The future in Frankfurt

PWIt’s been ten years since I worked in book publishing, but I still sometimes miss it, and still follow the industry news a bit via daily emails from Publishers Weekly (PW). Today begins the biggest annual book publishing event, the Frankfurt Book Fair, and the show started with a Tools of Change keynote address by Sara Lloyd of Pan Macmillan that revisited the topic of publishing’s future. PW wrote about the event and how in a blog post a year ago Lloyd had chastised her audience for focusing too much on this worry about the future and not on what was happening right now. In the Frankfurt address this week, she talked about the extent to which that future is now and how much has changed in the past year. For example, the Kindle edition of Dan Brown’s latest bestseller, The Lost Symbol, outsold the print version on the book’s release date. That is not to say that she thinks devices will lead the way for digital publishing, as one of her predictions was that it will be platform-led.

I myself read Kindle editions on my iPhone (if only I could afford a Kindle DX!), but I also like those on the eReader platform I had first used on my old Palm Pilot. That one works not only on my iPhone but also on any computer, and allows me to customize the view on my Mac or PC in a way that makes the book very readable. I like being able to read the book either at my desk on my computer or on the move on my iPhone. But the Kindle app has a lot more books (and a more up-to-date selection), so I am plowing through novels on the subway in the Kindle format, too. Both platforms, Kindle and eReader, have a problem that Lloyd didn’t mention: in the rush to get books out, they’re missing some really basic copyediting steps. I’ve bought several books that had major typos and formatting errors, from blocks of text out of place or repeated, to text being spread across the page like an e.e. cummings poem. An author friend notified me that his backlist was now available on Kindle, so I happily bought some of them. I was embarrassed to tell him that they were full of typos, so I hashed it out with Amazon instead.

The Frankfurt speech ended with the following admonition against complacency in the industry (in any industry?):

Lloyd closed with the following quote from Seth Godin, which stands as both cautionary and a call-to-action: “Things you can learn from the music business (as it falls apart): The first rule is so important, it’s rule 0: 0. The new thing is never as good as the old thing, at least right now. Soon, the new thing will be better than the old thing will be. But if you wait until then, it’s going to be too late. Feel free to wax nostalgic about the old thing, but don’t fool yourself into believing it’s going to be here forever. It won’t.”
from PW

And the Nobel goes to….

Herta Muller in 2004

Herta Muller in 2004

It is nice to receive congratulatory notes from friends upon my “countrywoman’s achievement,” as one of them reads, winning the 2009 Nobel Prize in Literature this past Thursday. Herta Muller is a relatively unknown author living in Germany and writing in German, but originally from Romania. Much of her work, according to the New York Times coverage of her nomination, deals with her experience of living under the dictatorship of the communist regime in Romania and with her position as political exile in Germany.

Is this then a Romanian Nobel Prize or a German one? We are talking about the literary award here, so wouldn’t it be fitting to take the language in which the author writes as the decisive factor? I am not sure about Ms. Muller’s current citizenship, but she has been writing in German, her mother tongue, given that she was born as member of the German minority in Romania. Would she have the same appeal had she been writing in Romanian instead? Yes, the content we communicate is the important thing, but the linguistic carrier of our message also matters; using a language with more cultural capital will probably increase the likelihood of a larger reception. After all, Emil Cioran had to emigrate to France and write in French instead of his native Romanian in order to develop such a wide appeal as one of the most important 20th century philosophers.  The same goes for Mircea Eliade or Eugene Ionesco; all expatriates, all writing in another language instead of Romanian.

Language must be part of the deal, along with the thoughts, the experiences leading to exile, exilic existence, life filtered through an exceptionally creative mind. When all these come together, you end up with an author who can reach out from relative obscurity and tell about the changing face of our world. Because a lot has changed since Ceausescu’s Romania, though the present economic and social hardships of the country are much too pressing. Yet, if we can truly celebrate Herta Muller, as the Romanian writer and recipient of this year’s Nobel Prize in Literature, we have become able to validate the idea of a more spacious Romanian national identity within a globalized Europe and world.

Computers Invade the Writing Classroom

Today I ran a writing workshop in a Great Works literature class, and I was surprised to find the class is held in a computer lab.

Classic Work Day - School

Creative Commons License photo credit: ·júbilo·haku·

Don’t get me wrong: I heart the web.  My students and I blog together and exchange links, and I’ve been a longtime Blackboard defender.  But computers in my actual classroom?  I’m not so sure.

For the first five to ten minutes of the class, as I introduced myself and gave an overview of our objectives for the day, I was interrupted by thirty deafening renditions of the little tonal song Microsoft has chosen to indicate “Windows is starting up!!”  Then, when I put the students into groups, the long, u-shaped computer tables forced them to sit in awkward rows, and I found it difficult to rove from group to group to answer questions.  By the end of the workshop, I could see that some students were dividing their attention between me and the screens in front of them.

Rather than simply conclude that computers don’t work in a discussion-based classroom, I’m seeking some suggestions for how to make them work.  How could we use computers to keep students focused on content, rather than making content compete with the computers?

Storytellers

There is a difference between a Qisakhaan (storyteller) and Nawisenda (writer) among Afghans.  The qisakhani (storytelling) is an old time honored tradition; a skill every Afghan is trained in whether these are fairy tales, religious lessons, family legends or neighborhood gossip.  The nawisenda, the fiction writer, is a new kind of literary profession, that gained respectability after Modernist fiction was translated into Farsi for Afghans in the 1930s by the intellectual visionary Mahmud Tarzi.  Translations of James Joyce inspired a new genre of Afghan literature, the novel, which hoped to cut ties to the qisa, (stories), and build a narrative style that was based more on the psychology of the characters rather than the fantastical adventures in fairy tales.

The Soviet Invasion of Afghanistan in 1979 created a break in this budding style of story writing.  In 1990s, when the children of Afghan refugees began writing in English, the rift between storyteller and writer was ignored.  The careful path that Tarzi had started for a new literary form was lost on a generation raised (and many born) abroad, who could not read these novels.  The new genre, the Afghan American literary genre returned to the qisa and braided these rich myths into their own life histories.  Suddenly fairy tales of journeys began ways to tell their own stories of migration and survival.  The mute princess became the young woman who had lost her ability to speak in her native tongue.

Why this post on Afghanistan’s literary tradition?  Well, it is all to celebrate the completion of the first anthology of Afghan American literature.  My friend and co-editor, Sahar Muradi and I just completed editing the manuscript.  The title is still awaiting approval.  The project began 8 years ago, months before 9/11 and was meant to be a self-published anthology that would entertain ourselves.   However, the September 11th Attacks transformed this small project and gave it international attention.  With this attention came submissions that took 8 years to complete!   Yes, it took this long to create a robust and varied collection of perspectives and literary styles.  More than thirty writers have been part of this groundbreaking collection.  And the qisa tradition makes up the heart of many of these pieces whether the it is memoir, poetry or fiction.

Perhaps it is not surprising, in order to mark our migration from there to here, we lean back, back, back to the poetry and myths of our grandparents, who whether they were from villages or from cities, had set to memory entire libraries of Afghan literature.  It is in the space between storytellers and story-listeners that Afghan American literature was born.

Stay tuned for an update on other details of the anthology…

Reading, Assessment and Great Works of Literature

charles-dickens-caricature

I am currently working with the Great Works of Literature faculty at Baruch on an assessment for the Great Works course. The faculty is interested in evaluating the learning goals for the course. The first step was to talk with the faculty about what they teach, how they teach it and what they feel about it. These are always great discussions and I believe fundamental to making a good assessment. At one point a faculty member stated that reading was a central part of the course and that she was, among other things, teaching in-depth reading. I was quite struck by this thought of reading and how the Great Works of Literature course taught students to engage with different texts and make inferences to the world around them through reading.

David Frost and I thought a lot about how to incorporate reading as part of the assessment process and how to design a prompt to fit with the specifics of reading for a Great Works of Literature course. The obvious was to ask students to read a short text and respond to it. But the difficulty was to find a reading experience that mirrored what goes on in the course.  Reading literature from multicultural environments and then exploring the relationship between the different genres and cultures is an essential part of the course.  But this is not easy to assess, and as most faculty say, even to grade.

For this assessment we are going to try an experiment; a pool of short texts will be available for the faculty to choose for the prompt. The students will be reading pre and post prompt texts that might be different in author or culture but the same in length and complexity and genre. The texts will also relate to authors or literary periods that the students studied during the semester.

The hope is students will be reading, and responding to the reading, in the same way they do in the course. The second hope is we will be able to draw out meaningful information about the students experience in the course as well as any increase in comprehension and knowledge. Everyone involved in this assessment is pretty excited about this experiment and its creative use of texts for the prompt.

I am too, as I hold in my breath to see if it really works.

Hijab Punk

princesshijab

Hijab: (Arabic) Veil.

A philosophy that has originated in urban centers.  A transnational movement of modesty and subversiveness.  A response to misconceptions that Muslim women, and especially Muslim women who veil (or who hijab), are submissive, passive, victimized and the worth of two bearded goats (on a good day).  A response to Oprah pulling the burqa off of a brown woman on stage at Madison Square Garden circa 2002.

Burqa: (Pashto) A full-body veil that covers the face.  Seen in Queens during celebrations at Flushing Meadow Park.  Seen lifted up during the post-Taliban years in Afghanistan.  Seen torn off by American women (and in one comic book, by Wonder Woman as well).

cihanclassvisit2Hijab Punk styles… too numerous to count. But some examples are: Hijab combined with green nails, pink sneakers and an affinity with Rainbow Brite; Goth hijab girls who thrive on their mother’s kajal collection; Hijab with safety pins and Sid Vicious references on their t-shirt… the list goes on.

Ultimate Hijab Punk story to read: “Misli Midhib, Punk Rock Hijabi” by Cihan Kaan about a girl named Misli who is dropped down to the earth via a meteor and who covers her cosmic skin with a full hijab and performs Sufi whirls to disrupt the narratives of Muslim women.  One of the stories in the forthcoming short story collection titled: Halal Pork. Here is an excerpt from the story:

A nameless lightning bolt hit a magical Afghan carpet from a distant star,  carrying on it a wandering babushka caught in a world between the skies.  Drifting space rocks, a homeland memory that dropped her through our atmosphere onto the Central Asian steppe of Coney Island, New York. She walked the rustic shores, lived in broken amusement parks and worked silently inside sideshows.

Ultimate Hijab Punk artist to follow: Princess Hijab, a young woman based on the streets of Paris, who interweaves the philosophy of Adbusters and the Hijab.  (See photo above from Princess Hijab website). She describes herself as:

This is the story of a young woman fighting every day for a noble cause: she wants to “hijabize” advertising. Princess Hijab knows that L’Oréal and Dark&Lovely have been killing her little by little… When she was a teen, she heard about movements such as Adbuster; but since 9/11, things have changed… Princess Hijab will go on, veiled and alone, forever asserting her physical and mental integrity. By day, she wears a white veil, symbol of purity. By night, her black veil is the expression of her vengeful fight for a cause (custom ad). With her spray paint and black marker pen, she is out to hijabize advertising. Even Kate Moss is targeted

Cihan Kaan author of Halal Pork, forthcoming 2009, Up-Set Press Inc

Cihan Kaan author of Halal Pork (forthcoming, Up-Set Press)

Incorporating this concept of Hijab Punk, or the more popular (and more macho) Muslim Punk (which draws origins from punk garage bands and from the writer Hanif Kureish, the Pakistani/British novelist) into a standard Muslim Diaspora course at a college was the best thing I ever did as an academic. Not only was it “snooze proof” because Punk aesthetics is always so confrontational, brutally honest, and anti-establishment (which is what makes the term Muslim Punk so controversial), but it introduced a discussion of fashion, music, and film in the construction of one’s hybrid and sometimes transnational identity.  Its the fluidity of Hijab Punk or Muslim Punk that appealed to my students and myself.

cihanclassvisit6

Students listening to Kaan read.

How do we deal with writer’s block again?

Students often approach me to get advice on how to overcome this writing disaster. I got bored with my old explanations and ‘googled’ it only to find an extensive and impressive list of solutions on Wikipedia. “Challenging negative thoughts about one’s skill or ability to write” – isn’t this a good one? This ‘challenging’ can be immeasurably difficult if one’s experience with writing hasn’t been very positive in the past. Let’s rethink again the amount of red ink we spend on each paper and the tone of our comments!

The last thing I want to do in this post is pretend that I never question my writing abilities. What can and in my case does effectively dissolve this negative thinking is reading. Somehow, as I move from sentence to sentence, even in the most familiar of pages, I’m made aware of my skill to think, to feel, and to formulate my thoughts and feelings in language. Once I’ve consciously gone through this process, I feel inspired to write.

The Wikipedia page includes a list of “dramatic depictions of writer’s block,” among them Shakespeare in Love and Stranger than Fiction. I’d add another list – literary depictions of writer’s block. And, perhaps, one more – professional writers’ strategies for overcoming writer’s block. Here is how it goes for Hemingway: “All you have to do is write one true sentence. Write the truest sentence that you know.” How is this for a first-day low-stakes writing activity?

The force of those dire arms, or, if it’s tough, make it easy

I was just appalled when I read about this “translation” of Paradise Lost. What’s next – Shakespeare? Perhaps students one day will be quoting “Should I kill myself or not? That’s what I want to know.” I really don’t understand the stated purpose of this project. Milton is too hard — even for scholars, so let’s make it easier? that way they can still get Milton in their diet? How does changing a poet’s words completely “free the reader”? I mean, I guess it frees him to not have to deal with Milton’s syntax; but then, why bother with Milton at all? Really, at this point, what is the point?

Billy Collins’ Animated Poetry

Via Open Culture, a YouTube channel showcasing short animated films of US Poet Laureate and CUNY Faculty Member Billy Collins‘ poems. Gotta love YouTube. Here’s a taste:

[youtube]httpv://www.youtube.com/watch?v=iuTNdHadwbk[/youtube]

Google Burn-out as Occupational Hazard

While imbibing Lorna Hutson’s introduction to Ben Jonson’s collected plays, I was intrigued by this passage about the thematic and stylistic differences between Shakespeare and Jonson:

“In fact, Jonson has a complex sense of human psychology, but his interest as a dramatist lies more in the psychology of habitual behavior than behavior in the transitional moments of life crisis for which Shakespeare’s plays are often metaphors. He is also interested in the way that human desires, anxieties and creative energies are affected by the material conditions of their communication.”

Jonson’s interest in these material conditions birthed some good stuff, like Epicoene, a play in which the character “Morose” develops a nervous reaction to the noise and congestion of London; he double-lines his walls, insulates his windows, seeks a silent wife, and even plans a silent wedding. While reading Morose’s comic antics, I was reminded of a recent posting on the blog Burnt Out Adjunct, who writes about the ‘Research = Google’ phenomenon that’s pitting frustrated professors against usually-clueless students in universities across the country. (World?) Maybe it’s all in a name, but suddenly, the familiar plight of poor Burnt Out seemed to strangely echo the desperate shutting-out attempts of Morose.

“Contemporary students come to college with a different set of expectations than they did even ten years ago,” Burnt Out notes. “These students are not agog at the level and breadth of information available to them. Rather, they expect to be able to, within a few key strokes, to gain access to whatever information they seek.” Cut to cranky professors trying to hold their research high ground, sputtering “but…but…” while the well-meaning libraries scramble to catalog information in new and easier and more searchable ways that do everything but deliver e-journals to students with a side of fries and a coke.

Perhaps for many of us though—especially those of us still in the slow drip of a doctoral program—both sides of the battlefield make sense. Sure, we grew up with Atari and eventually graduated to SuperNintendo, but many of us went to school before there was a computer in every classroom, and attended undergrad right around the time that card catalogs were transforming into still-lifes in the hallowed halls of our libraries. We know what Burnt Out knows—that “the Net does not cast the skein that one might assume.” And so while I’ve plenty of times found myself “just checking” the exact date of which Dumas was which on Wikipedia, I’m still made uncomfortable by a student relying on it as one of their sources for a speech or paper. (And it’s very easy to somehow dump on Wikipedia first; wisegeek.com and answers.com seem to be just as popular these days, and there are of course plenty others.) If only it were as simple as the use of pure plagiarism sites like dreamessays.com, but those kinds of offenses are the most easily detected and argued against.

Earning his moniker, Burnt Out ends his posting on a negative note: “So, committees will form, grants will be given and studies will recommend that individual professors seek to imbue a research skill-set into their objectives. And without a standard (either a collective standard (MLA) or an organizational approach (ie Google)), the Natives and the Profs will continue to lament just how odd, lazy, out-of-touch, etc. the other is.” I’m not ready to feel quite so despairing—perhaps because I think that imbuing a research skill-set can go a long way, depending on its implementation— but also because I’m somewhat wary that a collective standard issued by MLA will really connect to the heart of the problem (especially given the reality of the student population found at so many large universities, which seems to prohibit a one-size-fits-all approach from the get-go). And also because I wonder what the point of frowning in the face of the coming tide will really accomplish.

It raises an interesting question, to be sure: what part of the problem is just plain ol’ insistence on things being as we were taught? And how can we embrace the challenge of defending why an article on Walt Disney from the Journal of Popular Culture is preferred (and required) over one from Wikipedia? How do we rise to the task of communicating these reasons to our students in innovative and effective ways, rather than just putting a big “X” through wisegeek.com in their Bibliography? After all, as much as Morose tries escaping the noise, he’s the one who ends up looking like an absurd old man and unsympathetic spoiler—easily polarizing characterizations that risk getting in the way of communication most of all.