For Tuesday: Jones, "Such Perfection" (pp.97-110)

As before, answer TWO of the following in a short response--at least a few sentences, avoiding easy answers such as "she thinks it's hard because that's how it is," etc. Try to think through these responses and explain why you respond the way you do, since there are many possible answers to these questions.

Q1: Our first author travels to escape her condition, but Chloe Jones refused to travel for years because of her condition. Why does she write, "better to stay home than move closer to something beautiful that excluded me" (103)? Why would travel, or other countries, exclude her?

Q2: After the conversation with the author's annoying male friend, she asks the question, "Did I really believe...we could rewire ourselves; that we could use our intellect to unlearn our cultural training?" (101). Why does she feel it's so hard to unlearn our cultural notions of beauty? While we like to say that "real beauty is within," why does her experience teach her otherwise?

Q3: The author's relationship with beauty is a difficult one, and she claims to actually prefer the idea that she's simply "ugly," and outside the traditional norms of beauty. Why did the theories of Hume and Scarry actually prove more damaging to her in the long run? In other words, why is the idea that beauty is subjective actually a scary thing for her?

Q4: Explain the very end of the essay, when Jones has an amazing experience in Italy and makes her peace with the Western standard of beauty in Italy. When she tries to share this with an Italian woman, she is told, "It's nice for the tourists...But I'm accustomed to that view and prefer others' (110). How does she respond to this, and why does she end her essay with it? What point does it seem to make?

Paper #1: This Reminds Me of the Time…

English 1113

Dr. Grasso

Paper #1: This Reminds Me of the Time…

PROMPT: Find a passage in one of the essays assigned for class that reminds you of something in your own life—a moment where you can say, “you know, this reminds me of the time...” The essays are “If You Are Perpetually Lost,” “Such Perfection,” and “My Father’s Land.” The passage doesn’t have to be about the same experience you had, but it should inspire some connection about your own life and experiences. Don’t make it too obvious by saying “Molly Brown writes about always being lost, and I get lost a lot, too.” Use something more specific, like quoting the passage where she talks about “a body with a gift for burning,” and explaining how you once felt this way yourself, etc.

FIRST, open the essay “in the middle” by introducing the passage and explaining what it’s about and why you think it’s interesting. Quote part of it (don’t quote a gigantic passage) so we can see it, and explain that part of it—show us why you think it’s meaningful to you and the conversation you’re about to have. This is your introduction, and it can be as simple as saying, “I just read this very strange essay by Molly Brown called “If You Are Permanently Lost.” But remember, even here you’re telling a story.

THEN, respond to the essay by saying something along the lines of, “this reminds me of this time when…” and explain how your experience relates to the previous passage. You can write about anything you feel connects to this passage, so long as you tell a story that helps us see this connection. Try to imagine you’re telling this story to a friend, rather than your professor: how would you make the story interesting—what would you make stand out? And of course, you can change a few details to make the story more interesting…just base it on something that did happen to you, even if it didn’t exactly happen like that.

FINALLY, you should conclude your essay by reminding us how your story connects with the original passage. Maybe even bring out a new connection that we didn’t see initially, or a new way of thinking about the original passage.

ALSO, give your essay a title that acts as a ‘key’ to understanding it. Don’t call it “This reminds me of the time…” That’s my title! J

GOALS FOR THE ASSIGNMENT

• An introduction that starts in the middle, rather than a more formulaic opening
• Explaining the conversation that inspired your discussion
• Responding to the passage with a relevant story
• A clear conclusion that brings the paper full circle
• A title that emphasizes some aspect/idea of your paper

The paper should be at least 3-4 pages double spaced and is due two weeks from today: Thursday, September 9^th (no class that day!).

 

For Tuesday: BATW: Brown, "If You Are Permanently Lost" (pp.42-46)

 

We're going to start with a very short essay which is more about the traveler's identity than the travel itself. The essay is about a woman who is literally always lost--she can never find her way in life due to a medical condition. So what's it like to travel when you're lost even in your normal life? How do you find yourself?

Answer TWO of the questions below in a short response--at least a few sentences, and no "yes/no" answers. I want to see you thinking through these questions rather than simply answering them. There's no one answer or response I'm looking for--I just want you to RESPOND to them and begin a conversation with them. Bring your responses to class on Tuesday, since we'll discuss them in class and I'll take them up afterwards. 

THE QUESTIONS (answer any 2): 

Q1: Brown writes that "I l ack a homing instinct of any kind" (43). Because of her condition, no place really feels familiar to her, or like home. Though this sounds like a very scary prospect, what might be the advantage of not finding anything familiar? 

Q2: She also writes that travel serves a unique function for her: "I think I've made myself into a constant traveler as a defense mechanism" (45). Why might traveling actually help someone who can't find their way in the world? Can you think of a way people do this in other situations? For example, people who use one activity as a defense mechanism because they can't do something else?

Q3: What if you woke up every day and told yourself, and she does, "I'm new...I don't live here, I'm just visiting...This isn't my real life" (44)? How might that change the way you approach each day, and live each day? Do you think it would make you more productive or less? Happier, or more frustrated?

Q4: A few times in the essay, Brown quotes from a poem by Adrienne Rich called "Song," which is about a rowboat. As Brown writes, it "knows it is comprised not of "ice, nor mud nor winter light/but wood, with a gift for burning"" (45). What do you think this metaphor means? Why would a boat know that being made of wood, it has a unique gift of burning? Why would it (or we) want to burn? 

Welcome to the Course (Fall 2021)

Welcome to the course! Remember that all our course materials--the reading questions, paper assignments, and other announcements, will be found here, and not on Blackboard. I've also posted the syllabus below in case you lose your hard copy. Please e-mail me with any questions or concerns, or respond to this post with a comment below. Here's hoping we have a successful and safe semester together!  

NOTE: The posts below this one are from Fall 2020, so you are not responsible for any of them, and they do not reflect the work you'll be doing this semester. So only read through them if you're interested. 

English 1113 (Sections 20 & 22):

Freshman Composition 1 “Travel and Culture” (Fall 2021)

 

Professor:        Dr. Joshua Grasso

Office:             HM 348

Dates:              TR 9:30-10:45 (Section 20)

                        TR 11:00-12:15 (Section 22)

E-mail:            jgrasso@ecok.edu

Office Hours:  MWF 10-11 & 2-3; TR 2-3

COURSE BLOG: grassocomp1.blogspot.com (instead of Blackboard)

 

“Travel is not a means of escaping the self; travel is a means of revealing the self. Or, in the process of journeying the road less traveled, the self is unraveled and thereby revealed.” –Alexandra Fuller

 

REQUIRED BOOKS (yes, we will read these, so you must own them!)

• The Best American Travel Writing 2020, ed. Robert MacFarlane   
• Songs For the Open Road, ed. American Poetry & Literacy Project

 

REQUIRED WORK (out of 100 points)

• Attendance: see below
• Reading Questions: 25 pts.
• Writing Workshops: 20 pts.
• Papers 1-2: 15 pts. each = 30 pts.
• Paper 3 (Abstract): 10 pts.
• Paper 4 (Final): 15 pts.

 

ATTENDANCE: Since this is a twice-a-week class, I usually allow you TWO WEEKS of unexcused absences (4 days). Of course you can have excused absences (team travel, sickness, etc.) which don’t count against you. Otherwise, I hope to see you in class so you can contribute to our discussions, and learn important material that is very difficult to communicate on-line. If you miss more than 4 classes (unexcused), you will lose 10 pts from your final grade. If something comes up and you need to miss class, or you think you’re sick, etc., please tell me before hand and I can work with you. If you just miss class without explanation, I have to assume the worst. So let me help you!

 

READING QUESTIONS: Every Tuesday (with some exceptions) you’ll have a reading due and a series of questions for the reading due. You can find these readings on the blog a few days before each class. These are ‘active reading’ questions, which aren’t just yes/no, this/that questions; they ask you to make informed opinions based on how you read/understand the essay. We will discuss these answers in class, so by bringing them with you, you’ll always have something to say in the event you get called on (or if you simply want to talk).

 

To get full credit for each set of questions, all you need to do is give an honest answer that is informed by the reading. Don’t guess, don’t make things up, and always write more than a single sentence or two. In other words, “think on paper.” If you give inadequate answers, skip a question, or don’t turn it in, you won’t get credit for the assignment. Like your absences, if you miss more than TWO responses, you’ll lose 10 points for your Responses grade (and an additional 10 points for each set of questions you miss). So be careful and let me know if you have problems with the questions and/or the reading. I’m happy to help you either by e-mail or in my office.

 

WRITING WORKSHOPS: These are basically in-class writing responses that are geared to some element of writing. Often, the responses will piggy-back off of our readings, and ask you to consider new ideas that we haven’t discussed. You can only miss ONE Writing Workshop without penalty. After that, you lose ten points. So again, let me know if you need to miss class, and if you have an excused absence, you can easily make up the writing.

 

PAPERS 1-2: These are ‘conversation’ papers that are informed by three things: the readings, our class discussions, and your own ideas/background. The goal of these papers is to enter into a conversation between yourself and other voices in our society, and learn how to respond to ideas that complement and run counter to your own. I will give a detailed assignment sheet two weeks before each paper is due.

 

PAPERS 3-4: This is a combined project where Paper #3 introduces the paper you will intend to write/research for Paper #4. I’ll give you more information about this after Fall Break. Paper #4 is basically a Final, and will be due during Finals Week.

 

LATE PAPERS: You can turn in a paper up to 2 days late, losing a letter grade each day (so, if you turn in a ‘C’ paper 2 days late, that would equal an ‘F’). In general, it’s always better to turn in a rough paper on time, than get a more polished paper to me late. If you’re having trouble with a paper, e-mail me before it’s due—I can help or possibly given you an extension if you have a justifiable reason (illness, etc).

 

THE FINE PRINT

1. You must buy all the books for the course. Trying to use on-line summaries will doom you to vague, uninformed responses. If the goal of any class is to become more engaged with the material, reading the books is essential. Read and enjoy the material. :)
2. If you miss class, check the blog to see if there are any new assignments or material. You can also e-mail me if the blog hasn’t been updated to be sure.
3. When you e-mail work to me, check the attachments carefully. If I can’t open it (or it’s simply not attached) it doesn’t count. I will contact you if this happens, but the clock is ticking...if you turn in an e-mail without an attachment at 4:59 and the paper is due at 5, it might be late!
4. If you have any kind of emergency, please contact me as soon as possible. If I know you’re going through something difficult, I can work with you and help you get the work. If you only tell me weeks or months later, it’s too late.
5. The COVID situation can change our class dynamic at any time. If you’re confused by what’s going on or feel you can’t complete the work, etc., please contact me first. Let’s talk through it to make sure it’s not as bad (or as hard) as you think. I’m always available by e-mail and will respond within an hour or two at most (unless you e-mail me at one o’clock in the morning!).
6. Academic Integrity link: https://www.ecok.edu/sites/default/files/siteContent/administration/academic-affairs/documents/AcademicIntegrityPolicy.pdf

 

ADA Statement: East Central University is committed to providing equal access to University programs and services for all students. Under university policy and federal and state laws, students with documented disabilities are entitled to reasonable accommodations. If any member of the class has a documented disability requiring academic accommodations, he or she should report to the Office of Disability Services.  A student seeking reasonable accommodations originating from a documented disability must register with the Office of Disability Services so that said accommodations may be provided. Contact the Academic Affairs Office if any assistance is needed in this process.

 

72-Hour Transition Statement: Should on-campus instruction be suspended for any reason, ECU’s face-to-face and blended courses will transition to online/virtual delivery within 72 hours.  Online courses will continue as scheduled.

 

TENTATIVE COURSE CALENDAR (subject to change)

 

AUGUST

T 17     Introduction to the Course

R 19    Writing Workshop #1

 

T 24     From BATW 2020: Brown, “If You Are Permanently Lost” (42-46)

R 26    Writing Workshop #2

 

T 30     From BATW 2020: Jones, “Such Perfection” (97-110)

 

SEPTEMBER

R 2      Writing Workshop #3

 

T 7       From BATW 2020: Morris, “My Father’s Land” (186-200)

R 9      Paper #1 due by 5pm

 

T 14     From BATW 2020: Anderson, “Rick Steves Wants to Set You Free” (1-19)

R 16    Writing Workshop #4

 

T 21     Paper #1 Conferences (in my office, HM 348)

R 23    Paper #1 Conferences (in my office, HM 348)

 

T 28     From BATW 2020: Budd, “The Volunteer’s Dilemma” (49-60)

R 30    Writing Workshop #5

 

OCTOBER

T 5       From BATW 2020: Powers, “Who Lives in Palermo Is Palermo” (224-232)

R 7      Writing Workshop #6

 

T 12     Paper #2 due by 5pm

R 14    FALL BREAK

 

T 19     Writing Workshop #7

R 21    From Songs from the Open Road: TBA

 

T 26     From Songs from the Open Road: TBA

R 28    Writing Workshop #8

 

NOVEMBER

T 2       From Songs from the Open Road: TBA

R 4      Writing Workshop #9

 

T 9       From Songs from the Open Road: TBA

R 11    Writing Workshop #10

 

T 16     From Songs from the Open Road: TBA

R 18    Paper #3 (Abstract) due in class

 

T 23     [extra class if needed]

R 25    THANKSGIVING BREAK

 

T 30     Discuss Paper #4/Wrap-Up

 

DECEMBER

R 2      Optional Conferences

 

Paper #4 due TBA