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Hostos Community College History

One extraordinary thing I’ve come to appreciate in the past two years at Hostos is the fact that its history is fascinating and even inspiring. As I learn more and more about the institution—why it was founded, whom it serves—I feel quite privileged to be a member of its faculty and in a position to promote its mission. I have been affiliated in the past with institutions built upon shameful legacies, so to serve an academic community with the potential to dismantle oppression motivates a lot of the pedagogical work I do.Mural featuring Hostos' main building in the background, surrounded by people apparently celebrating, playing music, and holding protest signs. The head of Eugenio María de Hostos floats in the sky. Text at top says "Hostos Unido Jamas Sera Vencido."

I’ve been collecting materials about the college to use in my developmental and first-year writing courses, largely because I’m interested in learning more, but also because the issues raised by those who established this campus remain pertinent today (educational apartheid, poverty endemic to the South Bronx). And, for that matter, students love learning this bit of history.  So many arrive at Hostos largely because of proximity and affordability, so when they learn that they just so happen to be at a school whose mission relates directly to their own educational goals, and when they identify with the reasons for which people founded the school in the first place, this knowledge ignites a spark.

Below, I’m compiling a list of articles and resources for future reference, and because I think everyone can benefit from learning more about this particular history. It’s a tale that documents the power of grassroots organizing, the importance of the Young Lords and other 1960s radical movements, and the educational obstacles endemic to historically oppressed communities.

Hostos History Resources:

From the New York Times:

From the Hostos Website:

Miscellaneous:

End of Semester Reflections

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 though. 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 as a 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.

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 "Jazz Fest NOLA".

FIRST DAY: Syllabus musings with MARVIN GAYE and CARDI B

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!

Teaching Frankenstein

I was recently looking through my teaching materials from semesters of yore and stumbled upon what might be my favorite handouts that I’ve ever made for undergraduates. (I spent a great deal more time making handouts for my high school students in the Bronx… maybe to be shared at a future date; finding them will involve some excavation.) These come from a lecture I gave to a class – English 10B “Literatures in English, 1700-1850” – for which I was a Teaching Assistant for Professor Sarah Kareem. I am particularly amused by these two images, which I passed out and included in the power-point presentation I prepared for this lecture. The first is an image illustrating the “frame narrative” of Shelley’s Frankenstein; the second is the Shelley-Wollstonecraft-Byron-etc family tree. Enjoy!

Milsom Frame Narrative Image Milsom Shelley-Wollstonecraft Tree of Love