Sunday, May 13, 2007

Quote, etc

Because no blog is complete without silly quotes and stuff.

Fun with the Internet Anagram Server reminds me that Iced Venti Almond Latte is also

  1. Even tall addiction met. (Because my addiction is difficult to sate?)
  2. Tall vice? Antidote met! (A latte a day keeps the crazy away)
  3. Talented manic loved it. (What I want on my headstone, with a picture of a steaming mug o' java)
  4. Toil even, mental addict. (Advice to prelim-ers)
  5. Vice-mandated nite toll. (Coffee after 9p.m. equals all night fanfic-a-thon)




Quotes of the day (Get out your French dictionaries...)

From Asano's Hands of Time (Doctor Who fanfic):
“I have hope. It’s not the same as belief, but it’ll do me for now.”

From Burke's quotation of De Gourmont
«L’intelligence est un accident; le génie est une catastrophe. » (Intelligence is an accident, but genius is a catastrophe)
« Le christianisme évangélique est essentiellement oppose à toute représentation de la beauté sensible, soit d’après le corps humain, soit d’après le reste de la nature » (Evangelical Christianity is essentially opposed to all representations of sensual [both senses of the term] beauty, being from after [logically] the human body, being after the rest of nature.)

Blogging my way through Counter-Statement

As part of the Prelude to Prelims Summer, I will be rereading the Burkeian corpus--as much as I can, anyway. We begin, as always, with Counter-Statement

Burke's Preface sets up an opposition between "pamphleteering" ("Leaning") and inquiry, but "He may not be wholly satisfied by the thought of doing exclusively either." (vii)
Burke on composition: "Once he has pamphleteered, however, dare he not in revision try, even at the risk of cancelling himself, to transform the contentious into the reflective?" (viii)
On what art does: "Art's very accumulation (its discordant voices arising out of many systems) serves to undermine any one rigid scheme of living--and herein lies 'wickedness' enough" (viii). If LeGuin is right, and that dystopia is stagnation and rigidness, then art really is the answer.

3 key words: Perhaps, Norm, and Form. “The quest of the ‘norm’ led to a study of the varied ways in which men seek by symbolic means to make themselves at home in social tensions.” (xi). And of course it’s a quest, an adventure that’s usually fruitless undertaken by only the heroic few. And of course he’s worried about the symbolic already, and the comfort it provides. “At home” is an interesting phrase, since the home itself can be a social tension.
Two ways to see art and society: The “censorship” principle and the “lightening rod” principle (xii). Burke quickly connects the censorship principle to Plato’s Republic, where as Aristotle’s Poetics gets put in opposition as the lightening rod. Of course, we know the two men had differing opinions about mimesis in art (“‘Censorship’ implies a one-to-one ratio between art and society” xii), about “real” versus “ideal” and that, I think is why Burke divides them here. However, I wonder if it is wise to always look for Plato’s [Socrates’] opposite in Aristotle, as though the two were the polar ends of some continuum. They are far more similar than they are different, but it looks like I’ll have to go back to the Poetics to rediscover the nuances I seem to have forgotten.
Burke, unsurprisingly, links the Platonic fear of mimesis to totalitarianism, which he contrasts with “the ‘liberal’ point of view” (xii). Art is a type of purification, a release valve for tension in society (drawing the energy away from harm, like a lightening rod). To me, this scheme seems much more totalitarian: Art is used to quell our rebellious instincts, to calm the would-be revolutionaries. Let them mosh at punk concerts, and they won’t cause a real revolution. “…society is protected in the long run only by the more liberal principle” (xii). But protection just might be the problem, if we are protecting or conserving a culture that is unhealthy or just plain immoral (cough, Iraq war, cough). After all, he says he does not mean that there is “any hope in mass hysterias engineered by demagogues who are in turn assisted by efficient controls over the channels of information and communication” (i.e. The Current Administration and Fox News). And yet if we use Burke’s “liberal” art to quell the masses, then such demagogues are never removed from power. Dystopias work not because they comfort us as art, but because they enflame us, make us afraid. While Burke’s Rhetoric of Motives seems to promote the Liberal view (art as comfort, as a symbolic means of working out present tensions), dystopian fiction utilizes the emotions such an attitude allows (for the censorship mode wouldn’t even allow dystopian fiction to be written) to disquiet its readers into action. It’s not mimesis, but the desire to avoid mimesis that drives the rhetorical mechanisms of dystopian fiction.
“The sort of fear I had in mind, for example, concerned the attitude toward the ‘promises’ of applied science. More and more people, in recent years, are coming to realize that technology can be as ominous as it is promising. Such fear, if properly rationalized, is but the kind of discretion a society should have with regard to all new powers” (xiii) Burke’s dystopianism appears here. His dependency on “rationalization” however, is as problematic as the rationalization promoted by the dystopian novels of the era he was writing in (40s-60s). Later dystopias dismiss rationality and rationalization as a means of power itself (a la Foucault).
More dystopian Burke appears in his mention of his reaction to Capeks’ R.U.R. which he found frightening because it imagined not an extraterrestrial force, but an “invader already here, from within” causing the destruction of humanity. He decides that “the high development fo modern technology might change the rules somewhat; accordingly, conditions that are ‘normal’ to our society would probably have been fatal to societies in which there was a much smaller percentage of technology” (x). The phraseology here catches me every time; I’ve got it all marked up in my book. First, he decides that technology isn’t all bad, that it has “changed the rules” but only ‘somewhat.” What rules those are, he is not clear. Rules of relationships between people? Of art? Of rhetoric? What does technology normalize today that would have been fatal to, say, medieval people? (Stargate tries to answer this, I think). What does it mean, also, to have a society classified by its “percentage” of technology? What “percentage” are we now, I ask, as I sit in Starbucks, listening to a CD, while typing on a laptop onto a one gig thumbdrive smaller than my actual thumb as baristas use security TVs to watch cars approach the drive through? Percentages are ratios, X to Y. So a percentage of technology would be the ratio of technology to…what? People? Humanity? Culture? Nature? What is the whole from which he is taking a part? What opposition is he setting up when he makes this division? What happens when we hit 100%?

Chapter 1. Three Adepts of ‘Pure’ Literature
This chapter concerns three writers who have some relationship to Realism or Realist literature. Burke examines each writer (Flaubert, Pater and DeGourmont) for what they can tell us about literature’s relationship to audiences, to society, and to constructedness of sentences how “unornamented” or “arhetorical” (well, seemingly arhetorical) the prose seems to be.
Someone should compare Burke’s comments on Flaubert with Derrida’s. Not me.
Flaubert was looking for a “pure” art, uncontaminated by social ties, one that seemed to lack “method” or mechanics. Burke is especially interested that Flaubert chose to use the form of “novel” to attempt this purification, because it is the genre “in which glitter is most an obstacle, the genre wherein one can be rhetorically brilliant only by subterfuge, or by endangering the purity of one’s effect” (7). Or, more clearly, “The novel makes of literature the verbalization of experience, the conversion of life into diction” (7). If Flaubert really wanted to do a verbal art without social implications, a Non Realist art for art’s sake, he should have chosen a different genre!
“An author who lives most of his live in his head must perform his transgressions on paper” (24). Or, a blog?

Saturday, May 05, 2007

Summer of Insanity, 2007

I was telling Kate about the Summer of Insanity 2004, and she noted that this summer could be a repeat--the intense reading schedule, the lack of teaching or course work, the long hours spent with fanfic. Of course, last time around, I was alone, in an apartment in downtown Boston, just me and my laptop going crazy together. This time, I've got People and a Cat.
While I haven't finished grading yet (sigh), I feel like I'm already on break. Tonight I'm going to read Doctor Who fics--my god i havent read these in weeks i'm so far behind so many chapters so little moonlight--until my eyes burn, then sleep with the Kit until guilt washes over me and I eventually grade.
To kick off the summer, I went through this blog and tagged ("Labeled," but we all know that Blogger stole the idea for this particular ability from LiveJournal's "Tags" function) everything. So now, if you only want to read my stuff about Burke or rhetoric or (geez, why?) my poetry, just find one of the posts that has that tag, click on the tag name, and you'll be taken to a page full of what you want to read. On Demand Journal Reading.
I'm rereading Burke. We'll be starting with Counter-Statement and working our way through to the Symbolic (ordering it on Amazon). Look for flashes of insight here all summer long.

Insight flashes are not guaranteed by author.
Book List, working
Burke:
Motives Trio
Counter-Statement
LSA
PLF
ATH
P&C
Essay on 'HellHaven'
KB in the 20th C
Addressing PoMo (Biesecker)
Plato's Republic
Peter Brooks Reading for the Plot
V Propp: Book Story elements/Dramatis Personae
Girard: Deceit, Desire, the Novel
Watt: The Rise of the Novel
Nancy Armstrong: Desire and Domestic blah and The New One that's not any different
M Keith Booker's Field Guide to Dystopian FIction (overview of the Marxist, Foucauldian and PoMo theory that informs dystopian fiction)
Levi-Strauss on Structure of folkstories and myth
Derrida: "La Loi Du Genre"

Still need recommendations for:
[Desire for end/death of narrative]--zizec, lacan? teleology/entellechy
Epic Structure-- The Hero(ine), Causality, connection to rhetoric? Blanchot?
Apocalyptic tradition
AGENCY in/through literature
Connection to Tragedy?

Tuesday, May 01, 2007

Quote of the day

Found while researching Doctor Who OT3:

"I have pain meds, but I would like to augment them by mainlining some really good fanfic."

It's better with three, when Jack Harkness is your third....

Saturday, April 28, 2007

AMST paper or, A Rant Against Constitutional Documents on Websites

Encountering Diversity Online: The University and Affirmative Action

As one of those lucky enough to be born into the digital age, I was among the first wave of students to conduct my college search entirely online in the summer of 1998. I admit: I would not have chosen or even considered the small, Mennonite college I ended up at had it not been for their webpages detailing the school’s service and social justice mission. Since that time, universities have been more fully utilizing the web’s various tools as recruitment aids; almost all university homepages are heavily skewed toward “Future” or “Prospective” students, with large sections dedicated to providing the most basic information about the university’s programs, student activities, and scholarships.

I start with the assumption that university websites, as visual rhetoric, primarily work to persuade incoming students to join the university’s community. Secondarily, the sites provide information for current students, faculty, and staff who are already embedded in the university’s culture and ideologies. Some documents, however, are for both incoming students and current community members; these documents tend to be online versions of university policy and procedures. While not the “official” policy and procedure documents, these web documents certainly are powerful rhetorical constructions that help constitute the public image of the given university.

In this essay, I will analyze the online version of Affirmative Action plans of four universities in the Midwest. As a publicly contentious idea, Affirmative Action plans prove to be rich grounds for rhetorical and ideological analysis, particularly when they must also work within the university web pages’ recruitment goals. In these texts, two genres—“legal document” and “recruitment tool”—blend, resulting constructions of “race” and “diversity” that some might find objectionable.

I have selected four state-funded universities in the Midwest as representative texts. As state schools, these universities must meet federal requirements of employment. Purdue University (IN) states on its “Reaffirmation of University Policy on Equal Employment Opportunity” page that “As a federal contractor, each campus within the Purdue University system is required to develop and maintain a written affirmative action program which is a set of specific results-oriented actions and procedures to which the University commits itself.” The universities are not required to post these on their websites, but most choose to do so, since these policies are supposed to be available for review by the public. In addition to Purdue University, I have selected the Ohio State University, the University of Michigan, and the University of Iowa for this analysis.

The Liberal Tradition

Why focus on universities? As institutes of higher education, “the” university tends to represent not only sophistication and culture, but the cutting edge of the arts and sciences. Traditionally, universities have been considered part of the political “left,” having some stake in that agenda. When the University of Michigan tried to remove part of its Affirmative Action clause from its admissions policy, many argued that, as a university, the institution must uphold the clause; it was the university’s duty as a representative of higher education. Additionally, universities are often connect to what Critical Race Theorists refer to as “white liberalism”—that set of ideologies connected to “color-blindness,” Enlightenment logic, and affirming “diversity,” which the editors of Critical Race Theory: The Key Writings that Formed the Movement refer to as “a value which in the liberal vision is independent of, perhaps even at odds with, equality of opportunity or meritocracy” (xv). They go on to condemn “the poverty of the liberal imagination,” which tries to simply erase race instead of actually confronting it as a real ideological force (xv). In the liberal tradition, the question of “race” often transforms into a question of “diversity”, a multiculturalism in which all races are treated as equally important and the addition of people of different races to a group is considered inherently valuable. Throughout these webpages we see the liberal tradition in the near absence of the word “race” and the use of the word “diversity” as a floating signifier, representing both “race” and “multiculturalism.” In what follows, I give an overview of the genre by detailing the accessibility, the rhetorical construction, and the resulting ideologies that are formed in these websites. Screen captures of the main pages are available in the attached appendix.

Access

Most university homepages feature information for incoming students. Finding information about policies and procedures requires either first hand knowledge about the departments and offices of the university, or a well-termed Google search. Simply searching for “diversity” will yield several different sites per university, all located in different offices. For this case study, I have limited my search specifically to employment, but have still found difficulty navigating the pages even of my own school, Purdue. In Purdue’s “employment” pages, for example, users can select either “human relations” or “human resources”; it is not immediately obvious which of these pages will hold Affirmative Action/Equal Employment Opportunity information, and neither page is accessible directly from Purdue’s homepage. The University of Michigan and the University of Iowa have similar structures, however on these pages, Affirmative Action is the main focus of the human resources page—no further searching is required.

At Ohio State’s employment page, Affirmative Action appears under the tab labeled “Policies;” and is available only as a PDF document. The document seemed a little thin to me, so I Googled “diversity and Ohio State.” In this search, I found OSU’s “Diversity” pages—a large batch of pages dealing with race, gender, religion, ability, age, etc. Included in this set of pages is further information about Affirmative Action, although it is separated under each heading (i.e. Affirmative Action and race, Affirmative Action and Ability, etc). Here the issue is not that the information is buried, but that it is prolific: finding the exact policy one is searching for is difficult in this mass of diversity-related resources.

Once the correct page is found, for most of these universities, the policy must be downloaded. While this is less a problem in the age of high speed internet than it was a few years ago, some may have difficulty downloading PDF files. Others may not know which files apply to a given case: while Ohio State only has one Affirmative Action PDF, Purdue, Michigan, and Iowa all offer several documents about current policy, past policy, and grievance procedures. There are also policy-like statements available; under the page titled “Vice President for Human Relations Initiatives” on Purdue’s page, a document titled “Strategic Directions” seems similar in content to the VPHR Initiatives page—only those familiar with Purdue bureaucracy and departmental organization would recognize why the two are separate entities. Iowa lists five policies on “human rights” and two on “equal opportunity,” the titles of which sound similar: For human rights: “Nondiscrimination Statement--Using the Statement on Printed Materials, Policy on Human Rights (link to Operations Manual), Statement on Diversity, Accessibility Statement--Using the Statement on Printed Materials, Policy on Violence (link to Operations Manual); and for Equal Opportunity: Disability Protection Policy, Affirmative Action and Equal Employment Opportunity Statement of Policy and Purpose (“Policy index”). The difference between a “statement” and a “policy” is unclear.

The difficulty with navigating these pages could be simply a sign of problems in web design in general; however, many of these pages have been posted for several years. That “diversity” is not a key component of a university’s homepage—that these pages are difficult to find within the hierarchy of sites—is most likely a symptom of the genre: Affirmative Action in employment is for those who are not prospective students, but prospective employees. Because the homepage must appeal to eighteen year old high school students, we can expect Affirmative Action policies to be placed deep within the structure of the site, under a more general category of “employment.” Although the lack of diversity on the homepages is probably unintentional, the buried pages do imply what the university values. Only the University of Michigan, with its very public Affirmative Action lawsuit has placed a “diversity” link on its homepage. Other sites imply a colorblind policy for admissions; students of color may appear in images on the homepages, but their presence is not commented upon. Racial difference, these sites imply, is outside of the concerns of most viewers; those who want information must search for it.

Visual Design

In general, the websites keep to the colors, organization, and themes of the university’s homepage. Purdue, the University of Iowa, and Michigan use their respective school colors as the basis of design. Perhaps the most interesting, visually, of the four sites is Michigan’s page on “Human Resources and Affirmative Action.” The blue background matches the school’s colors, but the designers (listed as the Human Resources Department) have also used that blue in the image of a clouded sky in the page’s header (see Fig. 2). While this has nothing to do with diversity or Affirmative Action as far as I can see, the colors are peaceful, natural, and soothing. Unlike Purdue’s harsh black and gold Arial font on a plain tan background (Fig. 1), the Michigan site is visually inviting. The sky image is complemented by a flower which changes as the user clicks through various policy pages, and the main human resources page includes a clipart that asks us to “Think Spring!” The text in the center of the main page instructs users how to use the navigation bars, and includes links to the most often used pages. The navigation and titles are easy to use and understand, and various outside links are colored to match information on similar “levels” in the hierarchy. The “spring” theme, I assume, changes with the seasons, making the site seem up-to-date and relevant. More importantly, the use of natural images differs significantly from other sites, and draws attention away from the logical, legal, and professional ramifications of the information included on these pages.

The other sites follow a general template I have seen not only in these pages, but at other sites for universities around the country. These pages general include the school’s logo at the top of the page, with a link to the university homepage somewhere nearby or in the image itself. A primary navigation bar conducts users through the “employment” pages, while a secondary bar on the left guides users through the specifically Affirmative Action-related pages (see Iowa, Fig. 3). Near the top we see a picture of (presumably) employees hard at work. As these are the Affirmative Action pages, the images show a wide range of peoples: women, people of color, the disabled, etc. These people are, of course, smiling, and not looking at the camera, a denial of knowledge of the user-viewer’s gaze. Instead of meeting our gaze as equals, the subjects continue on as workers, not individuals. The missing gaze toward the camera also implies a “candid” shot; we are to assume that these image reflect reality, both in their happiness to be at work and in the racially-appropriate composition of the workforce. Most of the workers shown appear as professionals—professors or administrative staff. I have yet to find an image of janitorial staff or other maintenance workers, despite the large custodial workforce these universities employ.

Ohio State University’s “Diversity” page (Fig. 5) features no images of people at all. Instead, the site uses design elements to imply a connection to human diversity. The open white space at the top holds the most recent and relevant links, for ease of navigation. Below, however, the designers have divided the issue of “diversity” into seven different areas in this order: disability, nationality, race/ethnicity, religion, sexual orientation, veterans affairs, women/gender. Each link is a different earth-tone color, from slate gray to burnt orange. The word “Diversity” crosses all seven links as a shadow, unifying all seven elements under one heading. The titles of the links are left uncapitalized, as though to emphasize the equality of all of the categories. The design emphasizes simplicity and equality while drawing focus away from the real people involved in the issues at hand. “Difference” and “diversity” are implied through words instead of being shown, but without the images, that difference isn’t felt as acutely.

Assumptions, Values, and Ideologies

In the above descriptions, I have begun to tease out some of the underlying assumptions, values, and ideologies that these pages construct. We have already seen that there is a general denial of presence in the accessibility of these pages from the universities’ homepage. By erasing race and other signifiers of difference from the homepages, the universities construct themselves as homogenous. Any interest in racial, gender, or religious difference is deferred to pages that are most accessible by those in-the-know about the structure of the university. Difference is figured as an “extra”—an extra-curricular activity (in the form of cultural centers, clubs, and fraternities and sororities), or extra information added to an employment application.

When and where difference is represented and acknowledged, there is, not surprisingly, a liberal attitude apparent within the text and design. For example, in the University of Michigan’s page on “Services,” a vision statement includes “Respecting the inherent worth of all individuals evidenced through inclusiveness and diversity” and “Seeking quality/excellence of services which meet the needs of the organization as a whole and of the diverse groups which comprise the University” (“Mission and Vision”). In these statements, we see first, the emphasis on respect for all individuals—deemphasizing the group identity of that individual—whose worth is “inherent” and not connected to any one identity except that of “human”—as in “human” resources. The University of Iowa has a similar sentiment in its “Mission Statement,” which explains the purpose of the Office of Equal Opportunity as “foster[ing] a welcoming and collaborative university climate where individual ideas, contributions, and goals are acknowledged, respected, and valued” (“Office”). Again, the emphasis is on the individual and his or her abilities, not his or her identity as part of a racial or ethnic group.

Also important in these statements is the emphasis on merit. In the liberal tradition, merit or ability is the true measure by which we should judge others; in Affirmative Action, merit is ability minus racial impediments (or disease impediments, or class impediments). The ideal of a colorblind workforce is hiding in these statements; the first statement wants to remove race as a factor of judgment while the second statement wishes to better the workforce as a whole by adding in “diverse” peoples whose very presence as different will improve the work environment.

The constant use of the word “diverse” and “diversity” throughout all four websites points to a gap in the language available to discuss race in a way that appeals to both the liberal tradition and college-seeking high school students. “Diversity” can stand for “multiculturalism” which is non-threatening to whites, who may feel that discussions of race implicate them as racist. On Ohio State’s webpage, itself titled “Diversity,” race is only one of seven categories, and is paired with ethnicity by a slash, as though the two were nearly synonymous (the same is done with “women” and “gender,” which makes the transgendered category somehow less strange). Purdue University’s seventy-nine page Affirmative Action plan (oddly titled “genderplan_000.pdf”) uses the word “race” only in conjunction with “color” and only in a list of other markers of difference.

The University of Iowa’s statement is very clear about what diversity means:

The University of Iowa values diversity among students, faculty, and staff, and regards Equal Employment Opportunity and Affirmative Action as tools to achieve diversity. The University believes that a rich diversity of people and the many points of view they bring serve to enhance the quality of the educational experience at The University of Iowa. (“Statement on Diversity”).


Here, diversity is an end goal to be achieved by adding in diverse students, faculty, and staff. Diversity can be “rich”—I assume this means “from a variety of cultures”—and is important because it will benefit the educational experience. Diversity is a tool for education; other values of inclusion are not considered in this statement or in others that I have found. The emphasis on recruitment is obvious: diversity serves the university, not the other way around.

What counts as “diverse” varies little in these documents. The list of race, ethnicity, disability, age, marital status, sexual orientation, gender, etc appears in some for in all of the documents. However, the visual design of most of the sites—the University of Michigan excluded—seems to focus on race and color. Even the Ohio State University’s people-less site emphasizes color in its earth-toned rainbow of links. The University of Iowa’s collection of sites has several pictures, all of which feature nonwhites: despite its statement about a more general diversity, no people with (visible) disabilities appear, and sexual orientation is difficult to spot visually. Women do appear, and appear quite often, perhaps even more than men of color. In these sites and in others I have examined, the most common image for a diversity webpage is an African-American woman; few show those of Hispanic heritage, and hardly any show Asian Americans. “Diversity,” according to these images, refers to race, and seems to especially refer to African-Americans, although such racial difference is not directly addressed.

Conclusions

I have given a very broad overview of these sites; certainly each could be examined separately in more depth than I have given here. My goal, however, is to show how these pages construct an attitude toward “race” and “diversity” for the universities they serve. Ideally, these pages would be a direct representation of how the university operates, and ideally, we would see appropriate weight and consideration given to the pages dealing with Affirmative Action and diversity in general. Instead, we have to assume that these pages are a part of the university’s recruitment strategy and will most likely reflect in their hierarchy and content the concerns of high school students and their parents. While this mixing of genres—official document and recruitment tool—can help explain some of the constructions we see in these pages, persuasion to admission is not the only idea informing the design. These four pages invoke the liberal tradition’s commitment to colorblindness without actually referring to that concept; instead, individual merit and “diversity” is emphasized as being good for the educational environment. The past segregation and the social conditions that have denied many “diverse” people entry into higher education are never mentioned; only the future of the university matters.

Clearly I have not addressed all of the issues that emerge in this genre: the location of the school in question (urban/suburban/rural or Midwest/East Coast/West Coast), the type of school (public/private and community/traditional), the designers of the page (students/professionals/staff members), and the history of the school (as with the University of Michigan’s legal struggles) all play a role in the finished product. I have given this analysis not to condemn these schools or their page designers, but to point to an area that has not yet, to my knowledge, been examined for its potential effect on the attitude-formation of the university as a whole. The genre may be mundane, but the values, assumptions and ideologies it helps to build are anything but.


Works Cited
Critical Race Theory: The Key Writings That Formed the Movement. Eds. Kimberlé Crenshaw, Neil Gotanda, Gary Peller, and Kendall Thomas. New York: The New Press, 1995.

“Diversity.” Ohio State University website. 2007. 27 April 2007. http://www.osu.edu/diversity/

“Human Relations: Affirmative Action Office.” Purdue University website. 2007. 27 April 2007. http://www.purdue.edu/humanrel/aao/

“Human Resources and Affirmative Action.” University of Michigan website. 27 April 2007. http://www.umich.edu/~hraa/

“Human Resources: Policies.” Ohio State University website. 2006. 27 April 2007. http://hr.osu.edu/policy/index.aspx

“Office of Equal Opportunity and Diversity.” University of Iowa website. 2004. 27 April 2007. http://www.uiowa.edu/~eod/

Friday, April 27, 2007

In the Lab

I've been sitting here since before 9 a.m. It's now 1:19, and I've been typing almost constantly. At least I'm not alone.
To my left sits Tony and some Literature Masters Student whose name I never remember. She's been here since 10, and now has a giant block of text that rivals my own Giant Block of Text of Doom.
Of Doom.
Jaci sits on my right, also furiously typing, despite the fact that she has four days instead of four hours to finish her project. Her book pile keeps growing as she runs to the Library. Right now she's working on a block quote that will doubtlessly help her reach the page minumum.
The Nerdy Trio of Jeremy Tirrell, Ryan Weber, and Nathaniel Rivers (accompanied by their fourth, Paul Lynch) have arrived and have taken over the left side of the lab with their masculine presence and PoMo jokes about Aristotle's enthymeme which are funny to perhaps 100 people in the entire nation. I'm one of them.
Tony's got a Works Cited List that looks longer than my list for my prelims.
And I'm on page seven, a little more than 2/3 through my paper due at 5. It's 1:27, and I'm hoping to finish before 4:30, hop on the bus, cook dinner, and enjoy 3 hours of SciFi Friday in peace.
Before doing it all again tomorrow with Morgan. In this same lab.
Damn.

Monday, April 23, 2007

Homesick

I made the fatal error of watching the first Sox-Yanks game of the year Friday night. Down 6-3 in the 8th, I was swearing so much the cat hid (again--she had just recovered from Dana's diatribe against Mr Peanut). When Coco Crisp hit a beautiful line drive, and Tek hit a nice easy ball to center, and the game was tied. And they pushed another run in, and I screamed in happiness. And Hideki took out the Unholy Trinity of the Yank's lineup with barely a concerned blink.
But last night, I was sick and missed, apparently, the baseball equivalent of (the battle of) Armaggedeon.

But there it was Sunday night, in all its splendor and fallen and heroic characters, right down to the inevitable ultimate showdown between Jonathan Papelbon and Alex Rodriguez.

Good and Evil. Assign those qualities as you wish, depending on whose side you are on. Pap retired A-Rod on 287 mph-worth of three fastballs, the last bounced into a force, to nail down Boston's first Fenway Park sweep of the Yankees since 1990 with the 7-6 victory--redsox.com reporter Tom Singer


Epic!

Thursday, April 12, 2007

Permanent

We resurrect each other
fliging our works
into the white volcano.
Like a juggler in his rhythm,
we must figure how to end this
without appearing clumsy.
The east holds in its tension
a hand at the forehead,
that germ gathered in the country
in the city, behind a wall of voices.

Vonnegut dead at 84

So it goes.

For some reason, MSNBC placed the obit in the "Entertainment" section. While Vonnegut was most certainly entertaining, he was also writer, philosopher, critic, theorist and teacher. Just because all of those things happened to happen in books that became popular does not mean that he should be relegated to the same page as "Paris vs Lindsay." When Derrida died, it was international headline news. Vonnegut dies, and we get a cheeky pic of him and some of his best quotes.
Of course, Vonnegut might have liked it better this way. Very postmodern, very attuned to the tensions in today's world (is war really "television"?) Criticism via book is now entertainment; how else could we read his bleak novels but as "dark humor"? Only two of his novels could be classified as "dystopian fiction" but all of his writing has dystopian rhetoric. Entertainment? Maybe. If it's just entertainment, the impetus to act on his criticism falls elsewhere. Mere diversons. Not a call to action. A good story. Nice for a high school curriculum because the F word is used, but thinking is required to follow the plot.
Vonnegut and Burke would have gotten along swimmingly. Sometimes they blend into the same man in my head: the same wild white-grey hair, the same humanist tendencies, the same purification of war always in the back of their heads. Burke, however, had a lot more faith in the human race than Vonnegut did--or at least than Kilgore Trout did. I don't think Vonnegut would have bothered writing about how fucked up we are if he was truly fatalistic. His narrative voice is fatalistic, but the fact that he put the energy into narrating says something else: There's hope, somewhere, in some people.
God Bless You, Dr Kevorkian. Vonnegut finally is experiencing the hallucinagenic novel about the afterlife. Poo Tee Weet. Don't worry, Kurt. We'll take over from here.
"You were sick, but now you're well again, and there's work to do." Kilgore Trout, Timequake.

Tuesday, April 10, 2007

Geekiness confirmed

i am a major geek

With 36% geekiness. Then again, I am the one who went to the Pop Culture/American Culture Association's meeting not to present but to hear other people talk about scifi and anime by using literary theory.

Some of my answers embarassed me. Oh dear.

Sunday, April 08, 2007

Going Home Again

I got off the airplane at Logan, spent a frustrating five minutes trying to buy a ticket for the T (The "CharlieTicket" is weird and deserves a rhetorical analysis: later), hopped on the shuttle, hopped on the blue line, and emerged twenty minutes later outside the Arlington stop on Boyleston. I was lost for a few minutes ("Huh. Never knew there were buildings outside this stop") then found my way to the Radisson on Stewart. It took me about 12 hours to get my city legs back. When I did, it was like I never left. Walking into traffic, swearing at tourists, avoiding people's eyes, keeping my bag held in just that right position. When I got on the T to go to the conference Friday morning, I forgot that I had to go "home" to Indiana again. On the way back to the Marriot from the Beer Works, I tried to take the train outbound, as though I was going to Westland Ave.
And now, in half an hour, I have to go back to Indiana. Back to my apartment in the middle of nowhere, where I have to drive, where I have to meet people's eyes and be friendly and I see the same damn people on the bus everyday. I forgot how the anonymity of the city energized me, made me feel independent, safe. When I'm alone in Lafayette, I feel lonely. When I'm alone in Boston, I feel free. The cars and the lights and the buildings and the noise push me. I suck from them their chi and live off the city's perpetual motion. Despite walking farther than I have in two years, doing more stairs than is probably healthy, I'm not in too much pain. I'm not exhausted--sleepy, yes, but that's from staying up to talk to Emma. I feel pretty damn good, like I can do anything. I kick ass.
I'm afraid that's going to disappear the instant I board the plane.
Which is why I'm hanging out in my room as long as possible. You can never go home again, but you can always return to Boston.

Monday, March 26, 2007

Spreading the Martyrs Mirror

A student decided she wants to write her research paper on acts of love. After blinking for a moment, I decided to let her do it. I cannot argue for the false division between high and low culture if I'm going to exclude certain topics just because they're "affective" instead of "analytical." I can't argue to my students that ethos and pathos matter just as much as logos if I'm going to restrict them from writing about the emotional/psychological/personal side.
So she started out with analyzing Do the Right Thing. Of course, I have a special attachment to that film because Sue taught it to us, then I taught it at Northeastern. I began to understand that by "love" she really meant "emotional conviction in the face of adversity"--her other examples come from Martin Luther King Jr and Gandhi, a pacifism beyond passivism.
So of course I mentioned Dirk Willems. And set her off on the Great Martyr Search. She's surprisingly enthusiastic about the story. And kinda creeped out by all the Martyr books out there. She ran into the Mennonite Quarterly, and I saw Gerald's name appear in one thing she printed out. I tried not to giggle. Nothing like showing your students wood carvings of execution to make them think you've lost it.

The cold days have eclipsed

Lent
The cold days have eclipsed at last and the God who Is strikes down Ra just for me. The inevitable brightness of days is upon us, illuminating so I can't see. Each face turned skyward, leeward at the rain, looks like his in the glaring grey of March. Warm eternal twilight holds itself close to the buildings, to the humming machines, to the swiftly failing people. The lion lays down with the lamb and the waters are not divided, the light has not escaped the dark (the dark has not fled the light), the land has not emerged from the sea. All the creatures creeping along the ground have paused: will the earth give birth again this April?

There is a pleasure of the text in dystopias: To revel in the spectacle of degeneracy and say, "And I thought my life was bad."


You scored as Babylon 5 (Babylon 5). The universe is erupting into war and your government picks the wrong side. How much worse could things get? It doesn’t matter, because no matter what you have your friends and you’ll do the right thing. In the end that will be all that matters. Now if only the Psi Cops would leave you alone.


From quizfarm.com

Monday, February 12, 2007

The impossible revolution

This is supposed to enflame you in a positive sense. Fire music does that, at the base, in the green of the statue. Utopia only in Canada. Only on Sundays in summer. “For instance, a certain contortion of the facial features would have them think and feel ‘pity.’" The metal of the bed holds me down so the wolf melts through the glass only to be trapped halfway in between. Hell can’t see us under here, caught in the springs. Thus we rest, letting the fire singe the edges. Close your eyes except on Sundays. Except in the summer. Vivez la revolution.

Obituaries

The mornings never change. I always clench myself against the setting moon's white burning gaze, as if by will to stop the day. All the songs I sing to pull myself awake, all the silky coffee downed in haste, all the flourescent above our heads is not enough to make the dreams fade away. Concrete slabs block each path until I find I am still seated among the bound, scribbling nonsense equations that ache to become something in this Real. Had I not endured the thorns and rocks on the beaten path, this is where I'd be: The newsprint rubbing off the stories of every last person I ever loved, the parking lots cracking a little more each year, my leather coat staining in the Friday night rain. The twilight stays the same. I dissintegrate into the darkening treeline, to sleepwalk in the peace of the deep.

Friday, January 19, 2007

VizRhet, no tech

Scrapbooking normalizes and formalizes the American experience visually, encoding and decoding memory in the same way that newspapers regulate and contain public events via column space and AP regulations. Scrapbooking allows the users a sense of mastery over memory (that elusive faculty that disappears with age, can be not only lost, but modified as time passes) through a new kind of iconography. Although commodification of the process has allowed for seemingly endless design possibilities, users are limited by not only artisitic ability, but by the commodification itself. Companies that make scrapbooking materials limit how the users can describe (and thus remember) their own experiences: the trinkets and stickers become simulacra, more real than the event itself. The pompoms used to *represent* cheerleading end up defining for the cheerleader what his/her experience should have been. Quote Baudrillard here on difference between representation and simulation.
Moreover, as commodification continues, scrapbooking itself becomes normalized. The medium of the book encourages/invites categorization of life events into temporal or spatial modes "Wedding" "School" "Christmas" Plato's fear of writing's ability to erase memory might now well be replaced with a fear of photography replacing memory--of "memoirs" becoming iconography, with all the worship due to that practice. The books become sacred, like the family tree in the front of the family bible used to be: Instead of dates of deaths and births, we now use brightly colored stickers and ribbons. All of this to stave off the fear of death the disappearance of the self represented within those pages. A chance to write our own eulogies long before we die. Herein lies Amy Clemons at her best--all else has been cropped with scissors, erased with red-eye remover pens.

Thursday, January 18, 2007

See my Ego grow

We've flooded ERC with grad students. In the corner by the window, open to passers-by, ready to show their faces, sit the founding members of the North American Levinas Society. Sol Neely has his back to the window, and I keep looking at them and smiling--I hope he doesn't think I'm trying to flirt. It just amuses me that "The North American Levinas Society," such a big name, such a prestigious sounding organization, is really just those five people I know by association, if not better, just kids in my head even though they're all over 25 and have mortgages and the like. My colleagues are doing things that are becoming knowledge, public record, authority, something to be cited, part of a body of philosophy. ANd they're sitting in ERC around a cheap table, drinking really good espresso drinks, making hand gestures that have something to do with "Community" (open hands, spreading wide) and the Other (clasped hands, drawing inwards).
Dave's revelation that our course material--the kinda fluffy little blogs we're posting almost haphazardly (trying to meet his weekluy requirements)--will most likely be cited by someone has made me freeze up a little, mentally. It's one thing to post blogs here, where few will find me but my friends, but it's another to Google "visual rhetoric and technology" and find my posts on the third page.

Google me

Go ahead. Google Amylea and Rhetoric and our ENGL 680V course website pops up. Then this blog. Then Dana's site. Then Lou's blog, then Kari's blog.
Google "What is visual rhetoric" and you get the 680V site and Wikipedia. I am now a resource. I feel all Ethos-y.

Tuesday, January 16, 2007

Elocute me, baby

"Staged-ness": The sense that what you are viewing is not unfolding naturally, but has been prearranged for some rhetorical effect. The feeling that you are being duped. This sense often emerges from over-use of gesture, metaphor, or crescendo. See, "Elocution."

Behind this is a fear that there is a lack of truth in the words themselves. If movements are natural, then the speaker must be speaking truth (it's ethos-based). And if there is truth, we assume the audience will act upon it, or change their attitudes. This link between truth and action is so assumed, so obvious, that when we say we are "raising awareness" about some event or misunderstood stereotype, we assume there will be an automatic change in the scene. That when we see the Truth of the dystopia we now live in, we will react against it. I'm not so sure. Wish I were.

Late nights at the Wit: Design content vs images. Hierarchies set up, lines drawn, emotion in the boldlines. Paragraph breaks tell us what is connected to what. Pull out quotes do what? (Other than give us more column space).

Elocute this: are there elocutionary gestures in online, moving avatars? The winking smiley on MSN?

Monday, January 15, 2007

Blink!

Or lick, or sniff. Tap, listen. Malcolm Gladwell's book probably refers to the speed of blinking, but the title also suggests a strongly visual element to this thin slicing. Perhaps because it's the sense we're most used to relying on, perhaps because English has more words to describe things visually than via other senses, but our (whose?) minds seem primed to deal with optical input more efficiently.
The experiment described on page 52 ("Primed for Action"), the "old," "grey," "Florida," test, shows how easily our language deals with the visual--after all, what words could they have used to invoke oldness that dealt with old smells? Or old sounds? No, Old is definitely a visual category, minus a few outliers, like "musty" or "rotten." The visual is essential, then, to rhetoric, if only because our descriptors tend toward the visual.
As rhetoricians, we need to learn the exact mechanism by which readers come to snap judgments so that our constructions are most efficient. What is it about certain commercials that cause us all (or most) to react with the same laugh, at the same moment? What is it we are identifying with at that moment? And what counts as a moment, whe we talk about things in terms of blinks and nanoseconds? It's a wonder we've figured out rhetoric as much as we have, before we were able to break down time in computer graphs.
While this book doesn't help us figure out what visual rhetoric is, it does point to some of the mechanisms at work--and it does so via several anecdotes, themselves steeped in visual adjectives and descriptors. Gladwell argues that the Warren Harding factor, that separate visual elements work together to "carry so many powerful connotations" (76) (either positive or negative), is what is responsible for many of our decisions. Gladwell and his publishers obviously took this into account in creating the book itself: Small, large print, with a similar simple design as Gladwell's previous best seller, lack of capitalization. Clean, white, textured cover. The book says "You can read this. And it's interesting! It will make you seem sophisticated and cultured at parties when you quote it!" Put it on your coffee table for guests. Some mechanism is linking all those things together very quickly. And the next thing you know, you've bought the book, the DVD, the stuff that's supposed to get all the coffee stains out of your clothes (whatever, OxyClean).
What Blink makes evident is that we don't yet know this mechanism, and that what we don't know can trip us up. Does the finding the most efficient visual rhetoric, the best way to move someone to action, require us to find the electrical impulses that occur in those nanoseconds? Or can we bypass the eternal MRI scans and biofeedback meters (not that I mind those; they're kind of fun) and figure out visual rhetoric without understanding the human brain? There are all sorts of illnesses doctors don't understand, and yet can fully treat by looking at symptoms--can't we look at the "symptoms" of visual rhetoric in order to come up with an underlying structure? Are we in danger of moving rhetoric from an Art to a Science?
And is this a bad thing?

Hunger Strike

Damn, she says, and he's not heard that before--not like wisp and bone falling just short of a ticket home. He knows he should be careful when the hours pass so quickly, he knows the stillness of her chest and the redness of her eyes are just symptoms of the sky lights. Too many broken things to catalog, beginning at the head and moving down.
She should hate this, because it itches in her brain, in the center like she told him. How can you not know the signal, the sign behind your eyes announcing the missing? She has run from the echoing walls that thrust their thoughts back on her, and still here, in the open nothing, they close in and whisper back. Not so raw here, but the details are not shrouded either.
If they follow the next time, she'll be convinced it's not her fault.

Thursday, January 11, 2007

Amateur Auteurs

"Democratization of production" = anyone with a keyboard can make cultural artifacts that used to be in the hands of the gatekeepers.

  • Do our skills lag behind what we are able to imagine?

  • How are knowledge and skill different?

  • What do our students know about peer review from their interaction with technology? Comment functions?
  • Wednesday, January 10, 2007

    Souls of Black Folk, Part II

    In Chapter III, DuBois writes "of Mr. Booker T Washington," the chapter for which this book is famous. His standpoint is obvious even by the epigraph he chooses (from Byron), but he makes the statement more clearly a few paragraphs later: "And yet the time is come when one may speak in all sincerity and utter courtesy of the mistakes and shortcomings of Mr. Washington’s career, as well as of his triumphs, without being thought captious or envious, and without forgetting that it is easier to do ill than well in the world" (par 5). Yes, the time has come. And gone, and come again.
    One cannot deny that Washington made a rhetorically savvy choice: he knew his audience and context well. DuBois says as much in this chapter. Washington did what was needed for a particuylar time. Unfortunately, his kairotic choice became reified into standard procedure and ideology. DuBois wants to undo that.
    DuBois also, however, wants a return to the canon. This seems almost archaic after all the canon-destruction we've been doing the last twnety years. "Classic" doesn't mean much anymore; it's a starting place for us to ask: But what values do these "classics" promote? Who chose them as classic? Why these particular ones? Socrates is lovely, yes, but he's also only one bit of a much larger world of philosophy occuring at the same time. What about the Chinese? (Our new favorite question: What were the Chinese doing?)
    DuBois is often read as the first person to analyze African American rhetoric (whatever that may mean?)--while he does not use the term "rhetoric," his analysis of Washington's "tact and power" (par 7), his ability to sway his own people, is succinct and apt. He recognizes the exigency, the audience, the constraints that Washington is under, and yet still has the agency to criticize Washington for giving in to those. For silencing his opposition and allowing himself to be occasionally silenced. And not silenced in a strategic way--silenced as a way of stopping social change.
    Again, I come to the point where I feel uneasy, where my dystopian rhetoric threatens to fall apart at its Burkeian seams: Can rhetoric, even rhetoric as powerful as Washington's, actually insight revolution? How quickly must something happen for it to be revolutionary, and how complete must the change be? Can we really attribute cause and effect in this case, or are is the rhetorical situation far too complex to tease out what, exactly, criticism does? Particularly today, when the best critics, the critics within the academy, are never heard except within their own communities?
    Do we do what bell hooks did? CAN we do what bell hooks did, and still be radically effective?
    Last night, I was listening to Relient K's Jefferson Airplane, my second favorite RK song, when the proverbial ton of bricks hit me: When, exactly, did I stop believing that I was doing good in the world? When did I stop trying to do good in the world? And how can I get it back?
    DuBois wrote this book, and we keep reading it, debating the two ideologies (Washington v DuBois) and doing absolutely nothing about it. The pile of books I just bought seem to want to fix the problem through text alone. But despite the years since alterity studies, public knowledge and ideology has not shifted. My students still think blacks can be racist. They still think racism is over.
    Agency doesn't mean anything unless you actually use it. And while DuBois created quite a maelstrom, when we write the same things today, no one pays attention. No one who can help us reach a tipping point, anyway.

    Monday, January 08, 2007

    Souls of Black Folk: Thoughts Part I

    In Bonnie TuSmith's MultiEthnic Literature class, I played with the rhetoric of Otherness, but I played alone. No one else quite had the skills or knowledge I had to do this sort of work, and my words seemed new and wise. I cannot expect this at Purdue, however; here, some things are a given.
    Sure, I could point out DuBois's structure: How you must always begin a race-theory text with a narrative about your first moment of feeling Othered. Because it gives you ethos to continue your argument, because retelling a moment of trauma or betrayal is one way to work through it, because that is the moment when Hegel/Husserl/Heidegger's lovely White Ontonlogy fails and we have to point that out. Because it's good for his "Gentle Reader" who is most certainly a white person dependent on Others for identity, and retelling that moment of Othering defamiliarizes us all: With whom am I to identify? My standard WhiteMale gaze for Burke's consubstantiation is gone. The world tilts as I read.
    A description, then, of the feeling of Otherness, a feeling which is nearly impossible to describe in the first place. "One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder" (Ch 1). The sentence is full of commas and dashes and semicolons, dancing around the thing he can't seem to say. He makes up a word: "two-ness" and emphasizes this multiplicity by multiplying his clauses. Too much. Two is too much for one neat sentence.
    He speaks for his race throughout, without the hesitations and hedgings we're used to: "The history of the American Negro is the history of this strife,—this longing to attain self-conscious manhood, to merge his double self into a better and truer self." and " He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face." He names his desires as the desires of the whole, to simplify matters--to unify his radical argument.
    But is this "critical race theory"? No, it's the rhetoric of Otherness. I have no theory, and I'm not being "critical" in the sense that I am attempting to change the system. I'm not advocating, I'm not giving agency--I'm just noting things. Who's going to listen to a white girl from Ohio anyway? How could I possibly have the ethos to be "ethical"?
    Of course, I can always try to figure out a Burkeian approach to agency for the Other. Is consubstantiation really possible? Do we even really want that?

    Thursday, January 04, 2007

    Semester-ness

    T.S. Eliot may have measured his life in teaspoons, but mine is measured in semesters. I didn't realize just how semester-driven my life was until I started trashing some stuff in my old (paper) files. In trying to figure out what YEAR these were from, I referenced what SEMESTER I took the class in.
    Of particular interest was a cheap, Walmart, pink, falling apart notebook I'd tossed on the shelf apparently half-heartedly. From my first semester at NEU, my first semester as a real live adult, my first semester in grad school. The notebook begins just after my birthday--I'd had a legal pad up until then. I don't remember writing any of the stuff in this notebook, which is interesting. So, some stuff by someone apparently named Amylea Clemons...from 7 semesters ago.

    Untitled, 10/24/2003 (Fairly certain Kari's mother was the inspiration, but I don't know what the hell it's about
    )
    She constructs just like me
    --in the basement, in the sawdust--
    in the bold strokes of science and observation.
    Where it is dark, she shaves and splits
    the single light hallowing the center.
    There are nodes here to smooth
    walls that need rebuilding; sketches of the inside
    show the need--we drink the milk from our cereal bowls--
    so she slides under the sharp edge to complete it in emptying.
    I have eternal papercuts from sleeping with the book
    We say: A witty ending goes here. But not without
    careful measurement

    Untitled, writen while reading Marianne Moore, as is obvious by its diction
    "Nothing like" is a certain negation
    So Whole! So sure of its emptiness!
    Not at all "Something like"--
    which is something like a hesitation--
    "Nothing like" is made with cement,
    creates media of content sighs.
    It is not, therefore it is.

    I wonder: That's all.
    We want a predicate for it, for purpose
    "Observations" under a microscope
    I will not hit my friends
    I will not shake the table
    I will not know my father in his rants
    The press loved that sort of thing
    they love it: How do you sort out
    the charming eccentric from the genius?

    That crust was there last century,
    but it did not permeate everything
    (like quotations around your own words)
    invisible and inaudible
    and then it falters, letters are added,
    and No becomes Some,
    Necessary Fictions become
    Necessary Fictions.


    November 1 (title or date? Or both? Written during a Yeats phase)
    There's a space between the words
    that indicates time's wake
    The roughened guitar twangs through
    electricity say only "Me-mor-y"
    It's beautiful, it's brutal, it's a tall candle
    flickering on a board in the lake
    His vision of her causing him to think quickly
    sharpening his grief on grass blades

    December is the slowest month, waiting for
    that precious birth to shake our fears
    All Souls' has pierced the air with cold
    wreath and cranberry sauce
    William is not here; Lucille has gone,
    Woodrow sleeps; I have no tears for them
    Today they move more thickly upon the earth
    among the costumed bodies and faces

    Today they walk in those flares arranged
    to call to them, on which to say a prayer
    The good catholics inhaling wick-smoke
    whisper cannons for me, aloft
    And frozen in the system of the hours,
    always, alreayd, almost there
    Unable to move from the crook of the gears
    rotated to repeat, I was born in.

    To remember is too much for tired synapses
    too used to routing around that Thing
    It's like stiffling a yawn, though: eventually
    your jaw aches, and head throbs and out
    Comes the suppressed with its reliefs and its
    givings-in to sleep or embarrassment
    There's time enough, he says from below, for dwelling
    thanatopsically. This one day where all the spectres are about.

    11/2/2003 Haiku
    Snickers' wrappers
    oh what a beautiful shade
    my foot in the lamp

    In the margin of notes on Kierkeggard and HD
    Hope, she wrote for him
    and hope he brought home
    in the length of his hair
    having seen his father live and die
    and live again
    returning younger and with more
    fire in his hands than any previous incarnation
    thirteen labors for him to perform
    now that hope has descended and the soulless deed
    (he must drink from chipped teach cups) shut down
    the grand experiment: He must return!
    Wash the jacket that went to hell with him
    build a new room
    raise his master from his mounting sleep

    He must cut his hair

    He must fall in love
    must clear the decadent rubble
    and find the leftover parts
    he must keep going
    must hold the gravity at bay
    create a way to find the old world under the new
    he must reread it to her
    without crying for himself

    It's not that they can't coexist
    but he is the type who must have one or the Other
    And the Other has been killed

    He beings with cutting his hair

    Untitled During a William Carlos Williams phase, so it must be Semester Fall 2003
    Put down your smooth affect
    and quit kidding us.
    We know you only walk like that
    when you're ready to flee
    So much depends
    Upon the stride of your gait.
    I read something about
    New Wave Romanticism
    What to do about it, and these visions I have?
    Where I try not to be sleepy and
    simply stumble one day into a week
    I have a tendency to pull to the right
    when not paying attention
    Repeatedly someone approaches the throttle
    then backs away from the solar flares
    I have imagined myself at that bar
    desperate and tripped up on football
    God and Pour Patria Mori
    Then skipping, singing some punk anthem
    with real spirit I toss change in the air
    not rocks at the hill climbers
    I placed a jar in tennessee
    just to see if poets will follow me
    and they DO and we LOPED on
    I can see for miles and miles
    which is good because that's
    where we're headed.

    Untitled Same page
    With the lights on, it's fading
    Here we are, in these containers
    I feel stupid and unmade here
    There we are having facelifts
    Always spinning
    Always willing to be undone
    I forget what it tastes like
    and this too makes you smile


    Right, so, from this we can conclude that how I write depends upon (a red wheelbarrow) which poet I'm reading. Given that all I read lately is Theory, 19th century novels, and Bad Fan Fiction (soon to be an academic discipline), it's no wonder I can't seem to write more than a line or two. Well, I can write quite a bit, but it all sounds like it was written by dead French guys...

    Monday, December 11, 2006

    Quiz fun

    Oh, and online quizzes also do not suck.
    Your results:
    You are Daniel Jackson



















    Daniel Jackson
    92%
    Thor
    70%
    Jack O'Neill
    65%
    Dr. Frasier
    60%
    Samantha Carter
    45%
    Teal'c
    20%
    General Hammond
    20%
    A Goa'uld
    10%
    You are sensitive to the needs of
    others and are a good communicator.
    You always stand up for the little guy.


    Click here to take the Stargate SG-1 Personality Quiz



    Right. I think we all saw that coming. Of course, that was Pre-Ascension Daniel. Post-Ascension Daniel is way less nerdy.

    Your results:
    You are Jean-Luc Picard
































    Jean-Luc Picard
    65%
    Will Riker
    60%
    Deanna Troi
    60%
    James T. Kirk (Captain)
    50%
    An Expendable Character (Redshirt)
    50%
    Spock
    40%
    Geordi LaForge
    40%
    Chekov
    25%
    Beverly Crusher
    25%
    Leonard McCoy (Bones)
    20%
    Mr. Scott
    20%
    Uhura
    20%
    Data
    10%
    Worf
    10%
    Mr. Sulu
    0%
    A lover of Shakespeare and other
    fine literature. You have a decisive mind
    and a firm hand in dealing with others.


    Click here to take the Star Trek Personality Quiz



    Yes. That's me. An old bald white guy. Right.

    Your results:
    You are Spider-Man
























    Spider-Man
    85%
    Superman
    70%
    Green Lantern
    70%
    Supergirl
    55%
    Batman
    50%
    Hulk
    50%
    Catwoman
    50%
    Wonder Woman
    35%
    Robin
    35%
    The Flash
    20%
    Iron Man
    20%
    You are intelligent, witty,
    a bit geeky and have great
    power and responsibility.


    Click here to take the "Which Superhero am I?" quiz...




    Again, I rate as "dude." Should I be worried? Perhaps it's time to get out a skirt and shout "I'm a GIRL" again?

    Things that don't suck so much

    During Finals week, we tend to hyperbolize. The scope of the universe shrinks, and the real Theory of Everthing seems to have something to do with our paper on Jane Austen and the Wagon Wheel (that's a joke for Emily Allen). To remind myself that this is just school, I've compiled a list of things that don't suck.
    Things that don't suck

  • My cat, Kit. Yes, that's right. She's a "KitCat" because she's so sweet. And because thats the name of the Familiar on Charmed, who was also grey. As I write my papers, she leans her head on the edge of the laptop, on the blank area by the mouse. And purrs.

  • Coffee. Coffee good. Today I had a (guess!?) Venti Iced Almond Latte (Vial) from the drive thru Starbucks out at the new shopping center on Creasy Lane. Yeah, a long way to drive, but I did it in my old Wit sweatshirt and pj bottoms, so who can complain? Also good: ERC's house blend. And ERC's espresso. And ERC's teas--happy yerba matte.

  • Harry Potter. Specifically, HP fanfiction. It's a good thing there are more than 270,000 fics on fanfiction.net, because I'm insatiable. Even assuming the 3% rule (97% of fanfiction is written by 14 year old girls who can't spell or create a plot), that leaves us with 8,100 good fics. Get reading.

  • Bad movies, good friends. Dana has arranged for a bad movie night, like the one we held this summer. The feature will be Attack of the Bimbos, which Dana and Reuben are giving to AmERICa (Amanda and Eric) as a Christmas present. I will do a review of the Film here. Maybe. If I ever stop laughing.

  • The Recycle Bin. I finally ran out of space on my thumbdrive, and decided that instead of buying a new one (cause they're so expensive?) I'd delete some obsolete files. After getting rid of things labeled "misc notes" that no longer mean anything, and removing some strange icons that got downloaded when I did my disability studies paper, and combining some notes into one file, I managed to clear 10,000 KBs. This will still not be enough for me to download all my students' papers, though, so I guess I'm hitting Best Buy tomorrow. The point was, it was exciting to remove unwanted files, and to remove that which means nothing. Too bad it's not easy to do that with the rest of life.

  • Jeremy Tirrell. Not a joke. Why? Because he was supposed to remove all Drupal websites from Fall 2005 last week, and he didn't. Why is this good? Because all of the files from my Rhetoric of Science class are still online for download. Why is this good? Because I went looking for the ones I had printed out, and I was missing not only pages, but the names of the authors. Jeremy's lack of time saved me a good three hours on Google Scholar, which also does not suck.

  • Sleep. Sleep does not suck, so I'm told. It is now 1:27 EST (damn Indiana legislature!), and despite being mostly finished with my work, I am up blogging. The cat is, of course, asleep, and yet somehow looking annoyed that I am not laying down so she can inhabit her space on my neck. My insomnia keeps her up too--all the tossing and turning means she has to keep changing positions. When she gets into a deep sleep, she twitches and growls...just like her mommy.

  • And finally, Animal Planet. Not just because it is an entire channel devoted to things furry, feathery, and fin-ny (yeah, FinFeatherFur), but because they don't have any of those annoying Paid Programs. Ever. All night long, there is something "real" on Animal Planet. Sure, it might be the Eukaneuba Tournament of Champions from 1998, but at least there's a droning voice. The History Channel has the nerve to go off from 4:00 to 7:00. Bastards.

  • And that's as close as I'll ever get to Christmas cheer. Bah Humbug, and Happpy Kwanzaa to all.

    Wednesday, December 06, 2006

    "Dead" Week

    It's Dead Week again, that period of time between coursework and finals when everything seems to fall apart at once: computers, papers, bodies. Perhaps renaming the week would prevent this, as well as prevent the constant zombie jokes.
    Then again, we all love zombies, almost as much as we love pirates.
    The insomnia from hell has returned. Some of you may think, "Well, that's good! You can get a lot of your work done!" Fools. You obviuosly have not had such insomnia before.
    The thing about insomnia, as is said in Fight Club is that you're never actually asleep, and you're never really awake. It's this theta-alpha wave crest you ride as you watch the sun rise and set around you. The television glows an electronic, sterile blue, and even my cat seems to be annoyed that I won't just stay still in one position and sleep. Work? Yeah, right. Zombies have eaten my brain. Everything looks like it was shot using a soft lens.
    The kids over at the Libertarian Socialists are on their third week without food, and some are in the hospital. Dead Week, indeed. The eternal semester collapses on us, like time dilation gone wrong, everything necessary squeezed into a few days, hyper-concentrated. Who says that 16 weeks is the perfect amount of time to ingest, digest, and assimilate content? What if some of us need 17 weeks? Or less? The artificial barriers are created by holidays that none of us understand anymore. No one really wants to go home for the holidays, not here in the grad lab.
    There's a reason we went to grad school. And it had only a little to do with intellectual curiosity.
    Of course, you say, "You could have been working on these papers all semester!" True. I could also organize my clothing by color, and give exact change to the cashier at Starbucks. Possible, but not probable. It's not in our natures.
    Alas, we find the edge of time again. And it is December 12th. X-files lied.

    Wednesday, November 29, 2006

    Cassandra

    Cassandra
    he has changed her skin with those fingertips they carve his name so only she can read their secret this brief candle and the sound of its hissing extinguish
    he has charged her with those fingernails that purr just behind her ear an unzipping sound of her skull from her skin or her mind from his
    he has chanced this one last second to glance up white reflecting glasses screening they count the atoms between them so slowly she has time to gasp

    In the hurricane in the shelters they lay wet with pain like sponges
    In the siren they hear each other perfectly they lay limp with words

    she has marked his face with her carved skin all she does is stay here so the future's set in drying clay it cracks when struck by lightening
    she has masked his face with her own smirk just beneath the foaming surf beside the pillared monument the dead ring their hellos to them
    she has marred this one last second with crosses at wrong angles the damn spot fizzles in the waves it inflames like spilled oil



    Itch to scratch

    not known long enough to say this
    all the paper will burn
    all the cities will fall
    she is certain as the water is of rain

    its written somewhere
    snakes will crawl up poles
    angel wings will molt
    So say the spirits we don't believe in

    oh plastic towers far too high
    oh paint, and tin, and steel
    ink and data and cloth
    she is certain all will be lost tomorrow

    on the seashore i'm waiting for the initial flash
    at the edge of the land it is quicksand

    Monday, November 20, 2006

    CFP: Crazy Frakin People

    On Thursday last, I joined the MLA. To join this prestigious organization, one must pay $30 (as a graduate student) and hit "send."
    Not hyperbole.
    I also signed up for the National Communication Association's listserv. The result is that between 4 p.m. Saturday and 3 p.m. Monday I received nearly 200 emails from various academic organizations. And two from someone trying to sell me Viagra.
    The mess in my inbox servs (sic) to remind me that while dissemination has become easier, communication has not. I blog, Kari blogs, Lou blogs, we all blog, but the text has no "rhetorical life" (Jeanne Fahnestock). I could put in a plea here for just about any cause, I could write about clowns eating Kashi cereal, I could make non-sense rhymes and call it poetry, but it wouldn't be rhetorical. There would be "rhetoricity" but without audience, without feedback, it isn't rhetoric.
    The CFPs pile up, repeat themselves, hail the same acamedics in the same institutions. Is it any surprise that I can find at least three Purdue English Graduate Students at any conference in the States? We say the same things, we give our same Schpiels (needs caps), we parade our same (usually Burkeian) theories to the same crowds. Over and over and over. We cite the same authors, read the same "hot" new books, leap on the same academic bandwagon--same routine, different hotels, differnt cities. Different "organizations" set aside for "different" purposes that all seem about the same to me.
    Which is why I got two CFPs--one from the MLA, one from some regional rhetorical studies confernece--on "the backlash" against feminism. The same backlash I've been hearing about since 1995. Let's cite Eve Sedgewick. Let's quote Judith Butler. Let's say the same old things in a different town with newer representative texts. The
    "backlash" in graphic novels. The backlash in blogging. The backlash in text messaging. Pick a text, any text, apply theory, eat some gourmet cheese, go home.
    I'm not complaining that what we do is pointless. No, I think there are quite a few points that arise at said conferences, new ideas, new relationships forged, new side projects to think about. I love the sharing atmosphere. What bothers me is the sheer volume of CFPs, of conferences, of journals. The proliferation of texts makes it seem like we're going somewhere, but we still keep retreating back to the same old sources. I can go to any MLA conference and, upon hearing the thesis statement of a paper, know exactly how the paper will read, what points will be made, what evidence cited. Emily is right in saying that the Q&A afterwards is why people really go to conferences. Because everything before that is just review.
    How many conferences do we need? How many panels can we have before we stretch ourselves too thin? Is there any sense of "expertise" any more?
    I better be careful before someone turns my questions into a conference theme. Then again, someone probably already has.

    Friday, November 17, 2006

    Laming the ducks

    In Bluffton, there were always rumors--call them non-urban legends--about the ducks in the Riley Creek bed. "Duckies!" Lou, Kari, and I said as we crossed Adams bridge outside Ropp. Indeed, the duckies were cute, and unlike a lot of wild fowl, had actual personalities.
    There were the "gang-raping duck" stories, the "duck-eating-duckling" stories, the dive-bombing ducks, the loud ducks that got up way before any of us, and the ducks that skated gracefuly across a late frosting-over of the creek. Yippee for nature.
    But no where did we have lame ducks. Lame squirrels, yes (insert anecdote about the Satanic Squirrel here). But the ducks always seemed to have agency. Well, as much agency as a duck needs, anyway. They never looked hungry, they never looked lonely; mostly, they just looked content.
    According to the OED online, the phrase "lame duck" originally was a Stock Exchange slang term for someone who couldn't pay his or her (okay, "his") debts. Elsehwhere,

    lame duck, (a) (see DUCK n.1 9); (b) U.S. Politics, an office-holder who is not, or cannot be, re-elected; spec. (before 1933), a defeated member in the short session of Congress after a November election; also attrib.; (c) a ship that is damaged, esp. one left without a means of propulsion; (d) an industry, commercial firm, etc., that cannot survive without financial help, esp. by means of a government subsidy; hence as v. trans. (rare), to help (a disabled person); to lame-duck it: to travel with difficulty; to come by the lame post: (of news, etc.) to be behind time.


    Bush is now a "lame duck" president because he has little to no hope of passing anything through the "New" Congress. But, as analysts point out, this time, the lameness is actually dangerous: with this stalemate, little will be done to change the situation in Iraq quickly, leaving hundreds of soldiers and officers in highly volatile areas. And there are two years to go to the '08 elections, despite all the press about them.

    Will we sit for two years in limbo? Or will McCain's call for a 'rational' GOP be heard? With everyone clammoring to be called "centrist" will any good be done? Just because it's the middle position does not make it the right one (contrary to Aristotelean philosophy).

    Someone should remind Jon Stewart of that...

    Thursday, November 09, 2006

    Fun with Anagrams

    Anagram fun
    Some of my favorites...
    Amy Clemons
    MY SON CAMEL
    CALM ME NOSY
    CLAMMY NOSE
    CLAMMY ONES
    CALMS MEN, YO
    CLAN: YES, MOM
    COMA MEN SLY
    MY NOEL SCAM
    SCAM ME ONLY
    MY LAME CONS
    MY MALE CONS
    SLAM COY MEN
    MY MA'S CLONE
    MAY CON ELMS
    How Apt!

    Bluffton College

    CUBE FELL FLOG NOT
    CLUBFOOT ELF GLEN (the best!)
    NO BLOC FLEET GULF
    BLOC LEFT ONE GULF
    CLUB ELF: LEFT, GO ON
    OFT NO ELF CLUB LEG
    CLUB ELF GONE LOFT (headline for dorm room?)
    BE COGENT! LULL BE OFF !
    BE CLEFT FULL GOON
    BE COOL FLUNG LEFT (A comment on politics?)
    BEFELL CLOT OF GUN (not sure what that means, but it works)
    BELONG CLEFT FOUL
    GLOBE CON FELT FLU
    NOBLE CULT ELF FOG
    BUT GOLF ONCE FELL

    Lamar Nisly

    ALARM IN SLY
    MANLY LIARS
    ALL ARMY SIN
    SMALL RAY IN
    MA RAN SILLY
    ARMS ANY ILL (oh, really?)

    Kari Sommers
    MAKER OR MISS
    ROAMERS SKIM
    EAR IRKS MOMS
    SAKI ERRS MOM
    MARK ISOMERS
    OKRA SIMMERS
    AMMO RE RISKS

    Laura Beth Amstutz

    BAZAAR SLEUTH MUTT
    AMBULATE TZAR TUSH
    AMAZE TUBAL TRUTHS (Um?)
    BATHE MUTUAL TZARS
    ZEBRAS THAT UMLAUT

    Diane Hull
    A NUDE HILL
    (no need for more)

    Graduate Student
    A UNDERSTATED TUG
    ATTENUATED DRUGS
    ADAGE TURNED TUTS
    GRADUATES NUTTED
    GRADUATE STUNTED
    DATA TENURED TUGS
    STAGNATE TRUE DUD
    AURA GUTTED DENTS
    ADD TAUNT GESTURE
    DEAD ASTUTE GRUNT
    ATTENDED AT GURUS
    UNGUARDED AT TEST
    DARNED ASTUTE GUT
    UNDATED GATE RUST
    DAUNTED, RAGES TUT
    DANGER TAUT DUETS
    GRATED DEANS TUTU
    STATED NUT ARGUED
    STAGED TAD UNTRUE

    Cultural Studies
    CURTAILED LUST US (feminist studies)
    SAUCIEST DULL RUT (the problem with Foucault)
    LACES LURID TUTUS (Cultural Materialism)
    CURATES DULL SUIT (Pop culture?)
    LILAC STUD UTERUS (Queer theory)
    CURTAILS DUE SLUT (Ditto)
    TACT DULL USURIES (Marx)
    AID CULTURES, SLUT (the command I received)
    LAUDS RUSTIC LUTE (post colonialism)
    DUAL CULTURES SIT (borderland studies)
    RITUALS CULT USED (Rene Girard)
    USUAL CRUD TITLES (How we write)

    Rhetorical Theory
    HOT ROIL TREACHERY
    HIERARCHY ROOTLET
    ETHICAL YET HORROR
    ACHIER HOLY RETORT
    THEIR HOLY REACTOR
    OTHER CLARITY HERO
    REHEAR RICHLY TOOT


    And, finally
    Jacques Derrida
    DEAD JAR SQUIRE
    JADED QUARRIES
    JADES RARE QUID
    ARID QUADS JEER


    Burke would call this a practice of "perspective by incongruity." (CYBERNETICS GIVE UNITY PROP). It's a way of realizing other aspects of a concept by rearranging its components. In doing so, we should avoid stagnation and create new grammars of motive ("CHIEF ROOSTER VOMIT").
    Or something like that.

    Wednesday, October 25, 2006

    Limbaugh confirmed a$$hole

    Two news stories today caught my attention as I wasted the hours between class and teaching. The first you can access by clicking the title of this blog (at least for a few weeks).
    Limbaugh confirmed as asshole
    Monday during his all-too-popular radio show, Rush Limbaugh said the following of actor and activist Michael J Fox: "He is exaggerating the effects of the disease," Limbaugh told listeners.

    He's moving all around and shaking and it's purely an act. . . . This is really shameless of Michael J. Fox. Either he didn't take his medication or he's acting.

    This is the end of Disability Education Awareness Month, and Limbaugh obviously is not aware of the reality of chronic ilness. Nor is the editor of our lovely Exponent who stated in his editorial last week that Purdue is doing a good job paying attention to the architectural difficulties of our campus and is thus "aware." But making changes to architecture is only the beginning of disability awareness--just because access is "granted" to those of us with mobility issues, doesn't mean that the access is good or convenient access. It means that we have met the minimum criteria to be considered accessible. It certainly doesn't mean that this is a friendly environment for students with disabilities--instead, it means the administration can wipe its hands clean of the issue and pat itself on the back. The *real* problems that come with a disability are never addressed.
    Limbaugh's comments make sense, given that most people do not understand the daily reality of those living with "impairments" (many quotation marks throughout). No, Fox doesn't shake continually, but that doesn't mean that he is faking during those times he does have to abandon control for awhile. Chronic illness is not constant, it is not eternal, it is not homogenous minute to minute. It is always shifting with the multiple constraints of each given situation.
    I don't have to admonish Limbaugh; his comments are just plain insensitive, not just to Fox, but to all of us with neurological problems.

    Tuesday, October 24, 2006

    Reversion: Control and Mastery

    Yes, I have been absently absent digitally. Note to self: Never schedule major presentations and papers to be due during midterms and your birthday.

    In our Victorian Literature class, Emily Allen was surprised at the lack of ability to do a close reading among graduate students. I flashed back to my first close reading ever, on Blake's poem about the chimney sweep. My reading was pedantic, but at least it was a close reading: I interpreted the adjectives used, the line breaks, the form of the poem, and its allusions.
    I'd never even consider that as a valide essay now.
    We have become so immersed in "cultural studies" in the loosest sense of the term that we have forgotten the main methods of our field. Even the great scholars in literary theory spend so much time contextualizing that their "close readings" seem to be simply quotations with a nod toward the reader: Look at this quote. We all know how to read it. Now let's see how Dickens' financial situation influenced his use of the word "miser" here.
    This is not a close reading. Instead, the sort of close reading and mastery over the text that the New Critics provided us with has been shunted aside; perhaps because we are loathe to remember the ideology from which close reading emerged. The "empirical" feel to close reading and the New Critics' attempts to scientize literary studies makes us very uncomfortable. And so close reading becomes one technique among many, and not the primary goal of an interpretation.
    I won't say whether this is right or wrong in general (as a rhetorician, I cannot speak for the literary critics), but to me this feels irresponsible. As Professor Burleson so naively says in my communication studies class, the point of literary studies is to "understand" (another word we hesitate on) the work in front of us. And that means a certain mastery over, control over, the text itself which we in this postmodern non-arboreal, anti-hierarchical context cringe at. We say we are doing a "violence" to a text when we "mark" it (Bartholomae, Ways of Reading introduction and Derrida, Acts of Literature). The instant we comment on it, the text is no longer "the" text--it mutates and becomes something else, Derrida says. This may be true: My marks on Wordsworth's "Prelude" have made it very different from the original text. And I certainly intend to do a violence to it by leaving my own mark upon the history of that text and its various meanings.
    But I do this through what I call a "rhetorical" analysis--and rhetorical analysis is not afraid of close reading. Rhetorical analysis seeks to master the text and its life in the real world. Rhetorical analysis looks at possible intent, possible effects, possible meanings: it is forceful and assumptive, and until recently was unapologetic about making statements such as "Women are drawn to softer colors; therefore, O'Keefe's painting is aimed toward the feminine understanding." We make assumptions about the meaning of an italicized word, about the use of a comma, about the need for a border around an advertisement based on the commonplaces of our given society. It's Aristotelian, it's Burkiean, it's whitemale.
    Other than the types of questions asked, a "close reading" done for literary studies is no different from one done in rhetorical studies. I wonder why our students--and, it seems, grad students--do not seem to have the procedures embedded in their brains. (Of course, I didn't have those in there until I took Lamar's Intro to Lit and Sue's Mass Media class in the same semester and began noticing overlaps). Do we fear so much to master a text that we have abandoned the notion of getting "close" to a text?
    I sound like a conservative East Coast literature person, I know. But cultural studies is not a method for getting at a text's meaning--it's a method of getting at a text's culture, it's ideologies, it's seeds and progeny. We have only one method of attempting to understand meaning, and that's through close reading. It may be a reversion of sorts, but it doesn't have to be. You can still use the methods of close reading and assert a multiplicity of views at once. You can make the large assumptions that rhetorical theory requires (thanks so much, Aristotle et al) and still acknowledge that for any given culture or individual, these readings might not be the same. There doesn't have to be an air of empirical certainty to your reading; nor is it avoidable to do the violence to the text that Derrida describes (in fact, he doesn't lament that we do this violence--I'd argue he simply points it out).
    The mixed methodologies of cultural studies (in its formal sense) allows us to use whatever we can get our hands on in order to explain a given rhetorical situation. To do so, we examine texts and their interaction with the context in which they are created. We must read the texts a culture produces just as much as we should the research economics, ecololgy, material conditions, interpersonal relationships, etc that were available in that time. If the time is a present time, we should empirically research the attitudes towards an idea, towards a text, towards a statement and catalogue for future generations our understandings of this data. How do people feel about dystopian films? What explanations are commonly given for reading 1984? And then, what about Brave New World's construction, content, or style might be appealing to high school teachers so that it ends up on syllabi? How does the text argue for change, and how does that argument reflect the conditions in which Huxley was writing? What other treatises were available that same year, and how were those formally constructed? What genre conventions are present in these novels, and how do those conventions transfer to film? How is the hero represented, and how do audiences feel about that hero when they actually are reading? Close reading mixes with historical research and can blend in empirical, qualitative, attitudinal studies. (And it will).
    Literature meets rhetoric in the text itself. A true rhetorical theory of fiction (sorry Booth, you didn't go far enough) would combine all of the elements above. And I believe that literature studies needs rhetorical studies right now (and perhaps vice versa), as we make the so-called "ethical turn" in literary theory. The ethical turn is concerned with the text's relationship to the reader and how much the text imposes upon the reader's values and selfhood. How can we possibly understand that without understanding how to read, and how a text is carefully constructed affectively (toward affect)?
    As I read attempts at close readings, I keep thinking that if these critics had knowledge of rhetorical theory and methods they wouldn't be working so hard to make claims about "style". What is missing from close reading is a mastery of reading as an act that takes place in time and space. Burke's methods of criticism--if we can call them methods--seem to me the perfect blend of the literary and the rhetorical senses of close reading. He examines not only what happens as a reader reads, but looks at other uses of the metaphors in question over the lifetime of the author. He looks at how a sentence moves the reader from one idea to the next--how ideas get transformed and speculates, based on contextual information why an author would write such a transformation. He imagines what a reader "learns" or gains from a text as to why some texts become canonical or popular. He theorizes the connection between author and reader as one taking place in an undefined space that both share--shared values, common vocabulary, communal traditions and rituals that make two seem like one. And only then does he (begin to) consider larger social movements.
    Literary studies tends to do this backward: the context is selected and then applied to the text. Good studies look at the give and take between text and context, but rarely do we see the close attention to each individual word and punctuation that Burke would have us do. His reading of "Ode on a Grecian Urn" is considered masterful by literary critics (traditional!) and rhetorical critics alike because it is such a close reaidng, not only of the text, but of the texts surrounding Keats at that time.
    In order to write my dissertation, I am going to have to argue for a Burkeian methodology for literary studies. Few, if any, have tried to extrapolate what that methodology might look like, had Burke ever set a literary "program" as he did a rhetorical one. And I will use dystopian fiction as an exemplar to make this argument, showing how texts--especially modern ones--inflitrate so many areas of culture (and, of course, that it is important to study the arguments these texts make) that it is necessary to adopt a different approach to literature. Mastery of a text doesn't just mean exploring a context. It doesn't just mean doing a close reading. Mastery involves all those moves that Burke makes in his readings of literature that few have been able to replicate since then.
    The question is, can I do it?

    Reversion

    six shots of espresso later and i'm still yawning
    dawn is no closer than the last repeat of the cd
    --can i call it a daydream when it's still night--
    bloody cardinals and inky jays and muddy hawks
    skirt the edges of the heavy parts of the air
    that settled just above here last night
    it's weighted with water to drown out the pain

    musty carpets and bathrobes smell like before
    (before i left for eastern pastures)
    our insubstantial consubstantial murmurings at dinner
    --we can call it immediate for now--
    mixed elves wtih oily corn, love with silk shirts
    the stones we leaped in the fog, in a waltz
    reeked old dampness from the creek and the dew

    elastic in my veins is like (mutatis mutandis)
    when love was so easy (sine qua non)