Full-time, non-tenure-track professors at Rutgers University are celebrating after winning key bargaining goals in their new contract. Career titles outlining paths for promotion have been established for teaching, professional practice and librarian faculty members, similar to those already in place for clinical and research non-tenure-track faculty members. Explicitly non-renewable contracts have been abolished, as has the title of “assistant instructor.” For non-grant-funded faculty members, appointments will be for one to five years, and advance notice of non-reappointment is now required.
Current assistant instructors also will be absorbed into the rank of instructor as of July and those assistant instructors making the minimum salary for their rank, about $34,000, will be paid the minimum salary for instructors – about $39,000. (No other raises for non-tenure-track faculty are included in the agreement). The union, which is affiliated with the American Association of University Professors and American Federation of Teachers, covers all tenure-line and about 1,000 full-time adjunct faculty at all three Rutgers campuses.
Ann Gordon, a recently retired, longtime, non-tenure-track research professor of history at Rutgers’s main campus at New Brunswick, said that the university previously had no strategy for managing the career paths of non-tenure-track faculty, but that the new agreement – reached after many months of negotiations -- puts it ahead of many peer universities on that issue. In a statement, a Rutgers spokesman said the contract recognizes the “important role” of non-tenure-track faculty there. Some 1,300 part-time adjuncts at Rutgers are unionized with the AAUP and AFT, but in a separate unit. The contract does not affect them.
Ray Cool, an assistant professor of health, physical education and recreation at Western Michigan University, will be reimbursed after his paycheck was stolen by hackers, he said Monday. The news came a day after MLive reported that the university had not reimbursed Cool for the paycheck, which was stolen in mid-December. A hacker using a computer in New Mexico accessed Cool's university account and changed the routing number for his direct deposit from a local credit union account to one in Utah. By the time university public safety detectives traced the hack, all that was left in the Utah account was $11 -- some $1,500 short of his paycheck (the amount does not reflect his actual salary; Cool has several automatic deductions, such as to a retirement account, that were apparently unaffected by the theft).
In response, the university offered Cool an advance on his next paycheck but did not reimburse him for the missing check. Cool said he was frustrated by the university's stance, as it was their system that had been breached. But on Monday, the university informed him via email that he would be "made whole" financially, he said. Going forward, Cool said, "They need to make sure the system protects faculty and staff."
Cheryl Roland, a university spokeswoman, said in an email that she did not know how the hack occurred, but suspected it was the result of an organized phishing attempt. The university's backup verification system picked up on the problem and sent emails to both Cool and a second victim, a university staff member who also has been reimbursed, telling them their bank routing numbers had been changed, she said. But neither Cool nor the second employee opened the message until after the funds had been diverted, a week later. The university has indefinitely suspended online changes to direct deposit information, Roland added.
In today’s Academic Minute, Adam Gordon of the State University of New York at Albany discusses a common behavioral pattern found in living things from honey bees to humans. Learn more about the Academic Minute here.
The president of Elizabeth City State University is planning an additional 65 layoffs, up to 30 of which would come from faculty positions, to deal with financial shortfalls, the Associated Press reported. The positions of four deans would also be eliminated. The actions would follow 46 layoffs last fall.
Students and others at Memorial University, in Canada, are angry over one question on an assignment for computer science students, CBC News reported. They were asked to determine whether a rape victim, especially after being mocked online, would be likely to kill herself. Critics say that there was no need to use such an example for the computer science course. The professor did not respond to the network or Inside Higher Ed.
Evanston, Ill., home of Northwestern University, regularly sees town-gown skirmishes over new construction. Now an off-campus, non-university project that might serve those visiting Northwestern has some local residents concerned. Evanston Now reported that the Southeast Evanston Association has sent an email alert to members urging them to scrutinize plans for an extended stay hotel to be sure that it affiliated with "a hotel brand that will maintain a high quality of business, and not devolve into cheap housing for transient academics."
Inside Higher Ed emailed the association to seek more information on the dangers of transient academics, but has not heard back.
A Duke professor recently used the magic word in an op-ed article she published, resulting in an invitation to visit a U.S. Senate office to discuss legislation affecting millions of children.
The magic word was "I." It's a word academics should include more often when writing op-ed articles for audiences beyond their campuses.
The professor wrote about her research showing orphanages in developing countries to be better than many Americans believe. She argued that well-intentioned legislation now before Congress would close too many orphanages and harm children unlikely to be adopted by nurturing families. The senator, one of the legislation's sponsors, was among those who saw the article.
That's impressive impact for a 750-word op-ed article, which requires far less time to write than a scholarly journal article or book. A well-written op-ed can change minds, sway hearts and affect policy. It can advance the author's career and the university's reputation. It also can serve the public interest, bringing faculty expertise to debates about everything from national security to the arts.
For faculty to play this role, however, they need to become more willing to use the word "I."
In the case of the orphanage op-ed, which our office edited and placed in several papers around the country, the author had the advantage of making an interesting point about a timely issue affecting children. What made her article compelling, however, was how she opened with a story about a Cambodian teenager who was forced to leave an orphanage and ended up becoming a "karaoke girl" who has sex with customers. The author wrote that this teenager illustrates the problem she has seen in several countries.
She maintained her first-person voice through her final paragraph, where she expressed satisfaction that Congress is addressing this issue and hopes the bill will be modified to continue supporting orphanages. To describe what she did in movie terms: She started with a "tight shot," pulled the camera back to show the "long shot" and used a character throughout to propel the narrative.
This approach is dramatically different than in most journal articles. There the author typically reveals the conclusion only at the end, festooned with caveats, after requiring the reader to wade through pages of experimental protocols or dense analysis. That approach simply doesn't work with a newspaper reader who is sitting half-awake at the breakfast table, flipping through the editorial pages en route to the local news and sports scores.
Academic articles also eschew the use of "I" or "me." Their authors learn in graduate school to rely on the power of their data and the brilliance of their arguments. Pundits should dazzle with their intellect, they're told, not with anecdotes or emotion. As scientists and others like to point out, the plural of anecdotes is not data.
That's true, of course, but also self-defeating when it comes to placing an article with the editors of op-ed pages, where competition can be intense. This reluctance of academics to come down from Mt. Olympus and share their stories is one of the biggest reasons why so many of them are disappointed when editors reject their articles. It's certainly possible to address an issue effectively with a third-person "voice of the expert," but academics should not consider this their only option.
My colleague Keith Lawrence and I have helped Duke faculty members and students place dozens of op-ed articles every year, something I also did while running an op-ed service for a decade at the National Academy of Sciences. We've learned that, all things being equal, articles fare better when authors share their own experience along with their professional analysis. If you are a physician-scientist who is concerned about national health policy, this means telling us what happened yesterday to Mrs. Jones, the woman who said she can't afford the medication you prescribed. If you are concerned about fracking, describe the homeowners who told you their water tastes strange.
You shouldn't violate anyone's confidentiality and you don't want to sound like a reality TV star. When you share your own humanity, however, your words ring truer. Readers care more about what you are saying. This is why presidents of the United States, regardless of party, place "real Americans" next to the First Lady when they deliver their State of the Union speeches. They know viewers will pay more attention to Lieutenant Smith, the brave soldier who just returned from Afghanistan, than to an abstract discussion about military policy.
Why do we have the Ryan White CARE Act and other laws named for individuals? Why do politicians on the campaign trail inevitably tell us about the family they met yesterday? For better or worse, human beings make sense of the world through examples. Academics who recognize this are not trivializing themselves or disavowing the intellectual rigor of their research. Rather, they are embracing reality and engaging readers effectively.
Americans who read op-ed pages are not stupid. They are more educated and engaged than the public as a whole. Many have expertise of their own. But they're also busy and, like all people, are wondering how an issue affects them personally. As they gulp a cup of coffee and race through the morning paper before heading to work, they want to hear real stories and voices.
They also want to feel a connection with the author. If you are a professor at Penn hoping to place an op-ed with The Philadelphia Inquirer, for instance, look for a way to mention something that makes clear you're a neighbor.
Many academics approach op-eds as an exercise in solemnity. Frankly, they'd improve their chances if they'd lighten up. Newspaper editors despair of weighty articles -- known in the trade as "thumb suckers" -- and delight in an academic writer who chooses examples from popular culture as well as from Eminent Authorities.
Most of all they want to see the magic word "I." More academics should use it.
David Jarmul is the associate vice president for news and communications at Duke University.
We may be turning and turning in a polar vortex, with April, or what folks in the creative-writing biz call poetry month, seeming like an impossible dream, but poetry is nevertheless in the air right now. In Walt Whitman’s case, it’s on the air: Apple’s ad for iPad Air, “Your Verse,” which debuted on January 12, includes lines from Whitman’s “O Me! O Life!” — as read by Robin Williams in a monologue from “Dead Poets Society” — ending with
The question, O me! so sad, recurring—what good amid these, O me, O life?
That you are here—that life exists and identity,
That the powerful play goes on, and you may contribute a verse.
Two shorter 30-second versions — “Light Verse” (possibly the first time in literary history that the word “light” has been used in reference to Whitman, and a misrepresentation of the opening of “O Me!”) and “Sound Verse” — which begins with “To quote from Whitman, ...” have since aired.
This series represents Whitman’s second starring role in contemporary advertising: a 2009 ad campaign for Levi’s featured excerpts from two Whitman poems, “Pioneers! O Pioneers,” recorded by Will Geer for Folkways Records in 1957, and “America,” read by Whitman himself in an 1890 wax-cylinder recording.
It isn’t so hard to imagine Whitman embracing subsequent new technology. The opening alone of his “Song of Myself” — “I celebrate myself,” later revised and expanded to “I celebrate myself, and sing myself” — marks not only the start, as a number of critics have argued, of modern poetry, but also arguably the start of social media.
If the ego of that I drives and sustains the work, there is also room not only for his sprawling catalogs of life but also for “you,” the reader, who appears as early as the second line. The point was, always, connection: Whitman believed that poetry could heal a nation torn apart by financial concerns and ugly politics and policies (see David S. Reynolds, Walt Whitman’s America: A Cultural Biography). To adapt Wordsworth’s sonnet on Milton, “London, 1802”: “[Whitman], thou should’st be living at this hour; / [America] hath need of thee: she is a fen/ Of stagnant waters...”
Whitman isn’t the only poetic presence evoked this month; another 19th-century giant — the one who said, “I’m Nobody. Who are you?” — has also made a public appearance.
Here’s Emily Dickinson — showing up ironically and wonderfully — in The New Yorker’s “Talk of the Town,” in Rebecca Mead’s essay on the Dickinson projects of poet and visual artist Jen Bervin (“Back of the Envelope” Jan. 27, 2014). What an image: Dickinson, dressed in white and wearing oversized sunglasses, arriving in Manhattan among fanfare, being driven to a borrowed townhouse, then shutting the door, pouring a glass of wine, and reading about herself in The New Yorker.
Why do I find these recent appearances of Whitman and Dickinson so exhilarating — so hopeful? Aside from the pleasure I take in finding any mention of poetry outside of the time frame of April/Poetry Month, it’s heartening to come upon these references in the midst of reading article after article on the death of the humanities.
For, if there have been times of personal and/or professional doubt when I wanted to say, with Marianne Moore, “I too dislike it” (“Poetry”) or when I wanted to side with W. H. Auden’s pronouncement, early in “In Memory of W. B. Yeats,” that “poetry makes nothing happen,” there have been many more instances when I have had to acknowledge the truth that Auden arrives at by the end of that same poem: it is poetry that will “Let the healing fountain start.”
As Ezra Pound said, “Poetry is the news that stays new.”
The news is mixed, of course. It reminds us, as Mary Oliver observes in her poem “Poppies,” that “of course, / loss is the great lesson” — but even in its — and our — darkest moments, poetry continues to answer one of our deepest needs, summed up by a character in Amy Tan’s novel TheJoy Luck Club: “I wanted to be found.”
That is the secret of poetry’s fresh (psychic) news: quite simply and quite complexly, poems find us, and then they encourage us, as Jorie Graham says in “Afterwards,” to “begin with the world.”
We are in the car, for I am driving my three children somewhere — in those years I was always driving them somewhere — when my 7-year-old son asks me from the back seat, “You like poems, right?” I tell him yes. After a beat of several moments, he asks me, “Do you like bugs?” “Some” I say, suspecting that he has a secret agenda. Several weeks later on Mother’s Day, he brings me the gift he has kept hidden in his room, his pick from the “Reading is Fundamental” Program, which allows students to select a book to keep. He chose, for me, Paul Fleischman’s Joyful Noise: Poems for Two Voices, a collection of 14 poems about insects. I use the book, along with Kenneth Koch’s Rose, Where Did You Get That Red, for years in writing workshops in elementary schools.
It is early on Thanksgiving morning — 3:00 a.m., the dark night of the soul. I am sitting with my father in a cubicle in the ER. He came in here over two hours ago, in pain. The nursing home called me just after midnight, and I told them that I would meet the ambulance. Now my father is sleeping peacefully; I study him: his still-beautiful hands and the striking high cheekbones of his face. I let my mind empty, and lines from Stanley Kunitz’s “The Testing Tree” arrive: “The heart breaks and breaks / and lives by breaking.” And then I remember hearing Kunitz himself reading the lines and how the members of the audience, a good-sized crowd on a warm September day, wept. Now, my father is sleeping; across the city, my mother lies awake, waiting for my phone call.
One spring break, I go to the private facility where my sister is a therapist, to conduct a writing workshop. The facility has a program that reunites women with their young children. I prepared for the workshop by gathering several poems about mothers and children, and then, at the last moment, I added William Carlos Williams’s “Between Walls.” At the workshop, I hand out copies and read the poem. There is a moment of silence, and then one woman asks, “Are we supposed to fill in the blanks?” A second woman says, “Wait, it’s already a sentence.” And then a third woman looks up — she is tapping the end of the poem, the image of broken but shining “pieces of a green / bottle” — and she says, “It’s us.”
My father’s favorite poem is by Billy Collins: it’s “The Country,” the one about the fire-starter mouse, “the creature / for one bright, shining moment / suddenly thrust ahead of his time.” We always start with this. Then I say, “Here’s another one I think you’ll like, and he says, “All right,” and he folds those (beautiful) hands in his lap, as I read “I Chop Some Onions While Listening to Art Blakey’s Version of ‘Three Blind Mice,’ ” which never fails to bring me, like the speaker in the poem, close to tears, and my father says, “That’s a good one. Thank you.”
On another day, I compliment Katie, a young woman working at my father’s nursing home, on her striking new tattoo: it’s a delicate feather, on the inside of her wrist. I ask her what made her choose that design, and she starts to explain that there is a poem that she has always loved. “Yes,” I tell her, “Emily Dickinson! ‘Hope is the thing with feathers,’ ” and Katie’s eyes light up. “That’s it,” she tells me, “that’s exactly it.”
Carolyn Foster Segal is professor emerita of English at Cedar Crest College. She currently teaches at Muhlenberg College.