What Do We Mean, College Writing?

Like me, both of my guests on today’s episode are lecturers in the Rhetoric and Composition program at Appalachian State University in Boone, North Carolina. At App State, we have what is called The Vertical Writing Curriculum, which is a series of four required writing courses for students. The first-year course is called RC 1000 Expository Writing and the second year course is called RC 2001 Writing Across the Curriculum. Each of my guests coordinates one of those required courses.

  • Ben Good coordinates the RC 1000 Expository Writing courses
  • Kelly Terzaken coordinates the RC 2001 Writing Across the Curriculum courses
Audio version above and also in Podcast App of iPhone. Search for: Torg Stories Podcast

We begin this episode by discussing the problematic nature of the phrase, “college writing” and then we begin to work our way through a discussion of the course goals and outcomes for both Expository Writing and Writing Across the Curriculum. We also reference the Writing Across the Curriculum office and the Conference on College Composition and Communication (CCCC) position statement about the teaching of writing.

I’d love to hear from you with comments or questions about your own ideas related to the notion of college writing. Thanks so much for checking out the podcast!

Rules for Writing

To start off classes this semester, I had the students sit in groups of five. This meant 5 tables of 5 students each. I asked the students to list each member of their group on the board as well as a detail that might help us to get to know them. After they finished doing that, they listed five “Rules For Writing” that they believed in or had been taught to them in previous classes.

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college writing, composition, rules for writing, teaching, pedagogy, writing studies, St. John's University, Bill Torgerson, English, NCTE, CCCC, ENGCHAT, FYCChat

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Next, each group read a different text written by a writer about writing. On the first day, I used these texts/excerpts:

  • Black Boy by Richard Wright.
  • “Shitty First Drafts” by Anne Lamott
  • Life by Keith Richards
  • Ex Libris by Anne Fadiman
  • “Unlearn to Write” by Donald Murray

The students read the excerpt out loud and answered the following four questions:

  1. What is the writer’s message about writing?
  2. What are some “golden lines” that you think are worth talking about?
  3. How can you apply the ideas here to your own writing?
  4. Does any of what this writer says about writing cause you to rethink any of your own Rules For Writing?

When each group was finished, I counted off by fives at each table. Students moved to a new table and presented the text they had just read to students who had read something different. I want to thank St. John’s University doctoral student Katelynn DeLuca for reminding me about this “jigsaw” method of getting students to move around the room.

In the coming weeks, students will be reading and commenting on texts written by writers about writing. This exercise was a way for all of us to begin to get to know each other and for the students to get acquainted with some of the choices they have for their reading this semester.

 

The DJ as Modern Day Storyteller: Talking About Adam Banks’ Digital Griots

So you think your iPhone, some computer in the classroom, or the Blackboard online platform is just some neutral tool?  In this week’s episode of the READ, WRITE, & TEACH digital book club, I was joined by my colleagues Carmen Kynard and Roseanne Gatto so that we could discuss our reading of Adam J. Banks’ Digital Griots:  African American Rhetoric in a Multimedia Age.  It’s a book that interests me because as a writer and teacher who hopes to be professionally relevant in the years to come, I believe it’s important to be able to speak into digital spaces.  Early in the podcast Roseanne points us to these lines where Banks describes one of the goals of his text:

This book looks to scratch, to interrupt, to play a while in the grooves of two records–disciplinary conversations about African American rhetoric and those about multimedia writing–to begin to blend and loop them while posing one question:  how can African American rhetorical traditions and practices inform composition’s current endeavors to define, theorize, and practice multimedia writing? 

Adam Banks Digital Griots Kynard Sirc Rice Torgerson Gatto

Digital Griots by Adam Banks

Digital Griots is a call to action for every teacher who isn’t working to enable students  to enter into the digital space in a meaningful way.  This is a text that connects the role of the African griot storyteller to the role of the modern day DJ.  In this podcast you’ll meet my colleague Carmen, who is the director of First Year Writing at St. John’s University.  Carmen is mentioned several times in Digital Griots, including a reference to her article, “Wanted:  Some Black Long Distance [Writers]:  Blackboard Flava Flavin and other Afrodigital Experiences in the Classroom.”

My fellow composition teacher Roseanne wonders if as a white lady she’s got any business bringing a Jay-Z text into the classroom or teaching a hip hop themed course.   She also tells a pretty funny story about the time she and her friend went to a Buju Banton concert and were pretty much the only white people there.  (don’t worry if you don’t know Buju’s stuff; I didn’t either)  I’ll save the “punch line” to the story for those of you who listen to the podcast.  🙂

Roseanne and Carmen join Banks’ in his “playful” challenge of Geoffrey Sirc and Jeff Rice.  Banks writes, “And while I see value in both Rice’s and Sirc’s arguments in favor of the ability to play freely in texts and techniques in the writing classroom, their desire to lift, sample, and loop concepts from black traditions freely for their their mere applicability without concern for the culture or context that produced them, the mixtape as rhetorical practice offers composition pedagogy and digital writing theory far more than a whimsical pursuit of the cool.”

Banks’ primary objection is stated here:  “Now how Rice is able to claim that he “invented” a rhetoric of something, much less a rhetoric of the cool (Rhetoric of Cool 5, 113), given Fab’s description and many of the texts he himself cites, I have no idea, though the various traditions he links together in his study of cool help make the book an intriguing one.  My playful rib aside…”  (118-119).  This is a section of the book that Carmen brings into our discussion.

As for myself, Banks’ Digital Griots furthers my understanding of what a POWERPLAY literacy can be.  Language can be used to access power; of course language can be used to oppress and control.  For all the reasons you understand that it’s important to read and write, those same reasons can be applied toward an understanding of how important it is for a writing teacher to help others into digital spaces where they can be heard.

If you’re a teacher or student, I’d like to hear from you about how technology is or is not being used in your classroom.  Do you see technology as a neutral tool that does what you want it to, or do you think that the tool has a lot embedded in it that seeks to direct  or influence you?  If you’re a technology user, especially in a classroom or literacy program, how much of the conversation in Digital Griots is ongoing in the spaces you inhabit?

Thanks to Roger D and C Milli for providing the music!

Some links that might interest you:

You can link to the podcast here or

you can search “Digital Book Club” on iTunes.

Thanks for reading!