Books abound about student disengagement. We read about their apathy and indifference to the world around them. Data, sadly, support these claims. Youth voting rates are low, especially when President Obama isn’t on the ballot, and while there is some partaking in community activities, critics have noted that some of this engagement is the product of high schools "mandating" volunteerism as a graduation requirement.
My experiences – both as a political scientist and as a dean of the school of liberal arts at the Savannah College of Art and Design – suggest that we administrators and professors doth protest too much. Give our students a compelling text and topic, and they will engage.
I recently visited a philosophy class in which Plato’s Republic was assigned. The students were tackling Book Six, where questions spill off the pages about who should rule, and what qualities make for a viable ruler. Can a "rational" person, removed from impulses and passions, command and lead? How can, or should one remove oneself from temptation and emotion? Can the rational and emotive be separated? Do citizens trust those who are like them? How much of leading and governing is about the rational, and how much is about appearances and images?
As the professor and I raised these questions, I noticed immediately that the students had done the reading. We administrators read about how today’s students do not read. But these students – all of whom were non-liberal arts majors – had immersed themselves in the text. They were quoting passages and displaying keen interest, both in the text itself and the questions that were being raised. It is not surprising that Plato enlivened the classroom. But these future artists and designers recognized the power of the text. They appreciated how the words had meaning, and the questions were worth exploring.
Second, this experience, and others like it, gave me pause. We administrators may need to tweak our conceptions of our students. Sure, Academically Adrift is an important book, and yes, the data show that the degree of reading comprehension has declined. But we should not misconstrue that data as tantamount to disengagement, nor should we assign fewer readings, simply imply because there are data that show many students do not complete reading assignments. This recommendation – of assigning less reading and teaching it in greater depth – was one of the suggestions made by José Antonio Bowen, author of Teaching Naked, in his dynamic and imaginative keynote address at this year’s annual meeting of the Association of American Colleges and Universities.
The point here is not to debate Bowen’s recommendation – that is for another time and place. Similarly, I am well aware that this experience in Philosophy 101 may be unique, and is dubiously generalizable. (I should add that encountering students who are excited about discussing big ideas also occurs in other classrooms -- photography and art history, for example, that I have visited as well.)
This enthusiasm is not a recipe for assigning Plato in every class, although that is an idea that most definitely would generate discussion. That written, I believe that we should reconsider how we administrators and educators think about student engagement. It is more than knowledge about civics and current events. It is bigger and deeper than service learning, or a passion to work in one’s community.
Provide students with a compelling text and a professor who knows how to raise thought-provoking questions, and students will ponder, debate and imagine the world in new and different ways. They will learn how to think critically and creatively. Cultivating that form of student engagement is no easy task, but it begins by exposing students to great texts and great ideas. Engagement is more than a form of political participation. It is the core of the liberal arts.
Robert M. Eisinger is dean of the School of Liberal Arts at the Savannah College of Art and Design.
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.
“Before the Freedom of Information Act,” Henry Kissinger told a gathering of diplomats in Turkey in March 1975, “I used to say at meetings, ‘The illegal we do immediately; the unconstitutional takes a little longer.’ But since the Freedom of Information Act, I'm afraid to say things like that.”
Not that afraid, obviously. The Machiavellian quip got a laugh at the time, according to the official transcript -- and clearly it merits a spot in any future collection of familiar quotations, alongside Kissinger’s remark about power being the ultimate aphrodisiac. For now, it serves as the epigraph to a press release from WikiLeaks announcing the opening of the Public Library of U.S. Diplomacy, with its first collection consisting of more than 1.7 million diplomatic cables from 1973 to ’76.
All of the material was routinely (if belatedly) declassified after 25 years, per U.S. law, and has been available from the National Archives and Records Administration. WikiLeaks made the collection searchable and is “housing” it on servers presumably beyond the reach of Big Brother. Now they can’t be reclassified.
As announcements from WikiLeaks go, it’s all fairly underwhelming. But it does make an important revelation -- however unintentional -- by reminding the public that three years have passed since the group last made a world-shaking release of information. The leaks, it seems, have been plugged. Secret documents are staying secret. Even the most ardent admirer of Bradley Manning will be understandably reluctant to share his fate. While it is too soon to pronounce WikiLeaks dead, it does appear to be in a coma.
Castronovo, a professor of English and American studies at the University of Wisconsin at Madison, links the “Cablegate” of 2010 to a Revolutionary War-era incident through the concept of “a new kind of network actor” distinct from “the traditional person of liberal democracy.” The case in question was the Thomas Hutchinson affair of 1773, when letters by the governor of the Massachusetts Bay Colony somehow found their way into the hands of the Sons of Liberty, who then circulated them via newspaper and pamphlet.
Hutchinson had borne the brunt of serving His Majesty during the Stamp Act riots a few years earlier, and was in office during the Boston Massacre. In his correspondence he referred to the need for “abridgement of what are called English liberties" among the unruly colonial subjects, which was just so much gasoline on the fire.
The source of the leak was one Benjamin Franklin, colonial postmaster. Franklin later insisted that this ethical lapse was committed in an attempt (alas! unsuccessful) to reduce American hostility towards Parliament and the Crown by documenting that the real source of trouble was someone much lower in the chain of command. Castronovo treats this claim with greater suspicion than have some historians -- and not just because Franklin was such a master of irony, pseudonymous commentary, and the fake-out.
Franklin was also a node in multiple correspondence networks, and understood perfectly well how porous they could be. Alongside the official channels of communication between Court and colony, there were informal but durable long-distance connections among merchants, officials, publishers, and so on. A letter by someone within such a network tended to have, so to speak, an implicit “cc” or “bcc” field.
“More significant than the sending and receipt of private letters between individuals,” writes Castronovo, the activity of these epistolary networks “encompassed a range of public activities, including the recitation of letters aloud, the printing of handwritten letters in newspapers, the transmission of pamphlets, and the sending of circular letters by local governments....” Such communications might be “opened by third parties and forwarded without permission, shared in social circles and reprinted in newspapers.”
By transmitting Hutchinson’s letters to figures within his own circles who were in contact with the more hot-headed American revolutionary circles, Franklin was creating a political weapon against the authorities. He was, in effect, both a whistleblower and Julian Assange at the same time.
Having put it that way, however, I must immediately backtrack to say that the analogy is not Castronovo’s point at all. “At issue,” he writes, “is how communication spreads and metastasizes, how ideas proliferate and take root, how views and opinions propagate themselves.”
The network in each case – epistolary or digital – is not just a medium or tool that individuals use to communicate or act. In it, rather, “individual agency becomes unmoored from stable locations and is set adrift along an interconnected web of tendril-like links and nodes.” This is a perspective derived from the work of Bruno Latour, among others. It rejects the familiar way of thinking of society as consisting of distinct individuals who interact and so create networks. Instead -- to put things one way – it’s networks all the way down. Society emerges from a teeming array of networks that overlap and intersect, that get knotted together or fray with use.
Franklin’s catalytic intervention in the American crisis of 1773 was as effective as it was by virtue of his ability to channel communication from one network to another. And it was effective because it was done quietly; he advanced the revolutionary process involving “a public interlinked and excited by expressions of dissent” without making himself known. “In a perhaps uncharacteristic move,” Castronovo says, “Franklin refuses to occupy the center [of public discussion], instead preferring to sit back in the shadows where, after all, the shadowy work of espionage gets done.”
But the state – however much it may use networks of its own – insists on ascribing public action to individuals possessing stable and legible identities. By 1774, the Privy Council knew about Franklin’s role in the matter and summoned him to a hearing in London, where he was denounced, in humiliating terms, for more than an hour.
Bradley Manning, of course, faces worse – while the coiner of that witticism about operating illegally and unconstitutionally has never endured the consequences of his actions. What does that imply for a Latourian theory of social ontology? I don’t know, but it surely demonstrates that not all networks are equal before the law.
Whether we're slaving over a scholarly article or a textbook, or knocking off streams of memos and e-mails, virtually all of us write constantly -- and we can do it better and more meaningfully, Mike Rose argues.