The Mumpsimus

Over at my more academic-and-pedagogy-focused blog, Finite Eyes , I have written a post of thoughts about and inspired by John Warner's valuable new book, Why They Can't Write: Killing the Five-Paragraph Essay and Other Necessities . A taste: Why They Can’t Write is not primarily aimed at writing teachers, particularly not teachers with some background in composition & rhetoric. While there’s certainly much of interest to comp & rhet folks, Warner’s goal is to make available to a general audience the insights that have been central to composition pedagogy and scholarship for decades. “With this book,” Warner says on page 5, “I want to speak to policy makers, educators, parents of school-aged children, and even students themselves, so we can engage in conversation and collaboration that will meet the needs of our culture and communities.” As I read it, I thought about who I would want to give this book to once it comes out in paperback. Yes, I’d love all the co...

It's been a while since I last wrote here about teaching, for a simple reason: I've been teaching the same course, First-Year Writing, for a couple of years now, and haven't really had much to say about it. (Literature grad students at UNH used to be able to get some lit courses to teach after a required year of teaching what we colloquially call 401, but various forces related to lower enrollments made my cohort the last to get any lit courses [when I taught Literary Analysis and then an American lit survey], and so for the past two years I've taught nothing but 401). For the upcoming year, the university awarded me a Dissertation Year Fellowship, so I will not be teaching. Before all memory of the past few years leaves my mind, here are some reflections... This academic year, bored to death with my own teaching, I decided to experiment with the course a bit, and those experiments worked out well generally, so perhaps they are worth sharing here. Most of my ex...

via Wikimedia Commons I demonstrate hope. Or the hope for hope. Or just more unanswerable holes. — Mary Biddinger, "Beatitudes" (I keep writing and rewriting this post.) I thought I knew what I felt about the academic controversy du jour  (a letter sent by a University of Chicago dean to incoming students, telling them not to expect trigger warnings, that academia is not a safe space, that open discussion requires them to listen to speakers they disagree with, etc.) — but I kept writing and rewriting, conversing and re-conversing with friends, and every time I didn't know more than I knew before. Overall, I don't think this controversy is about trigger warnings, safe spaces, etc. Overall, I think it is about power and access to power. But then, overall I think most controversies are about power and access to power. Overall— The questions around trigger warnings, safe spaces, and campus speakers are complicated, and specific situations must ...

via Wikimedia Commons I demonstrate hope. Or the hope for hope. Or just more unanswerable holes. — Mary Biddinger, "Beatitudes" (I keep writing and rewriting this post.) I thought I knew what I felt about the academic controversy du jour  (a letter sent by a University of Chicago dean to incoming students, telling them not to expect trigger warnings, that academia is not a safe space, that open discussion requires them to listen to speakers they disagree with, etc.) — but I kept writing and rewriting, conversing and re-conversing with friends, and every time I didn't know more than I knew before. Overall, I don't think this controversy is about trigger warnings, safe spaces, etc. Overall, I think it is about power and access to power. But then, overall I think most controversies are about power and access to power. Overall— The questions around trigger warnings, safe spaces, and campus speakers are complicated, and specific situations must ...

Eric Bennett  has an MFA from Iowa , the MFA of MFAs. (He also has a Ph.D. in Lit from Harvard, so he is a man of fine and rare academic pedigree.) Bennett's recent book Workshops of Empire: Stegner, Engle, and American Creative Writing during the Cold War is largely about the Writers' Workshop at Iowa from roughly 1945 to the early 1980s or so. It melds, often explicitly,  The Cultural Cold War  with  The Program Era , adding some archival research as well as Bennett's own feeling that the work of politically committed writers such as Dreiser, Dos Passos, and Steinbeck was marginalized and forgotten by the writing workshop hegemony in favor of individualistic, apolitical writing. I don't share Bennett's apparent taste in fiction (he seems to consider Dreiser, Dos Passos, Steinbeck, Thomas Wolfe, etc. great writers; I don't), but I sympathize with his sense of some writing workshops' powerful, narrowing effect on American fiction and publishing for at...

Earlier this month, just back from a marvelous and productive MLA Convention in Austin, Texas, I started to write a post in response to an Inside Higher Ed article on "Selling the English Major" , which discusses ways English departments are dealing with the national decline in enrollments in the major. I had ideas about the importance of senior faculty teaching intro courses (including First-Year Composition), the value of getting out of the department now and then, the pragmatic usefulness of making general education courses in the major more topical and appealing, etc. After writing thousands of words, I realized none of my ideas, many of which are simply derived from things I've observed schools doing, would make much of a difference. There are deeper, systemic problems, problems of culture and history and administration, problems that simply can't be dealt with at the department level. Certainly, at the department level people can be experts at shooting t...

Jan Steen, School Class with a Sleeping Schoolmaster A writer recently wrote a blog post about how he's quitting teaching writing. I'm not going to link to it because though it made me want to write this post of my own, I'm not planning either to praise or disparage the post or its author, whom I don't know and whose work I haven't read (though I've heard good things about it). Reading the post, I was simply struck by how different his experience is from my own experience, and I wondered why, and I began to think about what I value in teaching writing, and why I've been doing it in one form or another — mostly to students without much background or interest in writing — for almost twenty years. I don't know where the quitting teacher works or the circumstances, other than that he was working as an adjunct professor, as I did for five years, and was teaching introductory level classes, as I continue to do now that I'm a PhD student. (And in som...

There are lots of reasons that the University of New Hampshire , where I'm currently working toward a Ph.D. in Literature , should be in the news. It's a great school, with oodles of marvelous faculty and students doing all sorts of interesting things. Like any large institution, it's got its problems (I personally think the English Department is underappreciated by the Powers That Be, and that the university as a whole is not paying nearly enough attention to the wonderful programs that don't fall under that godawful acronym-of-the-moment STEM , but of course I'm biased...) Whatever the problems, though, I've been very happy at the university, and I'm proud to be associated with it. But Donald Trump and Fox News or somebody discovered a guide to inclusive language gathering dust in a corner of the UNH website and decided that this was worth denouncing as loudly as possible, and from there it spread all over the world . The UNH administration, of cours...

My friend and colleague (when I was adjuncting at Plymouth State University ) Robin DeRosa has been spending a lot of time recently thinking about and working with "open educational resources" (OER), which Wikipedia (today)  defines as "freely accessible, openly licensed documents and media that are useful for teaching, learning, and assessing as well as for research purposes."  I've been following Robin's ideas about OER, and at a certain point realized I didn't really understand the conversation. Partly, this was because most of what I was reading was Twitter feeds and Twitter can be confusing, but as an outsider to the OER world, I also didn't know what sorts of assumptions advocates were working from. I was especially concerned when thinking about academic labor — all the talk of giving things away and making things free sounded to me like a wonderful idea that would in practice just devalue academic work and lead to further exploitation ...

This term, I taught an American literature survey for the first time since I was a high school teacher, and since the demands of a college curriculum and schedule are quite different from those of a high school curriculum and schedule, it was a very new course for me. Indeed, I've never even taken such a course, as I was successful at avoiding all general surveys when I was an undergrad. As someone who dislikes the nationalism endemic to the academic discipline of literature, I had a difficult time figuring out exactly what sort of approach to take to this course — American Literature 1865-present — when it was assigned to me. I wanted the course to be useful for students as they work their way toward other courses, but I didn't want to promote and strengthen the assumptions that separate literatures by national borders and promote it through nationalistic ideologies. I decided that the best approach I could take would be to highlight the forces of canonicity and n...

It appears that next year I won't be teaching any first-year composition classes at UNH, which will put on hold an experiment I began this past term with FYC. (I'm teaching Literary Analysis this fall and probably a survey course in the spring.) I'll record here some thoughts on that experiment, both for my own future use and in case they are of use or interest to anyone else...

Forced by some reductive power to declare a single favorite essay, mine would be "The Death of the Moth" by Virginia Woolf . It is a marvel of concision, and yet it contains the universe. It is an essay both personal and cosmic, material and spiritual. Whenever I teach writing, I use "The Death of the Moth" as an example of the interplay of form and content. (While I have seldom met a pairing I didn't want to deconstruct, the form/content binary is one I continue to find useful. Yes, the separation is problematic — what, in language, is content without form or form without content? — but I also find it a valuable way to talk about concepts that are otherwise invisible or easily muddled.) Usually, I take one sentence, scrawl it out on the board, and pick it apart. It's not always the same sentence, but recently I've been using this one: Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and drivi...

This is the second in a series of posts leading up to this blog's tenth anniversary on August 18. In each post, I look back on one year, sometimes specifically and sometimes generally. All the posts can be found here . Looking back through the posts for 2011 , I felt great fondness for the year, if not for my blogging (I think overall it was one of the weaker years for The Mumpsimus. That tends to happen when life itself is busy and fulfilling, so I'm not complaining!) It was a year when I taught two of my favorite classes, Gender & Science Fiction and Global Literature ; when we started blogging the Caine Prize ; when Eric Schaller and I launched The Revelator , our very occasional online magazine; when I wrote, directed, and co-edited a short film without knowing much of anything about what I was doing; when I started making video essays ; when I got to see one of my favorite Fassbinder movies, World on a Wire ; and when I had a whole class pose for a picture whil...

While listening to this interview with the great and glorious Werner Herzog, I learned of Herzog's Rogue Film School . It has some guidelines I thought more workshops might want to emulate: The Rogue Film School is about a way of life. It is about a climate, the excitement that makes film possible. It will be about poetry, films, music, images, literature. Excerpts of films will be discussed, which could include your submitted films; they may be shown and discussed as well. Depending on the materials, the attention will revolve around essential questions: how does music function in film? How do you narrate a story? (This will certainly depart from the brainless teachings of three-act-screenplays). How do you sensitize an audience? How is space created and understood by an audience? How do you produce and edit a film? How do you create illumination and an ecstasy of truth? Related, but more practical subjects, will be the art of lockpicking. Traveling on foot. The exhilara...