Five Easy Ways

rear view of man working in office

Photo by Pixabay on Pexels.com

The first semester as a graduate assistant working on my Masters in English Education at Western Carolina University in Cullowhee, North Carolina, I was required to take a course in teaching methods. Because I already had five years of teaching experience, two years in a private school in Pennsylvania and three years in Rome, Georgia, teaching English and German, I was arrogant enough to think I didn’t need to take the course and was somewhat annoyed that I had to do so.

However, during the course of the semester, I found out how much my professor, Dr. Gayle Miller, had to teach me. One of the best activities Dr. Miller had us complete was teaching to the class. Each one of us had to pick something we were interested in and instruct the class. My friend, who later became a colleague at the school where I teach now, taught a lesson on writing apprehension, offering suggestions I still use today. Another interesting topic was finding a word in an English/Chinese dictionary–surprisingly difficult.

Even the few times Dr. Miller was not there, she always had an interesting person to come in and lecture. It was a long time ago, and I can’t remember her name, but one speaker who came to Dr. Miller’s class made a lasting impact on my teaching by introducing the class to five easy ways that can help students improve their writing.

Although I have modified the list somewhat over the years, I still introduce my freshman composition students to The Five Easy Ways, which I have found especially useful when teaching community college students who may not have been strong writers in high school. The beauty of the The Five Easy Ways is students can improve their writing without knowing much grammar.

Don’t get me wrong! I love grammar, but I have a great deal to accomplish in a short time in freshman English, so I have found that The Five Easy Ways jumpstarts revision among students who may have never truly revised a paper. They just don’t know how!

So here are The Five Easy Ways in their latest iteration:

  1. Avoid the use of first and second person pronouns.
  2. Avoid beginning sentences with There and It.
  3. Eliminate overused expressions and vague modifiers, such as like a lot, lots, very, really, good, bad, awesome, etc.
  4. Avoid over-coordination.
  5. Read backwards and aloud.

Okay, maybe I should not have said they were easy. These five ways may make finding sentences that need revision easier, but fixing them is not always easy.

Okay, okay, there is a little grammar here, too. I usually must explain what first and second person pronouns are and also over-coordination, but most students know the grammar; they just don’t know that they know it. After a few minutes of review, the majority of students begin to remember.

Today, let’s look more closely at the first Easy Way. Students are so used to writing about themselves they find it difficult to think from any other perspective, something we want college English students to do; therefore, I don’t allow first person at all in finished drafts. Also, students learn that stating one’s opinion does not require the phrases I think, I believe, or I feel to precede them. Furthermore, eliminating second person forces students to think more about broadening their audience and often leads them to develop a more mature voice. They can also learn to avoid pronoun errors caused by using the second person incorrectly.

Example: After reading my paper, you can see that it is for the best if you start recycling. 

Oh, me. So many things to talk about–where to begin?  Start with eliminating the first and second person pronouns.

Revised: After reading the paper, most people can see that it is for the best if everyone starts recycling.

Still some things to work on, but for a freshman who doesn’t even know where to begin revising, the sentence is already improved by making just a few simple changes.

Okay, okay, okay. Perhaps you, gentle reader, are thinking how I am forsaking The Five Easy Ways even while explaining them, but I am much more conscious of overusing the first person or inappropriately using the second person. Now, I am consciously looking for this overuse when revising. Looking at the draft of this blog, for example, I noticed the overuse of first person pronouns and have worked to eliminate some pronouns while reconsidering others.

I have incorporated The Five Easy Ways into freshman English classes, which now begin with an assignment that is a personal narrative written in third person.  After completing this assignment, students seem to grasp how avoiding first and second person can strengthen their overall sentence structure.

Here is the assignment and an example:

One of the easiest ways to make writing sound more academic is to eliminate first and second person pronouns (I, me, my, mine, we, us, our, ours, your, your). Although finding the instances of first and second person is a snap, rewriting sentences to get rid of these pronouns can be time-consuming at first. The good thing is once writers begin using third person only, they soon become used to it and will write in third-person more often, making revision easier and easier.

Therefore, in this exercise students will write a one paragraph (five to ten sentences long) narrative. The trick is to write the paragraph totally in third person .  Here are some suggestions for the paragraph, but students are not limited to these topics:

a car accident

                      an event during a family vacation

learning to drive or learning to do something else

winning or losing a game

failing or succeeding at school or work

the first day of elementary school, high school or college

any other topic as long as it is a personal narrative

IMPORTANT NOTE: The paragraph should begin with a topic sentence and be no shorter than five sentences and no longer than ten well-developed sentences. Telling a story in such a short time is difficult so narrow the paragraph down to the climax of the narrative. 

Take a look at the following example to get an idea of what I’m looking for:

Example:

Katie and a Horse Named Butterball

Katie only rode him once, but she will never forget riding Butterball through the Grand Tetons. She was nine and a half, on a trip back from California to Alabama with her parents and siblings when the family stopped at a dude ranch in Wyoming for two nights. The owners found out that Katie and her sister loved horses, so they decided to take the family on a trail ride. Everyone was given a horse that seemed to suit each one, except Katie, small and scared, who was put up on Butterball–the biggest, fattest golden palomino gelding anyone ever saw! Katie’s little legs stuck straight out across the horse’s wide back, and at first, she was terrified. However, when she realized that the horse was a gentle giant, she relaxed enough to look down on her older sister and brother, even her parents. That’s when she began to feel much better. As she walked the trails through the glorious mountains in late summer, she saw sights she had never seen before or since–the Grand Tetons early in the morning, a moose cow and her calf drinking by a lake, wild horses led by a buckskin stallion–all while riding high on a horse named Butterball.

This first assignment does not cure students of overusing or inappropriately using first or second person, but it certainly gives them something to consider when they begin the revision process as college students, and for some, knowing where to begin is the start of a whole new way to look at writing.

Next blog post, I will tackle Easy Way #2.

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Caring

writer-605764_640-2I am beginning to put more emphasis in my teaching on caring.

First of all, I want to care more, about how I teach, what I teach, yes, but what I really want to care more about is each and every student–not just the ones who need me most, either. I want to care about them all–the gifted student, the one who seems to have it all together as well as the one who has dissolved into tears in my office. All my students need earnest praise, constructive criticism, encouragement–attention. They deserve it.

I want to care enough to take the time to let the struggling student know what he or she is doing right as well as what needs improvement. It is so tempting to only mark what needs to be improved. I want to care enough to take the time let them know how much I like that creative spark or this interesting fact they found through careful research.

I want to care enough to put away my petty concerns, there are so many, to concentrate on one of the two things I know in my heart I was born to do–teach writing.

Secondly, I want my students to learn to care. When they start caring about their work, amazing things can happen. The process begins when picking a topic. I spend much more time with this part of the process than I ever have before, and I am seeing results.

It isn’t easy for my students to care about writing for a myriad of reasons:

  • They don’t like writing. Many meaningless “busy work” assignments over the years have soured a large number of my students to writing.
  • They don’t think writing is important. Even though my students write all the time in their daily lives, they often don’t see the relevance of learning to communicate well in the written word. Somehow they seem to think they write well enough to be understood and that’s good enough, so why spend time on it, especially if they are going into a STEM career
  • They don’t make time for revision and editing. I am convinced that if students would leave themselves enough time to revise and edit, they would have time to develop, if not a passion for writing, at least a more thoughtful attitude towards it because they would see how caring improves the writing, which begets pride in one’s work, which begets a desire to leave more time for revision and editing. It’s hard to care about something if rushing to keep a deadline.

One tactic I use to instill a little more thoughtful attitude towards writing is to require my freshman composition students to pick a research topic with a local focus. We spend time exploring topics that concern their everyday lives on and off campus. We brainstorm about the issues they care about, which often leads to a willingness to search even harder for solutions to the not so hypothetical questions they are asking.

Doesn’t always work, of course, but for some of my students, learning to care has not only helped them write better papers, but it also has helped them become advocates for change in their communities, making their lives better, too.

***

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The spring/summer 2018 edition of Teach. Write.: A Writing Teachers’ Literary Journal is open for submissions until March 1. See submission guidelines for more information

 

Anti-Higher Education Sentiments Run High These Days

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Iconic Photo from the Cover of Ken Burns’ Civil War Series

“Why do you have to keep paying different lecturers to teach the same course? You get one solid lecturer and put it up online,” Johnson said. “If you want to teach the Civil War across the country, are you better off having, I don’t know, tens of thousands of history teachers, who, you know, kind of know the subject? Or would you be better off popping in 14 hours of Ken Burns’ Civil War tape and having those teachers proctor based on that excellent video production already done? You keep duplicating that over all these different subject areas” (The Denver Channel).

These are the words of U.S. Senator Ron Johnson of Wisconsin (R), who is running for re-election this year, spoken at a Q&A session in Milwaukee last Thursday. He was discussing, not K-12 education as you would think by the comments, but rather ways that we could decrease the costs of a college education.

I hope I don’t insult anyone’s intelligence by pointing out what is wrong with this statement, but I would like to highlight a few words as examples of the continuing anti-intellectual, anti-higher education sentiment that is running rampant in our utilitarian-minded culture.

  1. “Why do you have to keep paying different lecturers…”  Once again, money is at the heart of most conservative moves to re-define higher education. “Education is a privilege, not a right–a privilege that few can afford. Keeping cost down is the primary goal.” Keep in mind that Johnson was not being questioned about K-12 or even community colleges. His suggestion is for keeping costs down at four-year colleges and institutions.
  2. “You get one solid lecturer and put it up online,” Johnson said–Oh, what I, with almost 30 years experience teaching composition, could do with just a few minutes alone with this guy. One thing for sure, he wouldn’t leave my office with this major pronoun problem he’s rocking. I might have a thing or two to teach him about rhetoric, too
  3. “If you want to teach the Civil War across the country, are you better off having, I don’t know, tens of thousands of history teachers, who, you know, kind of know the subject? Or would you be better off popping in 14 hours of Ken Burns’ Civil War tape and having those teachers proctor based on that excellent video production already done?”  Oh my, where to begin?
    • “Tens of thousands of history teachers, who, you know, kind of know the subject?” Did you know, Senator, that only about 1.68% of Americans have PhDs at all and only a little over 2% of those people have Phds in history? (Reference.com). To put that in perspective, consider that a person’s chances are better in landing a position as a professional football player (about 1.9% of football players go pro) than in being granted a doctorate at all much less than in being awarded the highest possible academic credential in the discipline of history (NCAA). These scholars, Senator, deserve better than your flippant derision. They deserve your respect and admiration for contributing to the liberal arts educational tradition that has for so long has kept our country great until it began to be gutted by those searching for the quickest and cheapest way to get the largest of number of people into jobs that pay well enough to keep them quiet but don’t offer much room for advancement–the utilitarian mindset of short-term training programs offering limited choices, rather than robust liberal arts programs offering  opportunities for students to advance in their careers through the stimulation of critical and creative thought–the very life blood of innovation that has heretofore kept our country competitive with the rest of the developed world.
    • Ken Burns, while a brilliant documentary film maker, is not a teacher nor a scholar. He turned down decreased tuition at the University of Michigan to attend Hampshire College, an alternative school, where students are assessed through writing personal narratives and working on a “self-directed” course of study instead of majoring in a subject, like, I don’t know, something that would prepare a person for making historical documentaries, like history, let’s say.
    • Ken Burns’ primary source, cited numerous times in the course of the series, is Shelby Foote. Now I love me some Shelby–that accent is great, and he’s so Southern, but Foote, by his own admission was a novelist first and historian second (“Shelby Foote: The Art of Fiction, No. 158”) When some scholars criticized Foote for leaving out footnotes and other forms of documentation in his work, he said: “I have left out footnotes, believing that they would detract from the book’s narrative quality by intermittently shattering the illusion that the observer is not so much reading a book as sharing an experience” (qtd. in Reddit Ask Historians).
    • But, really, Ronnie, are you serious? “Popping in” a 14-hour video “tape”? To educate millennials, digital natives who live in an educational world filled with  instructional techniques such as gamification, Learning Management Systems like Moodle and Blackboard, math manipulatives, open source software, project based learning and personal learning networks, you need to stay current with technology and contemporary instructional methods–oh, wait, that’s part of a professor’s job. Even in online classes, educators are beginning to recommend only short videos because today’s student, indeed students have always needed, interaction with each other and with their professor in order to truly learn. We have always learned by doing and today’s innovative colleges and universities are moving further and further away from static, passive lectures and long videos to more interaction through the methods mentioned above, along with a myriad of other ever-changing techniques that require ongoing professional development.
  4. “and having those teachers proctor based on that excellent video production already done.”
    • Yes, already done–25 YEARS AGO! Lovingly restored but not otherwise altered, with some questionable and controversial material debated hotly by scholars, especially concerning interviews with novelist and historian Shelby Foote, who died over ten years ago. Where have you been, Ronnie? Certainly not in any college level classroom.
    • Now concerning teachers proctoring “based on that excellent video production.”  Senator, this word proctor, I do not think it means what you think it means. In North America proctor means to monitor students during an examination. What exactly does one do if one proctors based on a video? I think that maybe, just maybe, you mean teach based on the video. Oh, teach what? I thought the old video, shown in high school history classes all over the United States for decades, is the only thing college students needed to further their education about the Civil War. No expert in the Civil War whose job it is to update students on the latest scholarship is needed to bring in other views or expand on important issues or correct mistakes that appear in the film. Of course not.

I’m not bashing the use of film and video in the classroom, not at all.  I use these mediums frequently myself, but not without discussion and critique, not separate from analysis, because documentaries can be biased just like any other literary work, and to think students can learn everything there is to know from one historical viewpoint of any one film, especially one that was first aired in 1990, no matter how popular that film may be, is a very poor way to educate anyone. (BTW, Ronnie, we don’t use tapes anymore–most of us don’t even use DVDs. Where ya been?) Ken Burns himself implies in an interview coinciding with the recent restoration and updating of his classic documentary, that history, like any discipline, progresses and morphs as time goes on–our vision of it changes: “ The Civil War made us what we became, that is true. But we are in the process of becoming always” Burns said. “The Civil War …is not only still going on, it still can be lost, which is a hugely important thing” (qtd in Rosenberg).

However, the use of video in the classroom, no matter what the form, is not really Ronnie’s point is it? Perhaps he isn’t even too concerned about paying for education, since it is more of a function of the states rather than the federal government and is a relatively small expense compared to Social Security, Medicare and military spending (National Priorities Project). What he is truly expressing is his contempt for higher education–his belief that intellectuals are somehow suspect because they tend to disagree with his political opinions and are known for seeking and demanding their personal, intellectual and academic freedom.

Oh, one last thing, Senator, it’s a bit ironic that you champion Ken Burns’ work–a liberal who has donated thousands of dollars to the democratic party and has broken his n0n-partisan public persona to denounce republican presidential candidate Donald Trump. Huh, funny what a few research skills learned in college can do for a person.

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!!

 

 

 

Chicago Follow Up

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The Bean–Chicago (chicagotraveler.com)

Finally getting back to my blog after a busy, busy spring break and catching up with my classes. I wanted to take some time to talk about some of the great books, monographs, white papers and other materials I collected while I was in Chicago. Here’s just a few of the things I brought back for my colleagues and me:

  • Understanding Cultural Diversity in a Complex World by Dr. Leo Parvis. I went to Dr. Parvis’s session on cultural diversity and it was quite inspiring. Dr. Parvis shows what dedication and enthusiasm can do. He has built up the cultural diversity at his college–Dunwoody Community College in Minnesota–from practically nothing to its current healthy mix of cultures. His book examines some of his most successful ideas.
  • Toward a New Ecology of Student Success: Expanding and Transforming Learning Opportunities Throughout the Community College by Dr. Jim Rigg. I went to Dr. Rigg’s session mainly out of curiosity since I entered the monograph competition that I had applied for and he won. He sure deserved to! His monograph is a well-researched and persuasive argument for “The Emerging/Transformative Cognitive Frame” (9) approach to student learning that he claims will lead students “toward becoming life long learners” (10). On improving retention, Riggs says, “Numerous studies on improving persistence rates and increasing student success point out the importance of having a rigorous academic curriculum and an engaging and nurturing campus environment” (7). So much of what he says in the books echoes my own views and the views of many of my colleagues. It’s nice to have validation as well as numerous great ideas I hope to share with our president before too long.
  • Bread and Roses: Helping Students Make a Good Living and Live a Good Life by Dr. Terry O’Banion, President Emeritus of the League for Innovation in Community Colleges. This excellent monograph makes the case for what the author calls “Essential Education,” one that combines the best of Liberal Arts education (the rose) with Workforce education (the bread). He says, “We need a practical liberal arts and a liberal career education” (25). One of my favorite quotes in the book comes from Tyton Partners, an educational advisory firm in Boston, “Foundational, lifelong skills, such as critical thinking, teamwork and collaboration, and problem solving are climbing to the top of employers wish lists [….] Ultimately, integration in this area should bridge academic and applied education and skills expectations across institutions” (24). Excellent and informative reading with practical steps for implementing an Essential Education.
  • Numerous white papers, briefs and monographs from the Community College Research Center at Cornell University. A few of the titles are
    • “Using Technology to Reform Advising: Insights from Colleges” I met and talked to the young man who wrote this white paper, Jeffrey Fletcher.
    • Track Transfer: New Measures of Institutional and State Effectiveness in Helping Community College Students Attain Bachelor’s Degrees by Davis Jenkins and John Fink
    • “Improving Assessment and Placement at Your College: A Tool for Institutional Researchers” by Clive R. Belfield
    • “What We Know about Online Course Outcomes” by Shannon Smith Jaggers, et, al.
    • “Increasing Access to College-Level Math: Early Outcomes Using the Virginia Placement Test” by Olga Rodriguez
    • “What We Know About Guided Pathways” by Thomas Bailey, et al.

These are just a few of the materials I gathered on my recent trip to the League for Innovation in Community College’s Conference in Chicago. It was a great conference. I look forward to sharing this material with my colleagues when we all get a breather. Might not be until after grades are turned in.

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