If you’re not enjoying what you’re grading, maybe the problem lies in the assignment. I think I’m right in attributing this provocation to Paul Hanstedt, either during a faculty development talk he gave here or on a long-ago Facebook post, but at any rate, it was electrifying, and resulted in real changes in my course design. I still teach writing genres that any English professor would recognize: close-reading, motif-tracing, proposal, annotated bibliography, research essay, response paper, etc. Those genres are part of what my students need to learn and practice to succeed in their coursework, and, in some cases, their graduate school applications.
But underlying those genres are much more important skills people need for the rest of their lives: how to analyze nuances of language in a poem, a piece of legislation, or a comedian’s unconvincing apology; how to make evidence-based arguments in Philosophy papers, op-eds, or grant proposals; how to explore unfamiliar intellectual terrain through research, then cite reliable sources when mapping it. Another set of goals that may be more idiosyncratic to poet-scholars like me: I want my students to think hard about what they like in literature, versus accepting what they’re told is admirable. I certainly have my own tastes to advocate for in the classroom and elsewhere, but in an ongoing way, we all ought to accept challenges to our literary prejudices and keep trying to articulate what’s great about books we love. This is what passionate readers do, and I want my former students to remain passionate readers, no matter their day jobs.
So with all this in mind, I set up three writing assignments for my seminar this term on British and Irish Poetry since 1900 (not including response papers and a scansion or two). The October essay, on modernism, was of a conventional variety, requiring close-reading of poetry in service of a literary argument. The December essay, on twenty-first-century poetry, will be a review of a single contemporary collection–another important academic genre, but requiring evaluative as well as analytic moves.
The November assignment was the weird one, cooked up in part by W&L Associate University Librarian Jeff Barry, who has been working on a variety of Special Collections materials related to Shenandoah at mid-century, including correspondence with Ezra Pound from one of the magazine’s earliest editors, Tom Carter. In between seminar meetings on Auden, Larkin, Thomas, Smith, Heaney, Bennett, and other wonderful poets, we brought the students in to examine an array of rare old mid-century magazines. They also read old issues of Shenandoah, not yet digitized but in the stacks.
Then they had to cook up a mid-century literary journal of their own–perhaps with a transatlantic reach, but based in England, Ireland, Scotland, or Wales. They produced eight folio pages of their imaginary magazine, including title, mission, masthead, table of contents, and the first few pages of poetry. Finally, a reflective essay about the process was required, including bibliographical information on at least three journals they had studied for inspiration. Most of them read other materials, too, to learn about corners of the literary scene and locate poets from beyond the syllabus.
I’m convinced, as I read the products, that my students did illuminating research and learned a few things about periodicals, mid-century British history and culture, and even about fonts. They collected work from writers whom they and I had never read before. They also remedied my syllabus, finding materials of pressing interest to each of them that I had not included: more women writers, more poets of the African diaspora, more verse about war and cities and animals and the Welsh landscape.
I have to say, they’re really fun to grade.
Onto reading applications for the Shenandoah editorship, thinking about a real magazine’s possible new directions, which, though time-consuming, is fun, too. I also hope to post in coming weeks about some digital storytelling students are doing in my other class. Meanwhile, here‘s a guest blog from me that StoryCenter just posted, about how and why I took a workshop in digital storytelling last summer. I’ve got a hankering to try making another videopoem, but first: cranberry sauce.
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
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