faculty

Emory Faculty Council Issues Statement Backing President

Last week, faculty members in Emory University's College of Arts and Sciences rejected a vote of no confidence in President James W. Wagner. Over the last year, Emory's decision to end some academic programs frustrated many professors, particularly in the humanities. Opposition grew in February, when Wagner's column in the alumni magazine offered as a model for compromise the three-fifths compromise, in which Northern and Southern politicians creating the U.S. Constitution agreed to count each slave in the South as three-fifths of a person for purposes of taxation and Congressional representation. While Wagner apologized for using the example, many people at Emory were stunned that he could be unaware that the compromise is widely viewed as a particularly ugly and racist moment in U.S. history.

On Tuesday, the Faculty Council (an elected faculty body representing all of the university's units) issued a statement of support for Wagner.  "We acknowledge the hurt to our community caused by President James Wagner’s use of the three-fifths compromise clause in his column in the Winter, 2013, issue of the Emory Magazine. He has sincerely apologized for this mistake in multiple venues, and he has held many listening sessions to hear concerns from the community. We as the University Faculty Council accept his apology. While his words were insensitive, they were not malicious in intent, and discussion of them has revealed failures throughout our community to live up to the diverse and inclusive ideal to which we aspire," said the statement.

It went on to describe Wagner's use of the three-fifths example as "particularly unfortunate because it detracts from many endeavors Emory University has initiated under his leadership. Emory has apologized for the role of slavery in building the institution, hosted the 'Slavery and the University' conference, which drew attendees from across the U.S., and created the Transforming Community Project in which people from across the university engaged with our history and current experiences of race, gender, sexuality, and other forms of human difference."

The Faculty Council's statement concluded: "We state our firm support for his continued leadership in the years ahead to continue the work yet to be done."

 
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Groups Retract Paper That Criticized Faculty Workloads

Education Sector and the American Council of Trustees and Alumni announced Wednesday that they are withdrawing a report issued in March claiming that faculty teaching loads had gone down substantially, contributing to the rising cost of higher education. That report, "Selling Students Short," said that "from 1987-1988 to 2003-2004, the average number of courses tenured and tenure-track faculty taught per term ... declined 25 percent. It is hard to overstate how dramatic this decline has been." The report argued that colleges would have kept their spending lower had they not made it possible for faculty members to spend less time in the classroom. At the time it was released, several faculty groups questioned the data, and pointed to problems with the report, such as its failure to reflect on the much increased use of non-tenure-track faculty members, who typically teach many more courses than do other professors.

The announcement Wednesday said that the two groups no longer felt that the data from 1987-88 were comparable to those from 2003-4. For example, professors who were not teaching any classes were excluded from the earlier data, but not the latter data. "[W]e cannot determine whether teaching loads for the typical professor declined, stayed the same, or increased," said a blog post from Andrew Gillen, the research director at Education Sector.

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Survey Finds Continued Gap Between High Schools and Colleges

A new survey from ACT shows the continued gap between those who teach in high school and those who teach in college when it comes to their perceptions of the college preparation of today's students. Nearly 90 percent of high school teachers told ACT that their students are either “well” or “very well” prepared for college-level work in their subject area after leaving their courses. But only 26 percent of college instructors reported that their incoming students are either "well" or "very well" prepared for first-year credit-bearing courses in their subject area. The percentages are virtually unchanged from a similar survey in 2009.

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Bill to Create 'New University of California' Dies

A bill is dead to create a fourth college system in California to award credit and degrees to students but offer no courses, according to the head of the state Assembly's higher education committee.

The bill would have created the "New University of California," which would have issued credit and degrees to anyone capable of passing certain exams. The bill received criticism and news media attention even though it had an uphill battle to become law: its sponsor is Assemblyman Scott Wilk, a rookie Republican lawmaker in a Democratic-majority legislature.

“Of course we need to look at creating different paths for students to achieve college completion,” Das Williams, the Democratic chairman of the Assembly's higher education committee, said in a statement. “At the present time the author of the AB 1306 has decided to pull the bill. This bill, and others like it, must be closely reviewed and solution-oriented to ensure that they meet our state’s higher education goals and prepare our students for a robust career in the workforce.” A spokesman for Wilk did not immediately respond to an email seeking comment on the bill's fate.

The bill is just one of several across the country this year to suggest new models for graduating students. Another, which is sponsored by the leader of the California Senate, is still believed to be very much alive. It would require California's 145 public colleges and universities to grant credit for certain low-cost online courses offered by outside groups, including classes offered by for-profit companies. 

In Florida, a measure is advancing that would allow Florida officials to accredit individual courses on their own -- including classes offered by unaccredited for-profit providers. 

Vote to Decertify Montana State Union Too Close to Call

Preliminary results of the vote at Montana State University to decertify its union shows the final margin will be even smaller than the decision to unionize in 2009, which won by a meager 12 votes. After the 375 ballots were counted at the Montana Department of Labor and Industry in Helena, the effort to decertify the Associated Faculty of MSU leads by five votes, 190 to 185. The union, which is affiliated with the statewide MEA-MFT, has challenged four ballots, while its opponents have challenged two.

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Review of Salomon Kroonenberg, 'Why Hell Stinks of Sulfur'

While in Iceland a few weeks ago, I tried to work up the nerve to try hàkarl, one of the local delicacies. It is prepared by burying chunks of Greenland shark meat in the ground for a few weeks so that it can “ferment” (the nicest word possible here), after which it is unearthed and kept in a smokehouse until extra tasty. The smell goes on for miles. One tourist compared it to “a tramp’s socks soaked in urine.” The flavor, everyone says, is not nearly as bad as the aroma, although the description alone is sufficient to tickle the gag reflex.

My suspicion was that the hàkarl tradition began with one drunken Viking daring another to eat putrid seafood. On first arriving in Reykjavik, I felt up to the challenge, if only because clogged sinuses had deprived me of smell and taste for a week. But Iceland has the world’s cleanest air, and after breathing it for a couple of days, my senses were functional, even keen … and I flinched. My wife was unable to contribute to the YouTube subgenre of “tourist eats hàkarl” videos. Clearly no Viking blood flows in these veins.

Be that as it may, I could tell, by the time we left, that the city itself had a smell -- distinctive and unpleasant, like rotting eggs perhaps. It came from the sulfurous fumes emitted by Iceland’s geothermal springs. The island sits atop (or rather, was created by) the ridge or boundary between the North American and Eurasian tectonic plates. As they move apart from each other, heat surges up from beneath the earth’s crust – hence the volcanoes, and frequent minor earthquakes, as well as water so hot you can boil an egg in it.

Returning to my desk a few days later, I found, atop the clutter, a book showing the glowing mouth of a volcano on its cover, with the title Why Hell Stinks of Sulfur: Mythology and Geology of the Underworld by Salomon Kroonenberg (Reaktion Books, distributed by the University of Chicago Press). The topic had sounded intriguing before our trip. Now the title itself promised to keep the vacation mood alive just a little while longer.

Kroonenberg is emeritus professor of geology at the University of Delft, in the Netherlands – and Why Hell Stinks of Sulfur seems very much a professor emeritus’s book. It blurs the line between memoir (or travelogue) and a pedagogically compelling exposition of the author’s field. And the author wanders across that field guided by his own sui generis map. As far as I know, “the underworld” is not a contemporary geological concept. It leads him across an enormous and various range of ancient and modern literature concerning the world beneath our feet. The earth sciences become part of the humanities, and vice versa. The treatment is essayistic (comparisons to Stephen Jay Gould come to mind occasionally) yet the volume coheres as a whole. It is the work of someone who knows not only his subject but the history and sources of his own mind. This might be called full intellectual maturity, a ripening; the quality is rare.

Kroonenberg’s point of departure is the contrast between the crystalline transparency of the heavens above -- where we can see objects billions of miles away, weather permitting – and the opaque universe beneath our feet: “the most unknown part of our planet, despite the fact that the center of the Earth is no further away than London is from Chicago.” The deepest location most of us will occupy for very long is six feet under, and not out of curiosity. The association of the underworld with darkness and death comes naturally, and the heroes who travel in its realms (Orpheus, Anaes, Dante, etc.) usually go there because they’ve lost someone. In the case of Jesus – according to the pseudepigraphal Gospel of Nicodemus – the trip is a mission to subdue Satan and lead “Adam and all the saints out of hell.”

Following the geographical references and descriptions in these and other accounts of subterranean visits, Kroonenberg goes in search of the real-world sources of how the underworld has been depicted – the original river that becomes mythologized as Styx, for example. Kroonenberg is often pursuing suggestions left by explorers and scholars over the centuries. Their lives and writings become part of the narrative, along with the author’s own travels and his explanations of geological phenomena.

The author moves through history in a crablike fashion -- from ancient and medieval stories to recent knowledge of the earth’s structure, but never through the shortest possible route of compare-and-contrast exposition. Alongside the fictional or legendary figures, more and more historical figures appear as the chapters proceed, bringing their speculations on stage. (Leonardo da Vinci drew a reasonably good cross-section of the Earth, showing the layers beneath its crust. René Descartes “was the first to assume that the core of the Earth was hot.”)

All the while, Kroonenberg’s personal recollections weave in and out of the text, from his childhood scientific interests to aspects his career, such a collaborating with specialists in pedology, the study of dirt, while working at an agricultural school:

“Experienced soil surveyors roll a small clump of soil into a sausage and stick it into their mouths, chew it, ponder it for a while, and then pronounce their verdict: light loam, 15 percent clay. And then it starts, as there is always more than one pedologist around the pit at any one time. They take turns to jump in, pick at the wall, and taste the soil: ‘I think it’s heavy loam, 20 percent clay.’ … There are endless discussions on the basis of qualitative, subjective observations, where the lack of statistical evidence is compensated for by years of experience in hundreds of pits. Bullshit around the pit, that’s what we call it.”

Not surprisingly, one of the author’s favorite books as a child was Journey to the Center of the Earth, by Jules Verne, in which the narrator and his uncle, Professor Lidenbrock, gain access to the subterranean world through a volcano in Iceland. Kroonenberg recalls that the uncle was “an irritable and conceited scholar who gave a not particularly popular course on mineralogy” and gathered knowledge “for himself and not for others.”

In the Scholastic Books edition of Verne’s novel that I read constantly as a kid, that little bit of characterization was left out. Perhaps the editors worried that it was too unflattering a picture of a teacher. In any case, Kroonenberg himself is nothing like the uncle, if his book is anything to go by. It makes me want to go back to Iceland to have a look at that volcano. Next time, I might also sample a bit of hàkarl, or, failing that, chew some dirt.

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Colleges award tenure

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The following individuals have recently been awarded tenure by their colleges and universities:

Essay with advice for applying for jobs at religious colleges

You may not need to share the faith of the institution, but you need to understand it to figure out if you might be a good fit, writes Melanie Springer Mock.

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New Leader for Political Science Association

The American Political Science Association has named Steven Rathgeb Smith as its next executive director. Smith will succeed Michael Brintnall, who is retiring, on September 1. Smith currently holds the Louis A. Bantle Chair in Public Administration at the Maxwell School of Syracuse University. His research areas include nonprofit organizations, public management and social policy.

 

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Essay on the experience of narrating one's own book

Last summer, Audible contacted my agent about making a recording of my memoir-critique, No Right to Remain Silent: What We’ve Learned from the Tragedy at Virginia Tech. Previously, two of my novels had been made into audio books, and though I was grateful the productions had been made, I always regretted not being able to narrate them myself.

When I was young I trained as an actor and as a reader of poetry, particularly metered verse. I’m accustomed to delivering keynotes and making other kinds of presentations. I also have experience as a singer — I was in a reggae band in Britain when I was young, though perhaps this isn’t the best testament to my abilities. As soon as I left the band had two top-20 hits in a row.

I felt passionate about narrating this book because it is not only an analysis of such things as the vulnerability of the education system and the easy accessibility of guns, it is also a deeply personal account of my experience before, during, and after the rampage attack on the campus. Though I reported the English department’s concerns about Seung-Hui Cho to many units on campus, and though he did eventually seek help from campus counseling, at his hands, we still experienced the worst college shooting in history. I wrote the book because it seemed inevitable that other attacks would occur, especially if we as a nation didn’t learn from the errors and missteps of the past.

It was my responsibility to utter the words I had written. Honest, open communication is the only meaningful gift we have to give to those who lost loved ones in the attack. At the end of the book I apologize to the victims' families for not being able to prevent this horror. How could someone say these words on my behalf? It’s not the kind of responsibility you can delegate.

It wasn’t until it was confirmed I could narrate the book that I realized I didn’t know if I could do it. Although I had read excerpts from it during readings and keynotes, reading the book aloud all the way through was a different matter altogether. What would I do when I reached the part about how I learned the perpetrator was an English major with whom I had worked? How would I get through the chapter "A Boy Named Loser," ("Loser" was Cho’s own name for himself) — a chapter in which I describe Cho’s agonized, menacing silence as he sat in my office, wearing his reflective sunglasses indoors?

But there was no point in focusing on what ifs. Best take the bull by the horns, my late mother would have said, her remembered voice always a source of consolation. We would be recording for six hours a day for about a week. In readiness, I bought honey-and-lemon throat lozenges and made a strong flask of mint tea. To warm up my voice on the 10-minute drive to the studio, I sang songs from The Sound of Music: "Edelweiss," "My Favorite Things" and "I Have Confidence in Me" — which I didn’t. Nevertheless, I sang with gusto, trusting in the power of Rodgers and Hammerstein and the fact that my car was soundproof.

I must have looked more eccentric than usual as I drove along Blacksburg’s winding country roads doing an impersonation of Fraulein Maria. But it made the process less daunting — as if I were still the homely-looking Anglo-Jamaican girl who used to belt out songs like "Singin’ in the Rain" as she trudged through a downpour on the way home from convent school; as if I were still the person I was before tragedy almost felled me like a tree, and, for a time at least, robbed me of the ability to sing at all.

Originally, I was supposed to travel to Maryland or DC to do the recording — a four-and-a-half hour drive from Blacksburg. It would mean staying in a hotel far from the comforts of home. I didn’t look forward to it. But Bruce Kitovich, the producer Audible assigned me, went out of his way to find a studio here in Blacksburg. It was a thoughtful thing to do, and it allowed me to meet Earl Norris, musician, owner, and operator of Four Loud Barks studio. As it turned out, Earl’s wife and my husband knew each other from way back. As soon as I entered Earl’s studio I felt at ease.

Apparently, according to Bruce, it’s not as unusual as it used to be to have authors read their own work. Not surprisingly, perhaps, this is especially true for memoir. If the recording is straightforward — and it often is for nonfiction — Audible’s in-house team checks the finished recording for quality control and decides which sentences need to be re-recorded. It’s a relatively speedy and efficient process that takes a matter of weeks.

We began recording the book on Sunday January 13, a mere three weeks after the heartbreaking attack at Sandy Hook Elementary in Connecticut. Early the next morning, my husband’s mother died. Mama Edna was a lovely woman — the kind of mother-in-law you hope you will be blessed with. I was even more concerned I wouldn’t be able to get through the recording without becoming emotional. Surprisingly, however, the process was one of the most calming experiences I have ever had.

Something strange happens when you record your own book. The relationship you have to your own words shifts and alters. You deliver a sentence in a particular way, stumble, then reread it with a completely different emphasis, one that can catch you by surprise. You hadn’t realized that was what you meant when you wrote the sentence, but it’s suddenly clear that of course that’s what you were trying to say. You are speaker and auditor, author and interpreter. You hear words anew.

I sat alone in Earl’s room-sized studio, a ribbon microphone a few inches from my mouth. I had been experiencing severe back pain for several weeks, so I sat in a chair with my elbows propped up by fat green pillows. This brought the book closer to me and meant I didn’t have to bear its physical weight while I read. Through the headphones my voice came back to me as not quite mine, as if someone else — a close relative, my mother, perhaps?— was speaking. It’s a strange sensation. Having done many radio interviews, I was accustomed to the aural intimacy of exceptionally sensitive headphones, but it was different this time. I was able to read the book out loud all the way through because it was a disembodied voice doing the reading — a projection and personification of sorts.

It occurs to me now that this process is much like the writing process we engage in as poets and novelists. When we teach creative writing, we talk about finding our voices, not simply because we want to assert our own identities, but because the voice is the guide leading us to the next place. It finds us when we’re lost and puts us back on the path towards revelation. Or at least we hope it does. Though I was in the Four Loud Barks studio on the other side of Earl’s garage while Earl was in the basement of his house several rooms away, I wasn’t alone. Not only did I have my own voice to keep me company, I had Earl’s voice, too, coming through the headphones. He listened intently to what I read and made sure it sounded O.K.

Today -- April 16, 2013 -- marks the six-year anniversary of the Virginia Tech shootings. In interviews I am often asked whether or not I have been able to move on from what happened. I try to explain that you don’t move on completely from calamities like this. What you can do with the help of friends and loved ones, however, is find a way to reconcile yourself to what has happened — or maybe, if you’re lucky, a way back to laughter again. In my case, I had to find a path toward forgiveness not only of the perpetrator but also of myself for not being able to prevent such a terrible tragedy from occurring in my beloved community. It is a long arduous journey — one I have to admit I am still on. I am grateful for the voices that accompany us, grateful that they serve to remind us of the world’s steadfast, indestructible beauty.

Poet and novelist Lucinda Roy is an Alumni Distinguished Professor at Virginia Tech. Her most recent book is No Right to Remain Silent: What We’ve Learned from the Tragedy at Virginia Tech.

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