Category Archives: Writing

Reading, Research, Tourism, Writing

Dusting off

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I’m on day 50 or so of parenthood – I’m on family leave from work. I had a rough delivery and hard recovery with postpartum complications. Now I’m feeling better physically and able to handle some intellectual tasks when the baby is sleeping or chirping to herself in the bassinet.

In an attempt to brush off my scholarly chops, I perused the intros to a few Oxbridge travel-writing anthologies. I recognized much I’ve absorbed over the past decade reading on this topic, but I also re-realized vast swaths of ignorance. Of texts, authors, historical facts, and so forth. It’s downright humiliating, though it’s fortunately a humiliation I can suffer in the privacy of my own maternal convalescence.

Of course, as is my nature, I began curating a list of sources—primary and secondary—that I’d need to read to help reckon with the gaps in my knowledge, but I also began to parse what about travel writing per se is different from the area I’ve actually been studying and writing about, which is tourism. And perhaps in parsing this, I began to forgive myself for not actually knowing All The Things. I don’t actually study travel-writing when it comes down to it. I’ve always sort of known this, but this is the first time I’ve really articulated what this means. It’s not that I’m not interested in what people write about while they’ve toured around, it’s that I’m more interested in what they have written about touring around – the boat ride, the way of transporting luggage, fellow tourists, how the trip affects how they feel about home, and especially what they think about tourism. It’s a difference between focusing on the subject of the trip rather than the object. “Travel writing” usually featurees both types of observations – those which are about the trip and those which are about the mechanics of travel or maybe rather meta-reflections on tourism.

In perusing these anthologies, I have come to the conclusion that I’d really benefit from studying medieval pilgrimages and the Crusades. And I need to learn more about the tourists that put graffiti on the Pyramids in Egypt in 1500 BCE – my archaeologist friend from graduate school says to consult The Graffiti of Pharaonic Egypt by Alexander Peden for information. Again – so many directions to go in here. Sometimes I fantasize about what I would write if I had more time to write: a book on medieval tourism and its relationship to (future) empire. Also, something about the ironic relationship between the purported religious purposes of the Crusades and the fact that the journey itself was rumored to be one of dissipation and, well, sex. This is supposedly why priests etc. would warn against the lure of the curiositas.

I’ve much to add to my “Uncomprehensive Travel-Writing Database” after this brief trip through the anthologies. As ever, academic scholarship proves humbling and intimidating. I do feel recharged and somewhat validated though to discover that for whatever reason, I remain compelled by the topic I landed upon in my senior year of college.

Books to peruse or re-peruse:

  • Finucane’s Miracles and Pilgrims, 1977
  • Zacher’s Curiosity and Pilgrimage, 1976
  • Batten’s Pleasurable Instruction: Form and Convention in Eighteenth-Century Travel Literature, 1978
  • Clifford’s Routes: Travel and Translation in the Late Twentieth Century, 1997
  • Munter and Grose, eds., Englishmen Abroad, 1986
  • Korte’s English Travel Writing from Pilgrimages to Postcolonial Explorations, 2000
  • Stafford’s Voyage into Substance, 1984
  • Leask’s Curiosity and the Aesthetics of Travel Writing, 2002
  • Ashcroft, Griffiths, & Tiffin’s The Empire Writes Back, 1989
  • Pratt’s Travel Writing and Transculturation, 1992
  • Holland and Huggan’s Tourists with Typewriters, 2000
Community College, Research, Teaching, Writing

End of Semester Reflections

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I finished my second year as an assistant professor of English at Hostos a few weeks ago, and while I was tidying the end-of-semester detritus in my office, I took a picture of the fastidious four-month wall calendar I maintained since the term:Photo of the 4-month calendar—February through May—on the wall of my office. All the dates are crossed out. You can make out all daily events.

For a full time, 4-5 position, this was a relatively “light” term thanks to both what CUNY calls “junior faculty release time” (which relieves profs in their first five years from 24 hours of teaching) and my service as a faculty advisor to our writing center. It took me nearly a year to fully grok how “hours” work for full-time staff, but here’s the short of it (in case any of my friends in wealthy R1 institutions want to know what they’re missing out on, and in case any of my friends on the ever-lasting job market are contemplating a career at a community college): full-time CUNY instructors at the 2-year colleges teach 27 hours per year, meaning 5 then 4 three-hour courses each semester, respectively. (Getting assigned to 6-hour developmental courses reduces the total number of courses you teach each semester, but it still amounts to a lot of hours in the classroom. ) You’re also required to hold a few office hours a week in addition to your service. I didn’t formally learn much about “service” in grad school, but a large part of “service” translates to “many, many meetings.” In short, this Spring I managed to secure myself a schedule in which I taught only one course (!) and thus was ostensibly responsible for coming in twice a week to teach it.

Or so I thought. That sounded great, right? Like, damn I have to come in twice a week? Imagine all the articles I’ll finish! Imagine the book proposal coming together! The conference talks! But look at that calendar. This is the thing: I  still had to attend all those meetings and events and trainings. I had to lead PDs for Writing Center tutors on various Fridays. FRIDAYS!? (The former high school teacher in me is shaking her head at my precious new standard for daily life, of course.)

All this busyness, for which the idea of a light schedule had ill-prepared me, meant that I discovered a weird axiom that is probably applicable to many jobs in service- and teaching-heavy institutions:

No matter how many hours you think you’ve secured for writing and research, meetings will take up all the space anyway.

No one can “see” you working alone on your book, deleting, suffering, rewriting, suffering, ILL-ing books from CUNY libraries in other boroughs (FYI I have been told by our circulation librarian I’m the second-highest user of their services of all the faculty), suffering, and doing all that reading that goes along with it. So that invisible labor—which, to be clear, is also required of CUNY 2-year college professors for tenure (though many community colleges don’t have this requirement)—doesn’t seem to count quite as much in the short term because it’s invisible. Saying “no” to committee invitations and professional development events is extremely difficult.

Down the road, I’ve been assured and counseled, the end result of putting effort into writing and research actually counts more heavily toward tenure and promotion than the fact that you’ve attended 63 meetings in a semester. But the daily work of protecting that time, and the superficial cost of doing so, make it difficult. I’m realizing that as someone who is passionate about research and writing, the work of protecting that time while developing a meaningful relationship to the daily life of my extremely vibrant college is going to be the serious work I have to do for myself in this position.

So this has been the main lesson of my second year, made visual by this white-board calendar. I will conclude this post by zooming into my favorite event of every Spring:

Calendar depicting May 1-4 with the notation

Teaching, Theory, Writing

What are we actually grading?

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I have spent a lot of time this semester, and while preparing to teach freshman writing composition this semester, thinking about assessment. I’m experimenting with not grading essays, “ungrading,” and questioning the feedback I provide to students about their writing. I also am trying to figure out ways to make the students’ essays feel more public to them, creating an audience of actual readers for them to write for, and wondering how other people do this in their classes. I’ll report back later on what I’ve found out in this experimental semester.

Meanwhile, outside my own classroom bubble, a lot of people have been prompted to discuss assessment in the wake of Professor Asao B. Inoue’s recent speech at the CCCC conference in Pittsburgh. I’ve been re-reading that speech, and don’t want to comment on that here. But after reading it, I came across a post on a grad-school friend’s Facebook wall, asking how we grade students’ vernacular. Like, do we take off points if a student doesn’t use proper Standard American English?

I think my response encapsulated my current feelings on this matter, and I just want to preserve it here for posterity:

Ah! I have been wondering this as well for a while and have spent the past year realizing there is a whole field of people who study this stuff deeply. First, check out Asao Inoue’s Presidential speech from this year’s CCCC conference (the MLA of Rhet-Comp world). It was an indictment: https://docs.google.com/…/11ACklcUmqGvTzCMPlETC…/edit…. Next, you can read his book “Antiracist Writing Assessment Ecologies,” which goes into depth about this: https://wac.colostate.edu/books/inoue/ecologies.pdf. There are other people who talk about this stuff really well. Alfie Kohn (https://www.alfiekohn.org/) is a good place to start.

Here’s the short of it: I hear a lot of people say: “You have to teach them how to write SAE in order to give them access to blahblahblah cultural capital blahblahblah.” First, this is racist because it presupposes that people don’t know how to register switch. Second, no, that’s not true. Third, good writing is about communication and meaning. Frankly, I’d take Cardi B on politics any day over Trump. She’s a former stripper from Highbridge and Trump has his Ivy League credibility, yet her ad hoc political statements have more substance than he’s capable of regurgitating from a teleprompter. People are surprised by her depth because we are racist: we’re conditioned to look down on people like her. So what are we looking for in communication? Substance? or things that tag a speaker as having “cultural capital” aka “white”? I like to take a direct approach in the classroom about this: we discuss register switching, the whiteness of academic English, and racism. My experience is that my students have already internalized a lot of racist rhetoric about their vernaculars and are relieved to discuss these things openly.

I would also like to state, for the record, that there technically is no “Standard American English.” Some countries do have an official language of record (France, for instance), which is why it is noteworthy that we do not have one. I try to muster the courage to say this once in a while in official settings, but I’m often met with disbelief and frustration. If we are to accept that there is no standard, then what, in fact, are we experts of after all? And how do we maintain our hierarchical position above students if we have no “standard” on which we lean to support our claims of superiority? (Bad mixed metaphor, I know.)

I did not spend ten years as a graduate student just learning about grammar, after all. I did study a lot of history, and most of it (history) is a record of a world without dictionaries. Even Shakespeare himself spelled his name differently on different occasions.

Community College, Teaching, The Bronx, Writing

FIRST DAY: Syllabus musings with MARVIN GAYE and CARDI B

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I have long loathed all the conventions of syllabus writing, largely because I have seen how semester after semester, we all put so much stock into what we put into them—read my post from the fall and witness how much I agonized last semester about typeface sizes as a way of procrastinating from actually writing the damn thing, and read about my deepish dive into accessibility statements—just to see them discarded within weeks. That is not to say that I don’t think those things are important to consider, but I also sometimes think that we fetishize the syllabus and its contents, agonizing about what it says about us and our beliefs, as a way of imagining we have more control than we do.  Sure, it gives you a sense of comfort in times of duress. (How often are we told to put things in because, you know, “CYA”?” Cover your ass”? -a big refrain in public education.) And when students mess up or don’t comply, it’s a great, exculpatory relief for us to be able to say, “Well it’s on the syllabus! You should have read it!” (Do you say “in” or “on”? I say “on” for some reason. Probably regional.) I also know that I’m insecure about my inability to predict or pace my courses when I’m planning them out. I have been in a classroom teaching literature and writing for eleven years now, and I really struggle with this.

Also, I know that our institutions scrutinize our syllabi. I suspect partly that is because they are scrutable, material objects. (One piece of feedback I received on mine was that my list of books was not in MLA format. I didn’t know that was a requirement. I don’t think it is–it’s just an unwritten convention of my department.)

So much energy gets expended upon syllabi while our actual teaching and the ways in which we treat students go unscrutinized. And that’s fine with me. I’m thankful for the relative freedom I have day-to-day in the college classroom, so please, scrutinize my syllabi all you want! Public school teachers in New York City—where I taught high-school English for four years—can expect unannounced drop-ins and often paranoia-inducing surveillance (and don’t get me started on the cameras put into classrooms in Eva Moskowitz’s charter schools).  And I never had to write a syllabus when I taught high school! (We had a curriculum we could follow. Totally different.)

This is all to say that this semester, I’ve written an essay, and I’m slapping it right on the front of the syllabus. Sounds boring. Probably. But at least it includes a picture of Marvin Gaye, whose What’s Going On? album and song are going to structure the theme of the course.

I’m putting this all there partly to have something to point to when I tell them to write an essay. It foregrounds the actual work of our course: writing about stuff we care about. It shows that I am a writer too, and I am insecure about how I write. It does things I expect of their writing: it includes parenthetical citations, probably has some errors or typos, includes a block quotation, and has an MLA Works Cited at the end. The essay also rationalizes the course’s focus (read the end), which is inspired by the story I read about why Obie Benson wrote the song. (Al Benson helped write the lyrics.) After witnessing police shoot thousands of protesters during the “Bloody Thursday” protest in Berkeley in May 1969 . . . No, just read what I wrote, because I find myself on the verge of re-writing the essay. The story is moving and felt just so pertinent in this era of MAGA hats and walls and family separations.

One other thing I’d like to reflect on here is that when I was writing the essay for the syllabus, I was noticing the way in which I was thinking about the students reading it. A lot (most?) of my students were not born in the U.S., so they might not know about things like the “National Guard” or the fact that Ronald Regan was governor of California and was also a U.S. president in the 1980s. I assume also that a bunch of my U.S.-born students wouldn’t know this. Heck, I didn’t actually know exactly what the National Guard was until I just looked it up. There are ways of presenting students with sophisticated ideas (which they can handle) that don’t presume prior knowledge in a patronizing or punitive way. I try to attend to that in my classes and by telling students to look up things on their phones the second they don’t know a word, or when they haven’t heard of an event. (I also really try to change the narrative they’ve heard from a lot of profs and teachers not to use Wikipedia. As someone who edits Wikipedia for fun and is familiar with its standards, I think this is garbage advice, and I bet literally everyone who gives this advice uses Wikipedia.) This is particularly important when you teach a lot of first-generation college students and students from other countries. You have to make things seem accessible, and you have to not be a jerk about it. As an aside: I was just in England for a research trip, and I didn’t even know how to order a god damn hot cup of delicious coffee with half and half in it! Because the whole culture of coffee in England is TOTALLY different, and I just got confused at every turn. I mean, that’s just coffee, not my college education. And I literally study British language and history and literature as a profession. I tweeted about this here:

I plan to force students to read my essay on the first day of class. I’ll use it as an opportunity to teach them how to annotate. We’ll talk about the citations and how they’re punctuated. (And I’ll see who the confident readers are based on who volunteers.) We’ll talk about the fact that I left in curse-words from the original quotations—I anticipate that this will shock some of them. And we will talk about the questions I raise at the end of the essay. After we read this, I’m going to show them Cardi B’s Twitter video about the wall as an example of how to approach inquiry like this. She’s well-informed about politics and political debates, she’s a Dominican from the Bronx—like tons of my students, and she’s asking provocative questions about things that don’t make sense in the world that should be fixed. Like the fact that people are working without getting paid on behalf of a president who wants to build a wall. She also raises issues of “respectability” (cf Higgenbotham) that I want to talk about.

To end the first class, I will let students write for a bit about questions they have about “what’s going on” in the world today. To raise the stakes a little bit, to make it more fun, and to adjust them to moving around and publicly sharing their ideas with their classmates, I’ll let them loose to put some of their questions on the board. I hope it will be entertaining, and I also hope that it will make them interested in the course. For a lot, if not most of these students, it will be LITERALLY THEIR FIRST DAY EVER OF COLLEGE, and I want them to feel like their voices are interesting and needed. I read somewhere that something like 60% of college students never talk in their classes, so I hope to put these students in the 40% by the end of the first day!

Publication, Research, Tourism, Writing

My Article in Studies in Romanticism – Read everything you didn’t know you wanted to know about the Reverend John Chetwode Eustace

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I fantasize that one day, I’ll be able to write a whole book about this fellow John Chetwode Eustace, a much-maligned Irish-Catholic priest who went under the gauntlet posthumously in Little Dorrit. I can’t thank Dickens enough for deriding him, however, because otherwise I would never have found out about the man who wrote one of the most important proto-guidebooks of the nineteenth century, and I would never have published this, my finest work, in Studies in Romanticism. 

Image result for studies in romanticism summer 2018