Writers: Craft & Context
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Published By University Of Oklahoma Libraries

2688-9595

2021 ◽  
Vol 2 (2) ◽  
pp. 10-16
Author(s):  
Paula Schumacher
Keyword(s):  

This article describes the research process involved in writing novels that provide historical contexts, materials, and characters. Writers will find this piece both humorous and helpful when considering all the planning needed to map out a novel.


2021 ◽  
Vol 2 (2) ◽  
pp. 3-5
Author(s):  
Rita Malenczyk
Keyword(s):  

It’s hard for me to talk in any kind of brief, definitive way about what this essay is. If pressed (which I sort of am now) I’d say that it’s a reflection on coming to terms with what is possibly the most terrible thing that can happen to a parent, and doing so while one is a teacher, scholar, and writer. It is also, for me, a way of moving forward, of memorializing my son while trying to find meaning in the things I’ve always done but which have changed in their significance now, in ways I’m not yet sure I can name.


2021 ◽  
Vol 2 (2) ◽  
pp. 17-29
Author(s):  
Genesea Carter

In this personal essay and research article mash-up genre, I reflect on my Humans of the University of Wisconsin-Stout first-year composition Facebook assignment, which was developed to teach my predominately white students about the diversity of everyday experiences. I share with readers how my positionality, as a former evangelical Christian Republican who left Christianity and became a liberal progressive a few years before this assignment, and the context of my university, a predominately white, midwestern polytechnic university, shaped my assignment design. I include Humans of UW-Stout Facebook stories, corresponding student reflections and homework, and my own personal reflection on the curriculum to empower instructors to teach diversity-focused FYC assignments and to inspire instructors to reflect upon how their own political and religious beliefs shape their curriculum.


2021 ◽  
Vol 2 (2) ◽  
pp. 36-41
Author(s):  
Shenita Denson

[To predominantly white institutions:] Whose responsibility is it to make our Black community feel like their lives matter here, and what are we purposefully and creatively doing about it [every day] to live up to it? Reflecting critically on my own intimate experiences as a Black doctoral student, college lecturer, and former student affairs professional in predominantly white spaces, I share an insightful review of Louis M. Maraj’s (2020) riveting new book, Black or Right: Anti/Racist Campus Rhetorics. Based on the title, I initially expected Black or Right to be some sort of a guidebook to help campuses learn how to refrain from using racist language in their marketing, programming, classrooms, and ways of interacting with campus constituents and community partners. I speculated that it would teach these same folx how to make Black faculty, staff, and students feel welcomed and equal instead of anxious and hyperaware. I thought about the white colleagues [and students] I could pass this text on to, with the accompanying note, “You might like this!,” which really means, “You need this.” Sigh. While Black or Right is not a guidebook on how to eliminate racist language on college campuses or an explicit outline for how to embrace the Black members on them, it is a beautiful piece of choreographed words that illustrates, examines, and disrupts how decolonized ways of writing, storytelling, and ways of being, teaching, and communicating on college campuses confronts, strategizes, calls out/in, and proclaims notions of Blackness in anti-Black spaces. I argue that this type of work is far more important than a Black person writing another book to teach white people how to talk to and treat us. Black or Right pays homage to and educates readers on the Black academy’s social justice pioneers, whose trailblazing paths and research encourage us to keep running in this race and reminds us we are dynamic. Courageously accepting the baton to complete the next leg, Maraj empowers and pushes us to run alongside him through his creative ability to discuss these topics through literary events, discussions, and assignments he has created in his own safe space, in his classroom. Brother Maraj, thank you for bringing your whole self, multiple identities, and diverse lived experiences to this text. In the spirit of your mother who allowed you to leave the islands to come to the US for greater opportunities - this book is a manifestation of her knowing your worth. Thank you for writing this fascinating piece that reminds us to never forget our worth, to demand our respect, and for educating and engaging all people in this necessary dialogue. Black is right. Black is right. Black is right. But Black folx are always protesting. Dear Brothers and Sisters, never forget: We always mattered.


2021 ◽  
Vol 2 (2) ◽  
pp. 30-35
Author(s):  
Sarah Keeton

In this critical personal narrative Keeton explores how identity is negotiated at the site of their Black, queer body. They use autoethnography as a method to record their lived experiences in the context of the social, cultural, and political world. This writing explores their experiences with the education system and how their identities and experiences have influenced how they interact with the world, their perception of self, and their relationship with writing. Throughcritical reflection, Keeton describes how embodying an ethic of love and experiencing supportive role models within the education system allowed them to resist racist indoctrination and find their way to embodying healing and black self-love.


2021 ◽  
Vol 2 (2) ◽  
pp. 1-2
Author(s):  
Sandra Tarabochia ◽  
Aja Martinez ◽  
Michele Eodice

2021 ◽  
Vol 2 (2) ◽  
pp. 6-9
Author(s):  
Lisa Lebduska

This is a creative non-fiction essay that explains why the writer rejects the aphoristic advice given to so many writers: "kill your darlings."


2021 ◽  
Vol 2 (1) ◽  
pp. 4-9
Author(s):  
Amy Robillard

An act of aggression by my nine-year-old dog triggers me to contemplate the relationship among touch, communication, and violence during a pandemic. More specifically, after I let her run (illegally) off-leash at a park near my home, my dog, Essay, attacked another dog for what seemed like no reason. I was horrified, and, having grown up in an abusive home, had to come to terms with being on the other side of an attacker/victim dynamic while I waited to hear whether the other dog would be okay. This prompts me to consider what it means to control our dogs, whether words can touch us when we cannot touch one another, and what it means to be a good person during a pandemic.


2021 ◽  
Vol 2 (1) ◽  
pp. 41-51
Author(s):  
Katie Marya

This dialogue between Katie Marya and David Winter reflects on A Yellow Silence, a collaborative, sonic, intertextual, outdoor art installation based primarily on the poetry of Alejandra Pizarnik, which Marya created with architects Hilary Weise and Holly R. Craig. Winter participated in the audio recording of texts for the project. Here, Marya and Winter use feminist theory to construct a conversation around the use of silence in this public art piece, and they explore the nature of their own lives in the process of creating it. A Yellow Silence originally showed on Centennial Mall in Lincoln, Nebraska as a part of the Lincoln PoPs: Global Frequencies public art exposition in the fall of 2019. This dialogue is intentionally formatted without name markers as a way to disrupt normative assumptions about identity and authorship, and to reflect the fluidity that existed as Marya and Winter talked and wrote. This formal choice was based on Haneen Ghabra and Bernadette Marie Calafell’s essay “From failure and allyship to feminist solidarities: negotiating our privileges and oppressions across borders.


2021 ◽  
Vol 2 (1) ◽  
pp. 59-67
Author(s):  
Pauline Baird

In traditional Caribbean villages, the bell crier made important announcements from street to street. People listened and carried the news further. Like the proverbial bell crier, Milson-Whyte, Oenbring, and Jaquette, along with fourteen contributors announced “We are here. And we doin’ dis—‘write [ing] our way in” to academic spaces (Creole Composition, 2019, p. x). Creole Composition provides current perspectives on post-secondary composition pedagogy, academic literacies, and research across multiple academic disciplines. Indeed, this intersectionality addresses Browne’s (2013) argument that Caribbean vernacular orientations and practices fly beneath the radar of the discipline of Rhetoric and Composition. Caribbean institutions of higher learning must embrace Caribbean students’ creole-influenced languages.


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