it’s like poison. But when MSG is utilized by high-end American chefs and brands, it referred to as “Umami" and it’s celebrated as revolutionary. Although [Kikunae] Ikeda named this taste umami in 1907, the designation wasn’t accepted officially by the scientific community until 2000, when taste receptors on the tongue were specifically identified for glutamate. Umami became the fifth official taste, alongside sweet, salty, bitter, and sour.(193)

That was a bit of a mic drop moment for me because I had honestly never really made the connection. Although I've not lived in fear of MSG, I certainly grew up hearing about its various pros and cons (mostly cons). But I'm beginning to appreciate more and more how we fear "chemicals" by virtue of that nomenclature alone, never really considering that nature and chemistry are bedfellows a good portion of the time.

But the book is also a story of people--like the Chili Queens of San Antonio and William Gebhardt who used their chili con carne as the inspiration for his chili powder. Or the mysterious Ranji Smile and his role in popularizing curries in the U.S. Or how anti-Italian sentiments in the late 1930s made garlic vile in spaghetti, but a charm in Provençal/French cuisine. The story of David Tran, inventor of sriracha (inspired by a Thai sauce called Sriraja Panich, invented in 1949 by a woman named Ms. Thanom Chakkapak), was one of the most riveting, as Lohman narrates Tran's journey from Vietnam aboard a Panamanian freighter to Hong Kong, then to Boston (briefly), finally to California, birthplace and home of that blend of chili mash, garlic, sugar, and xantham gum that has become beloved sriracha.

Lohman writes conversationally and weaves together anecdotes and research in the best of ways. This is a great read for anyone who likes to cook or likes to eat (or at least care about what they eat). Lohman illuminates the narratives in our food, and carefully extracts specific flavors that deserve recognition instead of being smothered with the falsehood of the American "melting pot."



View all my reviews