Teach. Write. Again.


I have a dream. To publish a literary e-zine that celebrates the writing of composition teachers.

The one thing that has helped me most to become an effective composition teacher, besides twenty-seven years of teaching English composition of course, is writing and pursuing publication of my work. Such a process has certainly kept me humble (I quit counting when my rejections reached over two hundred.) and has never made me rich. However, a couple of years, I did make enough to be taxed. (Of course, that isn’t saying much, is it?)

On the other hand, with over two dozen short stories published in print and online publications, as well as over a hundred theater reviews and features for the local paper, five years as columnist for my college, two or three years as an arts columnist, and now approaching the production of my second full-length play, my writing avocation has also boosted my confidence as a writing  instructor and given me a certain credibility with my students, some of my students.

Above all, being a writer keeps me mindful of what it’s like to write for a critical audience–a critique group member, an editor, an agent, an audience.

3990049531_e1c94fdd9e_bBecause I’m a writer, I am reminded of what it’s like

  • to procrastinate.
  • to spend more time revising and editing than composing
  • to be uninterested, or lose interest, in a project
  • to be obligated to complete said project
  • to have a work criticized or rejected
  • to take that criticism or rejection as a personal attack
  • to be misunderstood

But it’s not all bad. Because I am a writer, I can truthfully inform my students that good writing, while hard, and often thankless, work is

  • a valuable skill
  • a confidence builder
  • actually can be fun
  • and sometimes, every now and then, absolutely glorious!


So, the dream is to have this little online publication called Teach. Write. that will allow present and former composition teachers of all types to try their hands at writing out of their comfort zone, to make themselves vulnerable again to constructive criticism and rejection, to boost their confidence and support their colleagues–to write, and in so doing, become better teachers, better people.

The e-zine will be for writing teachers by writing teachers, specifically, but because the style and subject of essays, poetry and short stories will be open for the most part, the magazine should appeal to a general audience.

Although I will consider pieces that are on the subject of writing if they are unusual and compelling, I’m not particularly looking for work that is about writing or being a writing teacher. As I mentioned, this magazine is calling for teachers to move out of their comfort zones, so I would rather they write a literary short story or a flash piece, a sonnet or poem in blank verse, an essay about a night spent in jail–whatever they want to say. These will be the general submissions.

Because I want this e-zine to be useful to writing teachers, I also will have a regular feature called “Writing Your Own.” In this feature I will call for composition teachers to write pieces based on their own writing prompts. For example, the fantasy e-zine, Mirror Dance, published a flash piece called “Waiting for Beowulf” that I had written as an example for a creative writing assignment in my British literature I online class.  It is so helpful for instructors to write with their students–it can also be simply fun, yielding strong writing from students and publishable work from teachers.

I have set December 1 as the deadline for setting up the website. At that time, I will begin accepting essays and short fiction of 2,500 words or less, poetry of 100 lines or less (up to three poems accepted in one document), ten-minute stage and screenplays (ten pages), and pieces for the “Writing Your Own” feature (250-2,500 words).

All teacher-writers should include a short (100 words or less) biographical statement, which includes their present or past position as an English composition teacher. This statement is more important to me than publication credits. Of course, elementary and middle school language arts teachers, high school and college-level English teachers can submit, but if they have taught independently for business and industry or as part of a continuing education program, they are also eligible. If they have tutored in English composition professionally or as a volunteer, they may feel free to submit. They should simply mention composition teaching experience in the bio..

From  December 1 to June 30, I will accept submissions for the inaugural edition, which I hope to publish in the fall. My desire is to begin publishing twice a year, fall and spring, hoping that contributers who are working teachers can write and submit in the summer and winter, then enjoy, along with their students, their published work in the fall and spring.

I believe it is important to pay writers, but I don’t have much money, so I will be offering only a small honorarium here at the beginning of my venture, hoping that in the future I can offer more. I will let writers know the amount in December.

If anyone is interested in submitting  work to Teach. Write., start writing and look for an announcement on Hey, Mrs. Winkler with a link to Teach. Write. 

I have had this dream for a long time, but as it is has been with most of my dreams, they only happen when I find the time to do them and set to work.  The time is now.



Teach. Write.

Queens Univ_CharlotteA couple of weeks ago, I attended a wonderful four-day writing workshop at Queens University in Charlotte, sponsored by the North Carolina Writers Network (NCWN), of which I am a member. I came away humbled but also encouraged, with new confidence in my work and with my writing spirit renewed. This long weekend convinced me that teachers of writing need to not only practice their own writing, but also put it out there! Go to workshops and critique groups, present at readings and literary open mic events. Teachers who write and open that writing up to criticism can come back into the classroom with a renewed sense of what it’s like to be a student. At least, that’s what happened to me.

Dinner at Fenwicks

Shrimp and Grits at Fenwick’s

The workshop began on Thursday afternoon. I arrived and was the first one to sign up for the open mic night. After I got settled, I had time to explore that area of Charlotte,  with many stately old homes and the impressive Queens University campus. Then, I found a nice little restaurant called Fenwick’s and had some scrumptious shrimp and grits with a nice chardonnay to start things off right. That evening Ed Southern, director of NCWN led us in a fun exercise to help us get to know one another followed by  a fascinating presentation on The Wall Poems of Charlotte, a grass roots public art project, which highlights the work of North Carolina poets. I think our college should consider a similar public art project at our college or in our town. Perhaps I will propose it.

One of the best things about the trip was that I was able to remember what it is like to be a student again–always good for a teacher to experience, especially if she’s been at it as long as I have.

At my age, I never thought to again be sharing the bathroom and showers in the dorm, seeking  out a friend in the dining hall at lunch or walking with some fellow students down to one of the local hangouts, but that’s what I did! The closeness and camaraderie I developed with the eight other fiction writers in the workshop as well as the other writers in the poetry and non-fiction workshops, helped take away the initial uncomfortable feelings I had at moving out of my middle-aged comfort zone and made it easier to accept the constructive criticism offered by the instructor and my fellow students.

Our marvelous instructor Sarah Creech, who teaches at Queens University, also helped us feel more comfortable by  doing some simple exercises that encouraged us to get to know one another better, but it wasn’t long before we were seriously critiquing the work that we had shared with each other in the weeks before the workshop began.

For some ungodly reason, I signed up to be the first person (again) to be critiqued, but Sarah facilitated the group with such finesse and my fellow writers were so kind and supportive, that it wasn’t hard to accept the criticism. In fact, I found it affirming and encouraging because most of the areas that needed improvement were areas that I myself targeted for revision. It sure didn’t hurt to hear the positive comments either.

In front of Chapel

It was pretty hot, but in the morning and evening, I enjoyed walking around the beautiful campus or writing in one of the common areas.

We repeated the process of critiquing, beginning with what is working and what could use revision, for the other eight attendees. What I found especially interesting was the better I got to know the other people in my group, the more I wanted to offer truly helpful words of advice and not just give some throw away comments. I also found myself going back and re-reading their work, so I could give more in depth comments. In addition, my confidence grew in my own work. Here were other serious writers, good writers, but my work was on a par with theirs.

After the first day of critiquing each others’ work, Sarah concentrated on lecture and exercises to help bolster the class’s weaker areas that had been revealed from the critiques the day before. We emphasized character development and motivation, sensory details and setting, among other issues. The lectures were always targeted and blessedly short, followed by periods of writing. That evening we enjoyed our literary open mic event, which was a wonderful time to hear the work of writers in my own group as well as poets and non-fiction writers from the other group. a pizza party in the commons area of Sykes Learning Center ended the official events of the evening, but a few of us continued our discussion of the weekend at a local pub, just like in the old college days.

Sykes Learning Center

Sykes Learning Center

The last day we did more writing but also had time to share our work with the group, no critiquing this time–just enjoying each other as writers. As much as I missed my family and was glad to be going home, I truly was sad to say goodbye to my new writer friends but glad that I had a chance to meet them. I hope to continue sharing my work with them. It is amazing how quickly people can bond when they share a passion for storytelling.

It may be obvious what I learned and had affirmed about teaching composition during the workshop, but here is a list of a few things that come to mind:

  • spend time letting students get to know each other as people
  • build in time to socialize
  • celebrate your students’ writing
  • provide opportunities to share writing
  • keep any lecture relevant to the particular group of students you are teaching
  • keep lecture to a minimum
  • target areas that need work and tailor-make exercises to help improve weak areas
  • make exercises creative and fun
  • allow students to critique each other’s writing in small groups
  • begin with positive feedback but move on to areas that need improvement

Stay tuned for my next blog post when I present the details of my new project–an online literary magazine designed to showcase the work of those who teach writing.

The Art of Collaboration

Cast Meets with Susan Burk

Cast meets via Skype with Susan Burk from the Matthew Shepard Foundation during rehearsals for The Laramie Project – photo by Vince LaMonica

Not soon after I started working at the community college where I teach, I was thrilled that a new degree was added–an Associates of Fine Arts in Drama. The young woman who led the program brought back to life my love of all aspects of theater production. I had dabbled in community theater as a publicist, properties manager, stage director and actor in several places where I lived, but raising a small child and teaching a heavy adjunct load meant little time for this passion.


The drama department at the college brought it all back to me. Furthermore, it offered me opportunities to get back onto the stage through small roles that didn’t require a great deal of rehearsal time. Jennifer, the director, always made it doable, and the more I became involved the more I wanted to do. Because her department is small, and she is the only full-time instructor, Jennifer and I, an English teacher, started finding more and more opportunities to work together, forming a cross-curriculum relationship that has, I think, greatly enhanced both departments for the advancement of our students and has sustained us both by allowing us the creative outlets that we crave.

It all started one day, long ago, over lunch at a Chinese buffet restaurant, when we were discussing the upcoming production. Jennifer had decided she wanted to do two one-act plays with her directing one and me the other as I had expressed the desire of getting my feet wet as a director. She had already decided on one of the plays–Blue Window by Craig Lucas, but she hadn’t been able to find a suitable play for me to direct.

Almost as a joke, I said, “Hey, guess what?”

“What?” she said.

“I wrote a play long years ago. It’s called Green Room. How about that, Blue Window, Green Room.” I was almost laughing. I really wasn’t serious at all or suggesting anything, I swear.

Then, she said, “Let’s do that one.”

“What?” I said.

“Let’s do your play.”

“But you haven’t even read it. You don’t know anything about it. It might suck. I mean, as far as I remember it does suck.”

“Here’s the beauty of it,” she said. “It doesn’t matter. Whatever we don’t like, we change.”

Thus began a truly productive collaboration between two instructors. I can’t tell you what it means as a writer and an educator to have this kind of partnership, which protects Jennifer and her department from isolation and offers me opportunities to stretch the creative side in me–the writer, the actor.

We did produce Blue Window and Green Room. I ended up handing the directing baton over to Jennifer when, two weeks before opening night, one of the leads quit, and I had to step in to act. In addition, Curtis, a student who played a lead role in the play, also composed original music for Green Room and has gone on to collaborate with me, and Jennifer,  on many projects even after he left school.

The next semester I directed my first full length play, Bertolt Brecht’s Mother Courage and Her Children. Was I crazy? Of course, I was, but of course, Jennifer was there to help me through the process, and without her expertise the show would have been a disaster. On the other hand, because of my knowledge of German (I double majored in English and German in undergraduate school), I was able to contribute direct translations from the original text when the British translations we were using didn’t work. Also, I have a particular interest in musicals, which Jennifer doesn’t share, so working again with Curtis, we composed original music for the play.

Over and over again, Jennifer and I, along with students like Curtis, as well as colleagues, have collaborated on productions. So many times our ideas came from just seeing plays together in the community or at conferences. Other times they simply sprang from casual conversation or out of a desire to find a special project for a special actor. Here are just a few examples of our working together (in no particular order):

  • A production of Moises Kaufman and the Tectonic Theatre Project’s Laramie Project with student-led talk back facilitated by the public speaking instructor at the college. In addition, Jennifer had frequent discussions with Susan Burk from the Matthew Shepard Foundation and cast members had a teleconference with Burk to prepare for their roles. I acted in the show and wrote two features about the production for the local newspaper. Follow these links to read the features: 1)  Pre-Production 2)  Production
  • BRCC’s participation in the 48 Hour Film Project, winning Asheville’s contest in 2008. See the film at this link: Serial Love
  • Tennessee Williams’ One-Act Play Festival–we had two separate stages, a southern-style picnic and a lecture on Williams by one of our English faculty
  • Pre-show lecture about Lord Byron and the Shelleys before the production of Howard Brenton’s Bloody Poetry
  • Pre-show lecture, scenes and short film (produced by drama department) before production of Shakespeare’s Taming of the Shrew.
  • Pre-show lecture by me and an adjunct English instructor before Shakespeare’s Macbeth (we both acted in the production as well)
  • World premiere of A Carolina Story, a musical based on the Book
    Carolina Story 029

    A Carolina Story, April 2012

    of Job, by me with music by Curtis (We produced it a second time as a fund-raiser for the student emergency grant and loan fund)

There have been so many other examples of how our collaboration has enhanced our teaching. Currently, we are collaborating on perhaps our most ambitious project yet, an original stage adaptation of Mary Shelley’s Frankenstein. We are attempting to preserve the plot and style of the original while adding exciting multi-media effects to enhance the production.

Most theaters cannot sustain this kind of freedom and collaboration between writer and producer/director. It is educational theater, especially in higher education, that allows for this kind of risk-taking to take place. It is also this kind of educational theater that should be supported with proper funding and promotion because in the end, collaboration between faculty, staff, students, administration and community is what it takes for the arts in education to flourish, teaching us to work together for the betterment of all.

And hey, if you’re near Asheville the weekend before Halloween, come see Frankenstein!!




League for Innovation in the Community College 2016


Courtesy of sheratongrand.com

I’m in  Chicago for the 2016 League of Innovations Conference. I have already experienced some of the best professional development I’ve ever had after only one day of meetings, which makes for an auspicious beginning.

Yesterday was all about getting here and getting settled in. John and I left Asheville super early on Saturday and got here before noon, so we had plenty of time to explore the city. It wasn’t warm (this isn’t called the Windy City for nothing), but the sun was out, and it was a beautiful day, so we left the hotel, ate at a sandwich shop down the street from the hotel and walked down to the Navy Pier, less than a mile from our home away from home.

navy pier

Navy Pier (courtesy of Trippy Media)

According to conciergepreferred.com the Navy Pier was not developed for use by the military but was used as a housing and training facility for the Navy during both world wars. Since 1946 the pier has been used for various purposes, including the undergraduate campus of the University of Chicago, but now is mainly a recreational facility, featuring a major embarking center for city cruises and bus tours, restaurants, biking and walking paths, restaurants, music venues, a children’s museum and, of course, the Ferris wheel. Walking around the pier and down the walkways along the Chicago River was a great way to be introduced to the city.

After making it back to the hotel and getting registered for the conference, an easy process thanks to the efficiency of my college’s educational foundation staff, we relaxed in the room for a while and later enjoyed a great meal at Bongiorno’s Italian Deli and Pizzeria. We were greeted by the proprietor, sat under signed Ernie Banks photos, had excellent service, ate authentic Italian Capricciosa pizza, drank good imported Italian beer and enjoyed a nice chat with the owner, who told us how he played minor league ball in Greensboro years ago and kindly admired my beautiful double-knitted scarf that my daughter Hannah made me for Christmas. Truly a Bella Notte!


The only thing that marred the evening was that Bongiorno’s is directly across from the Trump Tower–Just can’t get shed of that guy.

Today started early. We had breakfast at the little cafe in the hotel, then John headed out to explore while I started a long day of informative and interesting sessions as the conference began. Here’s a breakdown of the sessions I attended today:

8:30-9:30–Expand Your Horizon of Inclusion: Connect with Local Communities. This session was led by Dr. Leo Parvis, Coordinator of Social and Behavioral Sciences at Dunwoody College of Technology in Minnesota. He is the author of  Understanding Cultural Diversity in Today’s Complex World, now in its fifth edition. Dr. Parvis uses this textbook in the course he teaches on cultural diversity, so I bought a copy to take back to the college and share with our Inclusive Education Committee of which I am a member. An excellent presentation by one of the nation’s leaders in inclusive education.

9:45-10:45–Toward a New Ecology of Student Success: Expanding and Transforming Learning Opportunities throughout the Community College, The Cross Papers, Number 19. I have to make a confession. I did research, wrote and submitted a proposal in the 2016 Cross Papers’ competition and did not win, so I attended this session out of curiosity about the man who won this year’s competition more than anything else. I also must confess that I was humbled. Jim Riggs, who wrote this year’s monograph, gave a wonderful presentation, discussing the importance of faculty and support staff working together toward the same goals of student success–that faculty are the center of this effort because of their close contact, but that this “new ecology” must include ALL of the college–that the disconnect between these two parts of the community college must be repaired. I look forward to acquiring a copy of the monograph and bringing it back to the college and sharing it with administration, staff and fellow faculty.

11:00-12:00–How to Successfully Teach Online–Michael Corona, Business Communications Instructor, Excelsior College, NY–I didn’t learn a whole lot of new things at this session, but it was great for my spirit because it validated so much of my own online teaching practices. To hear that such an experienced and obviously successful online instructor employs many of the same strategies as I do in his online classes was inspiring. I also had a chance to network with other instructors, which is one of the main benefits of attending educational conferences.

1:00-2:00–Storytelling with Data: Telling the Tale of ALP–Facilitated by a former English instructor and a graduate student at the University of South Carolina, who, I found out later, taught at Piedmont Community College, this excellent session gave me some great ideas about how to present program data that helps elicit real change. I am looking forward to sharing this information with my supervisor and colleagues. After the session I had a nice discussion about ALP (Accelerated Learning Program) with Dawn Coleman,  the grad student who used to teach in North Carolina.

2:15-3:15–Life During Community College: Your Guide to Success–Terry Arndt, College Transition Publishing. This was another validating session, but I also was introduced to a few very useful tidbits I can take back to the college that is sure to interest many at my college, especially ideas about orientation courses and student retention. Listening to the questions and comments from other educators, I also realized in this session how progressive our college is when it comes to the first-year experience as well as our instruction in library resources.

If you have to work on Sunday, then this was a good way to do it.

Now I’m back in my room, watching the Penguins play the Capitals, the Pens just went up by one, and wondering when John will get hungry enough for some more good Chicago food and drink. I love the Penguins but…..

Online Inspiration

I teach 200-level college transferable literature courses online at a small community college in North Carolina. Oh, I know what you’re thinking. I thought the same things myself when I developed my first course–World Literature II–years ago. Things like

  • I will never be able to engage them like I can in a seated class.
  • This course will never be equal to a seated one.
  •  The grading load will be totally unmanageable.
  • I need the interaction with students that only a seated class can give.
  • I will never be able to have the kind of variety of assignments and activities that I have in my seated classes

All of these things were true in those first years and perhaps at least one or two of them is still true in my mind, but the time is rapidly approaching, with new advancements and technology as well as continued training when even the final issues will be resolved and students will be able to choose whatever form is best for them and know that they will get equal quality of instruction.

My opinion about teaching online classes has begun to change primarily because of training offered by our college’s distance learning personnel and help from colleagues as well as computer savvy young people, including my 21-year-old computer-raised daughter. I, who thought I had died and gone to heaven when I received my first Smith-Corona electric typewriter with its changeable cartridges,

never imagined back then the Star Trek technology that would become a reality in my lifetime, but as the programs and software have become increasingly user friendly, I have been able, if not to master them, at least to find ways to incorporate technology into my online classes. Some of this technology has helped to engage my students and aided me in what was at first an untenable amount of grading, while maintaining rigor and upholding the standards expected of college transfer students.

At my college’s professional development day last Thursday I shared some of the ways I am using technology to help the students in my online literature classes become more active readers as well as learn to research more deeply. I will be presenting this same presentation in March when I attend the League of Innovation in Community College’s conference in Chicago.

I used Prezi (one of the free presentation software applications I talked about in the PD session) to create a slide show that in itselfis a representation of how my knowledge of technology is improving. Furthermore, I have to tell you a secret…I had fun.

Here’s the link to the Prezi presentation (It may take a minute or two to load):

Dig Deep: Encouraging Active Reading and Deep Research in Online Classes

Let me know what you think!




Herman Melville, Lincoln’s Inn and Serendipity

Lincoln’s Inn–London (photo courtesy of Honourable Society of Lincoln’s Inn)

One of the things I love doing as a teacher is creating opportunities to become a student again. It renews the love of learning that is at the heart of my profession but sometimes gets lost under the mind-numbing bureaucratic tasks and pointless political pandering that has become so much a part of what it means to be an educator.

It’s at times like these that I most need to remember how exciting it is to learn something new, to read and study a work I’ve never encountered before, to visit places I’ve never been. My trip to London in the fall of last year provided me with many such opportunities.

Like the day I discovered Lincoln’s Inn.

I say discovered because I hadn’t gone looking for Lincoln’s Inn. I didn’t know it was there. I didn’t know anything about it. I certainly didn’t know that a month later I would be writing a lesson on Herman Melville for my new online American Literature I class and encounter Lincoln’s Inn once again.

It happened this way:

I woke up the first day that I was alone in London, finally free to do some serious walking and exploring. I planned out a trip that I had been longing to take ever since I developed a sample travel project for my British Literature II class several years ago. I decided to walk from my hotel in Russell Square to the Sir John Soane Museum at Lincoln’s Inn Fields. Sir John Soane was a famous and wealthy Regency Era architect who designed the Bank of England and other famous landmarks, including his own house that he willed to his country.

Not knowing how long it would take me to walk there, I sat out rather early, clutching my google map instructions tightly in my hands. I made quick work getting there, too quick in fact. The museum was not yet open. With more than 20 minutes to wait, I decided to cross e street to Lincoln’s Inn Fields and walk around. Although it is a beautiful little park with its trees at their peak of Autumn foliage, I still had about 15 minutes to spare after walking the perimeter.

I decided to explore just a little further, and noting the street names began to head towards the most interesting brick building. As I approached, I realized that there were other similar buildings. Then, I passed through what looked to be a very old tower gate, and I realized I was in some sort of compound–beautifully landscaped and tended–the large main building almost like a church with beautiful stone accents and stained glass windows. I saw that there was a library  in the building and got a hint to its use when I saw a man traditionally dressed in barrister’s robes walking up the sidewalk towards the building.

I returned to the Morton Hotel after many more wonderful adventures, including the Sir John Soane Museum that I finally got to see (it was magnificant), an outdoor art display by Ai Weiwei at the Royal Academy of Arts (incredible), lunch at a classic London Pub (tasty onion and mushroom pie) and a trip to the British Museum (I love that place). Even though I visited the British Museum on my first trip to London, I went to rooms I didn’t get to see that first time–my favorite being the Ancient European room and the clock room.

After a bite to eat from the little Tesco down the street and a hot shower, I settled in to find out what exactly that incredible building was. I quickly discovered that what I had been looking at and admiring was none other than Lincoln’s Inn, one of the four Inns of Court, which are the professional organizations for all barristers in England and Wales. I researched and read until late in the night, fascinated and excited to learn something new that would help me read, study and teach more effectively as well as humbled, feeling that I, as a teacher of British literature, should have known more about these things already.

When I returned home, I immediately found ways to incorporate what I had learned in my British Literature I class. That goes without saying, but I had no idea how my experience of discovering Lincoln’s Inn would enhance my teaching in American Literature until I read Melville’s “A Paradise of Bachelors.” The setting is one of the Inns of Court where the main character in this highly autobiographical story goes walking through the streets of London just as I did and is impressed with the beauty and grandeur of the grounds around the Temple Bar, just as I was.

IT lies not far from Temple-Bar.

Going to it, by the usual way, is like stealing from a heated plain into some cool, deep glen, shady among harboring hills.

Sick with the din and soiled with the mud of Fleet Street — where the Benedick tradesmen are hurrying by, with ledger-lines ruled along their brows, thinking upon rise of bread and fall of babies — you adroitly turn a mystic corner — not a street — glide down a dim, monastic way flanked by dark, sedate, and solemn piles, and still wending on, give the whole care-worn world the slip, and, disentangled, stand beneath the quiet cloisters of the Paradise of Bachelors. Sweet are the oases in Sahara; charming the isle-groves of August prairies; delectable pure faith amidst a thousand perfidies: but sweeter, still more charming, most delectable, the dreamy Paradise of Bachelors, found in the stony heart of stunning London.

Melville’s description spoke to my experience so completely. His observations so piquant that I immediately found renewed admiration for this, one of the greatest of American writers.

“Found in the stony heart of stunning London.”

Again, No Time But Must Post Something

Prop poster

Mock Propaganda Poster Inspired by Ray Bradbury’s Fahrenheit 451 (Pinterest)

I’m in the midst of grading my brains out here at the end of the semester, but I don’t want to let any more time go by without posting something because the current state of liberal arts education, especially at the community college level in my state, demands it. Thank goodness there are others who feel the way I do. So until I’m able to do some more research, I’m posting this great article by Gary Saul Morson, professor of Slavic Languages and Literature at Northwestern University.

As a literature instructor I was a bit taken aback at first, and a little insulted, but then I read on, and he has some great things about the importance of college level literature studies as well as sensible ways to engage students in literature classes.

Article by Gary Saul Morson from Commentary Magazine