EAP Adjunct List

Here is a list of the EAP adjuncts (http://www.jccc.edu/globalenglish/faculty-list.html).

Dawn Aronoff
Adjunct Assoc. Professor, Global Engl. Inst.

Kate Austin
Adjunct Assoc. Professor

Jennifer Chung
Adjunct Asst. Professor

Linda Fargus
Adjunct Assoc. Professor, Reading & Global Engl. Inst.

Annie Gray
Adjunct Professor, Global Engl. Inst.

John Hewitt
Adjunct Assoc. Professor

Rebecca Kastendick
Adjunct Asst. Professor, Global Engl. Inst.

Ella Lytchnikova
Adjunct Assoc. Professor, Global Engl. Inst.

Maritza Paul Newby
Adjunct Assoc. Professor, Global Engl. Inst.

Emily Nguyen
Adjunct Assoc. Professor

Susan Peters
Adjunct Assoc. Professor

Ann Phillips
Adjunct Professor, Global Engl. Inst.

Mariella Rainwater
Adjunct Assoc. Professor, Global Engl. Inst. & Reading

Victoria Springer
Adjunct Asst. Professor

Shannon Tumanut
Adjunct Assoc. Professor, Global Engl. Inst.

Suzanne Woodward
Adjunct Professor, Global Engl. Inst.

 

 

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College Scholar Application

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Purpose:  To showcase faculty excellence in research fields that go beyond the classroom to make scholarly contributions to knowledge within the professor’s academic discipline; in particular:
All applicants must demonstrate evidence of expertise within their academic disciplines relevant to the topic being proposed
These may include publications or articles about the faculty member’s work in refereed journals, international, national, or regional recognition, or other venues
Applicants must provide two letters of recommendation from scholars outside of JCCC who can testify to the significance of their research in their larger academic discipline
Available to:  All faculty members (successful applicants must wait one year before applying again, and must apply with a different topic)
Nomination/Application:  College Scholars Program
Submit to:  Staff and Organizational Development GEB 275, Box 43
Deadline:     April 11
Approval:     Review by the College Scholars committee,  who may weigh factors such as general interest, timeliness, relevance of topic, and representational qualities of the presentations in totality in making its decision.
Obligations/Awards
Recipients must deliver two presentations, both of which must deliver information or research-in-progress beyond the normal pedagogical content of a JCCC course:
One evening lecture in which the topic is tailored for a general audience
One daytime presentation tailored for students, faculty, and staff
Recipients  must either visit two classes as an invited guest, or lead a faculty seminar/colloquium in consultation with Staff and Organizational Development
The public presentations and class visits (or faculty seminar) should focus on a topical theme to be explained in the application
Recipients  are expected to help promote their presentations, arrange for their own class visits, and work with the College Scholars committee to coordinate all other details, with assistance from the Staff and Organizational Development department
Each recipient will receive a total award of $2000 (if the applicant can prove financial need related to the completion of the project, half will be awarded at the end of the spring semester, the other after the applicant has completed his/her presentations)
Plaque and recognition at the Annual Awards Luncheon for up to four (4) annual recipients
Recipients must participate on the College Scholars committee during the following program cycle
Funding Source:  Staff & Organizational Development Budget
Additional Information:  Staff and Organizational Development, staffdev.dept@jccc.edu or ext. 7654 
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Habits of Creative Folks

18 Things Highly Creative People Do Differently
http://www.huffingtonpost.com/2014/03/04/creativity-habits_n_4859769.html
Carolyn Gregoire  3/4/12
[Carolyn Gregoire is a features editor at the Huffington Post. She has spoken at TEDx and the Harvard Public Health Forum, and appeared on MSNBC and The TODAY Show. She graduated from McGill University in Montreal, where she studied philosophy and English literature.]
Creativity works in mysterious and often paradoxical ways. Creative thinking is a stable, defining characteristic in some personalities, but it may also change based on situation and context. Inspiration and ideas often arise seemingly out of nowhere and then fail to show up when we most need them, and creative thinking requires complex cognition yet is completely distinct from the thinking process.
Neuroscience paints a complicated picture of creativity. As scientists now understand it, creativity is far more complex than the right-left brain distinction would have us think (the theory being that left brain = rational and analytical, right brain = creative and emotional). In fact, creativity is thought to involve a number of cognitive processes, neural pathways and emotions, and we still don’t have the full picture of how the imaginative mind works.
And psychologically speaking, creative personality types are difficult to pin down, largely because they’re complex, paradoxical and tend to avoid habit or routine. And it’s not just a stereotype of the “tortured artist” — artists really may be more complicated people. Research has suggested that creativity involves the coming together of a multitude of traits, behaviors and social influences in a single person.
“It’s actually hard for creative people to know themselves because the creative self is more complex than the non-creative self,” Scott Barry Kaufman, a psychologist at New York University who has spent years researching creativity, told The Huffington Post. “The things that stand out the most are the paradoxes of the creative self … Imaginative people have messier minds.”
While there’s no “typical” creative type, there are some tell-tale characteristics and behaviors of highly creative people. Here are 18 things they do differently.
They daydream.
Creative types know, despite what their third-grade teachers may have said, that daydreaming is anything but a waste of time.
According to Kaufman and psychologist Rebecca L. McMillan, who co-authored a paper titled “Ode To Positive Constructive Daydreaming,” mind-wandering can aid in the process of “creative incubation.” And of course, many of us know from experience that our best ideas come seemingly out of the blue when our minds are elsewhere.
Although daydreaming may seem mindless, a 2012 study suggested it could actually involve a highly engaged brain state — daydreaming can lead to sudden connections and insights because it’s related to our ability to recall information in the face of distractions. Neuroscientists have also found that daydreaming involves the same brain processes associated with imagination and creativity.
They observe everything.
The world is a creative person’s oyster — they see possibilities everywhere and are constantly taking in information that becomes fodder for creative expression. As Henry James is widely quoted, a writer is someone on whom “nothing is lost.”
The writer Joan Didion kept a notebook with her at all times, and said that she wrote down observations about people and events as, ultimately, a way to better understand the complexities and contradictions of her own mind:
“However dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable ‘I,'” Didion wrote in her essay On Keeping A Notebook. “We are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its marker.”
They work the hours that work for them.
Many great artists have said that they do their best work either very early in the morning or late at night. Vladimir Nabokov started writing immediately after he woke up at 6 or 7 a.m., and Frank Lloyd Wright made a practice of waking up at 3 or 4 a.m. and working for several hours before heading back to bed. No matter when it is, individuals with high creative output will often figure out what time it is that their minds start firing up, and structure their days accordingly.
They take time for solitude.
“In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone,” wrote the American existential psychologist Rollo May.
Artists and creatives are often stereotyped as being loners, and while this may not actually be the case, solitude can be the key to producing their best work. For Kaufman, this links back to daydreaming — we need to give ourselves the time alone to simply allow our minds to wander.
“You need to get in touch with that inner monologue to be able to express it,” he says. “It’s hard to find that inner creative voice if you’re … not getting in touch with yourself and reflecting on yourself.”
They turn life’s obstacles around.
Many of the most iconic stories and songs of all time have been inspired by gut-wrenching pain and heartbreak — and the silver lining of these challenges is that they may have been the catalyst to create great art. An emerging field of psychology called post-traumatic growth is suggesting that many people are able to use their hardships and early-life trauma for substantial creative growth. Specifically, researchers have found that trauma can help people to grow in the areas of interpersonal relationships, spirituality, appreciation of life, personal strength, and — most importantly for creativity — seeing new possibilities in life.
“A lot of people are able to use that as the fuel they need to come up with a different perspective on reality,” says Kaufman. “What’s happened is that their view of the world as a safe place, or as a certain type of place, has been shattered at some point in their life, causing them to go on the periphery and see things in a new, fresh light, and that’s very conducive to creativity.”
They seek out new experiences.
Creative people love to expose themselves to new experiences, sensations and states of mind — and this openness is a significant predictor of creative output.
“Openness to experience is consistently the strongest predictor of creative achievement,” says Kaufman. “This consists of lots of different facets, but they’re all related to each other: Intellectual curiosity, thrill seeking, openness to your emotions, openness to fantasy. The thing that brings them all together is a drive for cognitive and behavioral exploration of the world, your inner world and your outer world.”
They “fail up.”
Resilience is practically a prerequisite for creative success, says Kaufman. Doing creative work is often described as a process of failing repeatedly until you find something that sticks, and creatives — at least the successful ones — learn not to take failure so personally.
“Creatives fail and the really good ones fail often,” Forbes contributor Steven Kotler wrote in a piece on Einstein’s creative genius.
They ask the big questions.
Creative people are insatiably curious — they generally opt to live the examined life, and even as they get older, maintain a sense of curiosity about life. Whether through intense conversation or solitary mind-wandering, creatives look at the world around them and want to know why, and how, it is the way it is.
They people-watch.
Observant by nature and curious about the lives of others, creative types often love to people-watch — and they may generate some of their best ideas from it.
“[Marcel] Proust spent almost his whole life people-watching, and he wrote down his observations, and it eventually came out in his books,” says Kaufman. “For a lot of writers, people-watching is very important … They’re keen observers of human nature.”
They take risks.
Part of doing creative work is taking risks, and many creative types thrive off of taking risks in various aspects of their lives.
“There is a deep and meaningful connection between risk taking and creativity and it’s one that’s often overlooked,” contributor Steven Kotler wrote in Forbes. “Creativity is the act of making something from nothing. It requires making public those bets first placed by imagination. This is not a job for the timid. Time wasted, reputation tarnished, money not well spent — these are all by-products of creativity gone awry.”
They view all of life as an opportunity for self-expression.
Nietzsche believed that one’s life and the world should be viewed as a work of art. Creative types may be more likely to see the world this way, and to constantly seek opportunities for self-expression in everyday life.
“Creative expression is self-expression,” says Kaufman. “Creativity is nothing more than an individual expression of your needs, desires and uniqueness.”
They follow their true passions.
Creative people tend to be intrinsically motivated — meaning that they’re motivated to act from some internal desire, rather than a desire for external reward or recognition. Psychologists have shown that creative people are energized by challenging activities, a sign of intrinsic motivation, and the research suggests that simply thinking of intrinsic reasons to perform an activity may be enough to boost creativity.
“Eminent creators choose and become passionately involved in challenging, risky problems that provide a powerful sense of power from the ability to use their talents,”write M.A. Collins and T.M. Amabile in The Handbook of Creativity.
They get out of their own heads.
Kaufman argues that another purpose of daydreaming is to help us to get out of our own limited perspective and explore other ways of thinking, which can be an important asset to creative work.
“Daydreaming has evolved to allow us to let go of the present,” says Kaufman. “The same brain network associated with daydreaming is the brain network associated with theory of mind — I like calling it the ‘imagination brain network’ — it allows you to imagine your future self, but it also allows you to imagine what someone else is thinking.”
Research has also suggested that inducing “psychological distance” — that is, taking another person’s perspective or thinking about a question as if it was unreal or unfamiliar — can boost creative thinking.
They lose track of the time.
Creative types may find that when they’re writing, dancing, painting or expressing themselves in another way, they get “in the zone,” or what’s known as a flow state, which can help them to create at their highest level. Flow is a mental state when an individual transcends conscious thought to reach a heightened state of effortless concentration and calmness. When someone is in this state, they’re practically immune to any internal or external pressures and distractions that could hinder their performance.
You get into the flow state when you’re performing an activity you enjoy that you’re good at, but that also challenges you — as any good creative project does.
“[Creative people] have found the thing they love, but they’ve also built up the skill in it to be able to get into the flow state,” says Kaufman. “The flow state requires a match between your skill set and the task or activity you’re engaging in.”
They surround themselves with beauty.
Creatives tend to have excellent taste, and as a result, they enjoy being surrounded by beauty.
study recently published in the journal Psychology of Aesthetics, Creativity, and the Arts showed that musicians — including orchestra musicians, music teachers, and soloists — exhibit a high sensitivity and responsiveness to artistic beauty.
They connect the dots.
If there’s one thing that distinguishes highly creative people from others, it’s the ability to see possibilities where other don’t — or, in other words, vision. Many great artists and writers have said that creativity is simply the ability to connect the dots that others might never think to connect.
In the words of Steve Jobs:
“Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things.”
They constantly shake things up.
Diversity of experience, more than anything else, is critical to creativity, says Kaufman. Creatives like to shake things up, experience new things, and avoid anything that makes life more monotonous or mundane.
“Creative people have more diversity of experiences, and habit is the killer of diversity of experience,” says Kaufman.
They make time for mindfulness.
Creative types understand the value of a clear and focused mind — because their work depends on it. Many artists, entrepreneurs, writers and other creative workers, such as David Lynch, have turned to meditation as a tool for tapping into their most creative state of mind.
And science backs up the idea that mindfulness really can boost your brain power in a number of ways. A 2012 Dutch study suggested that certain meditation techniques can promote creative thinking. And mindfulness practices have been linked withimproved memory and focusbetter emotional well-being, reduced stress and anxiety, and improved mental clarity — all of which can lead to better creative thought.
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Archive 9-12-13

The header is a section of a painting posted on DailyPainters.com
Blog Updated: September 12, 2013
Schedule of Campus-wide Meetings Important to English

• A Joyful Social Note: 

Sophia Rose Buchwitz, the very new granddaughter of Prof. Steve Gerson, was born 9/9/13, at 6:19 a.m.
7 lb., 4 oz., 18 inches tall.

Sophia Asleep Day 1

Steve’s haiku in celebration of this event:
Sophia’s Song
Loveshine blooms a rose,
Bud swaddled in branch embrace,
A flowering dream.
• A Community College Professor’s Life:
During the semester, various members of the Division of English and Journalism will share their thoughts on our profession:
Essay 5: Nathan Jones: Finding a Better Place (9/11/13)
 Essay 4: Andrea Broomfield: The First Week Out (8/28/13)
Essay 3:  Keith Geekie: Thoughts on Knots (8/28/13)
 Essay 2: Mark Browning:  Nickeled and Dimed to Life (8/26/13)
 Essay 1: Andrea Broomfield: Before the Semester Begins (8/15/13) 

• Gribbon Lecture at Labette Community College, Oct. 4

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The Gribbon Lecture is Friday, October 4, 2013.  The guest speaker is Dr. Chris Thaiss of the University of California at Davis.  The title of  his presentation is “Writing for Transfer: Increasing Student Motivation and Preparing Students for Present and Future Needs.”
For more information on the lecture click here.

• A Shakespeare performance Recommendation from Steve, The Shakespeare Guy

Starting next Friday (9/20), Great Performances on PBS will be broadcasting The Hollow Crown, new productions of Shakespeare’s Richard II, Henry IV parts I and II, and Henry V. They actually used some scenes from these productions in last spring’s Shakespeare Uncovered, if you happened to catch that. I know not all of us are sitting at home on Friday nights, hoping for something Shakespeary, but it looks excellent:

http://www.pbs.org/wnet/gperf/episodes/the-hollow-crown-shakespeares-history-plays/about-the-series/1747/

Steve

• Distinguished Service Award Application Due October 15

Nomination/Application:  Distinguished Service Award
For Additional Information:  Staff and Organizational Development, staffdev.dept@jccc.edu or ext. 7654

• Kayla is back!

Kayla, our Federal Works Study student from last year, has returned.
Her hours will be M/W/F 8:00 – 10:00; T/R 8:00 – 9:00; noon – 2:00.

• Desire2learn Training Opportunities

You can sign up for classes from this page: http://tinyurl.com/d2l-train

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• Conversation Partners Program in EAP 

conversation partners 1

 See the sign-up form here

• Creative Writing Readings are coming up!
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The remaining campus readings this semester are:
Wednesday, October 30, 12:00-12:50, COM 319, with host Danny Alexander
Wednesday, November 20, 12:00-12:50, COM 319, with host Matthew Schmeer

• Booktalk Meets Friday, September 27

Friday, September 27 – Garden of the Evening Mists by Tan Twan Eng

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• JCCC Helps with Stop Hunger Now Campaign

On September 27, JCCC will team up with Stop Hunger Now (SHN) to package a goal of 20,000 highly nutritious meals, which SHN will send to their international distribution partners.
logo-stop-hunger-now

 

Volunteers are needed to help package and load meals!
Friday, September 27, 2013
10 a.m. – 12 p.m.
Hospitality and Culinary Academy
Johnson County Community College
Overland Park, KS
Sign up as an individual or a team. Volunteer shifts are one hour; sign up for one or both! Registrants will be informed after the event as to which of SHN’s international distribution partners received JCCC’s packaged meals.
You can also donate to JCCC’s SHN meal packaging fundraiser! At only 25 cents a meal, $5 will feed 20 people!
Snacks will be provided for volunteers by Campus Life!

Sign up and/or donate!
Or 
donate funds or a requested food item to JCCC’s Food Pantry!

• Mark Your Calendars:  Greater Kansas City Japan Festival October 5 

japan festival 2013

At JCCC.  See Photos from last year: http://www.kcjapanfestival.com/photos/

• Teaching Volunteers Sought for the NCTE: National Day of Writing: October 20, 2013 

Maureen reports that the English Department is still looking for people who might be interested in giving a mini-writing workshop with a short, fun writing exercise on Monday, October 21st. Times are flexible.
If you haven’t looked at the academic calendar, that day also happens to be the first day of early enrollment for Spring 2014, so if you are teaching a class this spring and would like an opportunity to promote your class to students . . .

nationaldayofwriting

On Monday, October 21, in honor of the Day on Writing (which is technically Sunday, October 20), we (the English Department) are hoping to offer a slate of  ten short, 20-25-minute, mini-, writing workshops.
 Each workshop would be presented by one or more instructor—they would walk participants through a writing task or prompt. Each short workshop should allow the participants to generate a completish (but unpolished) piece of writing from the genre of the presenters choice—flash poetry, flash fiction, flash non-fiction, getting started on a family history, visualization maps or even language-intensive exercises–anything that leads to little gems of words. The workshops will be open to anyone on campus.
 Birgit has reserved CC 234 for us, which will accommodate a large number of people, but since we haven’t done this before, we don’t know how many this might attract.
 If you would have the time, inclination, and a writing activity that would fit into this format, please respond to Sam Bell (sbell26@jccc.edu) or Maureen Fitzpatrick (mfitzpat@jccc.edu)  We would need 10 volunteers to offer workshops from 10:00-3:00, and we hope to get some variety in the offerings. If we have more than 10, we will be flustered, but try to figure out how to include the greatest variety of writing experiences for the participants.
 The “proposal form” is below. More information is better than less, but incomplete proposal is appreciated more than no proposal! A word document version is attached if that is your preference.
Since we want to start promoting the event by the later part of mid-September, the deadline to know at least the genre is Monday, September 9. Please include:

_______________________________________

Name:
Co-presenter (if any):
Genre:
End Product (what will participants walk out with):
Breakdown of 20-25 minutes (i.e. 5-minute intro + 10 minutes writing + 5 minute pair share OR whatever):
Please list your preferred times:
1st choice:
2nd choice:
3rd choice:
 A different workshop will be scheduled every 30 minutes from 10:00 – 3:00 (2:00 if we don’t have people for the last hour). If there are more proposals than we can fit, we’ll talk about if we should do this next semester as well.

•  Journalism Hosts Panel Discussion 

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For a complete list of Journalism Department activities this fall click here

• Strengths Training at JCCC:  Check It Out 

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 • Learn about the CCCC National Listening Tour, Sponsored in part by TYCA

Framework for Success in Postsecondary Writing

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http://www.ncte.org/cccc/listening-tour?roi=echo4-23457041160-22225799-5bc5579d1e85c82a05f03563f0b5a59a&

• Booktalk Meeting Schedule

Booktalk dates for 2013-14:

Friday, September 27 – Garden of the Evening Mists by Tan Twan Eng
Friday, October 25 – Flight Behavior by Barbara Kingsolver
Friday, November 22 – Black like Me by John Howard Griffen
Friday, January 24 – The Golem and the Jinni by Helene Wecker (paper 1/7/14)
Friday, February 28 – The Devil in the Grove by Gilbert King
Friday, March 28 – A Tale for the Time Being by Ruth Ozeki (paper 12/31/13)
Friday April 25 – The Girls of the Atomic City by Denise Kiernan (paper 3/4/14)

• English Faculty Members Are Urged to Read New Statement on Machine Scored Writing 

Andy Anderson reports:
I wanted to share the NCTE position statement on machine grading endorsed at our executive board meeting this past weekend.  It  addresses many of the issues recently discussed on our Comp I list serve.
http://www.ncte.org/positions/statements/machine_scoring
You can  also find a list of NCTE position statements  in the left column of the above web page.

 • Asking Students to Join the JCCC e-Club

The new e-Club will be sponsored by Diane Davis is now an official college organization.  Please ask your online students in the fall if they would like to join.
e-mail at: JCCCEClubDD@gmail.com

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Essay 3: Keith Geekie –Thoughts on Knots

Thoughts on Knots

by Keith Geekie, Professor of English

A few weeks ago, I agreed to bring home a very large box of costume jewelry that had belonged to my sister, who passed away in July.  The jewelry collection was a tangled, dusty mixture of at least ninety necklaces from various decades, much of it plastic, along with assorted non-matching bracelets, a few battered antiques from the family’s past, and individual earrings, which, like socks, had strayed far from their mates.

The accumulated total must have weighed about ten pounds. The jewelry, I have since learned, has a value of practically nothing.  I pretty much knew that when I brought it home. And at the time when I first had the box in my hands, I was tempted to just give the whole shebang away to Good Will.  But some pieces of the jewelry had sentimental value, such as my father’s mother’s wedding ring, or my grandfather’s key chain which included a disc citing his membership in a carpenter’s union in 1906, so I dutifully brought the box home. Anything else would have seemed like a family betrayal.

While sorting through this glitzy chaos, I came across one little necklace with a thin silver chain and tiny blue, ice-cube-like beads, which caught my fancy.  This strange piece, which I had never seen before, was in a tangle. From a practical standpoint, or from an aesthetic one, or from any other standpoint one might take, the necklace was worthless.  But I decided to untangle it.  I must have spent over an hour trying to untie the thin, tarnished chain that had been in the bottom of a dusty box, with its knots that had been knotted so many decades ago.

As I was working with tweezers, and, believe it or not, a magnifying glass, I asked myself, quite naturally, “Why am I doing this?”  It was a phenomenal waste of time, and I was irritated with myself. But I then began making up reasons for my irrational behavior.  I concluded at last that I wanted to see the necklace–that was suffering–become un-suffered. I wanted to free the necklace from its knots. The little chain could then become again what it was meant to be.  I also felt, I’m sorry to say, that I was deeply embedded in John Locke’s Labor Theory of Value.  A thing, according to Locke, has value in proportion to the amount of labor it takes to produce it. So according to Locke, the more time I wasted sitting there with my tweezers, the more value I was acquiring. I was also thinking that the necklace might have value according to the theory of proximity. What if Virginia Woolf’s infamous snail on the wall still existed?  Well, it would fetch a pretty penny at a Christie’s auction, wouldn’t it–even if it is a humble snail–simply because it was in the room with Virginia, in her proximity, and was the occasion for her famous essay “A Mark on the Wall.”

So my little chain could acquire value because I was the one who untied it, and were I to rise to the pinnacle of personhood by amassing a vast and fabulous fortune or were I to win a Pulitzer Prize, the little necklace could also find its way to an auction house and command a small fortune simply because it was once in my proximity.  But all of this is doubtful.  My little silver chain is certainly secure in its obscurity.

In my career, I have had doubtful students.  I have looked at them and wondered, “What sort of knots are you in?”  A few of them may have been knotted with family conflicts, workplace exhaustion, slow hates, various addictions, past histories with lousy teachers, sloth, nefarious schemes, insecurities, untapped talent, unused creativity, and under-appreciated intelligence.  Yes, these are the ties that bind.  Sometimes I get out my magnifying glass and my patience, and I’ll work with a student to try in some way to slightly unwind what has been wound so tightly that it has prevented the student from learning or even from caring.  Sometimes I can help, and a student may become a bit more able to be who the student was meant to be.

The labor theory of value.  What are our students worth? How much time do we spend unknotting them? Or then again how much of the task in front of us is simply an issue of proximity? Are we not just a few steps away from that wonderful place, out on the broad meadows, where we won’t be gone long, and the students can come too?  And perhaps, on a good day, their knots will slacken, and the students, loose-limbed at last, will join us on a summer ramble.  But then again, as Pasternak says, “Life is not a walk across a field.”

 

 

 

 

 

 

 

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