Final Project: Revision Portfolio

Final Project Portfolio

Putting it All Together: The Rhetoric of Creative Reading

Revision, as we have emphasized in each of the writing projects this term, is not so much “fixing” our writing and reading as taking it further. In that sense, writing represents a continual feedback loop of experimentation and recombination. There is more we can do, or might do, or should do, or would do–if only we had more time. The final project obliges you to take that time. This is your final exam. The components are:

  • Essay: You will write a 5-7 page (double-spaced, standard 12pt. font, etc) essay that revises and expands upon something you have already begun in one or more of your previous writing projects.
  • Learning Focal Point: Revision. Your task is to revise this essay: go back and go further with your reading, your thinking, your writing. The revision should reflect substantial development and change, not merely editing. Revision involves taking a risk with your thinking and writing.
  • Presentation: Further Reading. To guide your revision, you will update your to-do list and propose a revised abstract for the final project revision and identify a writer from the course who you select as a mentor. You will also identify one key rhetorical or logical element of your writing and one grammatical or stylistic element of writing that you will revise and improve. To conduct this further reading, consult resources such as Guide to Grammar and Writing, Purdue OWL, and others listed on right side of this blog. To identify these rhetorical, logical, and grammatical elements of composition, refer back to our Rubric and the Keywords from the course. You will post to your blog a proposal (250-500 words) that includes the following:
    • revised abstract of your argument + indication of which writer from the course (anyone we have read) you select as your writing mentor, and why: what aspects of writing do they demonstrate that you would like to develop?
    • rhetorical/logical element of your writing you will develop: with guidelines, examples to explain; provide a link/citation to the resource
    • grammatical/stylistic element of your writing you will improve: with guidelines, examples to explain; provide a link/citation to the resource
    • in a brief (5 minute) presentation in class, you will teach us what you have learned and how the rest of us might learn from your further reading
  • Publication: Portfolio. You will publish your final project on your blog, in a new post called “Portfolio.” This portfolio will include: your final revised essay, the earlier version of the writing project you are revising, plus a 2 page (approximately 500 word) Preface. You will also submit a final version of the project (along with the preface) to Canvas.
    • Preface: Your preface is an expanded abstract and self-reflection, serving as the introduction to your portfolio. After providing the abstract of the argument in a short paragraph (as you have done with each writing project), you will reflect on the work that went into the revision–what you have attempted to do with the essay, why and how you revised it, what you believe you have achieved with this writing. You should pinpoint 1 or more of the key aspects of the revision you have pursued.  The Self-Reflection should also reflect on your progress and achievement as a writer and reader this term overall–what you have worked on (that to-do list I keep talking about), what you have achieved, what you want to keep working on in the coming semesters at Washington College. In other words, what does this portfolio represent of the work you have done this semester and the writing and critical reading you plan to continue in the coming semesters?
  • As always, your final version of the essay should include proper citation format for any references and include the statement of the Honor Code.

This final project in revised reading and writing tests your progress with the three main objectives of this course (remember those?): developing critical reading; developing thoughtful writing; developing effective writing. Those objectives, of course, are ongoing; but your final project should demonstrate your development in those areas–in contrast, say, with the last ‘paper’ you wrote in high school or the first essay you wrote in this course.

The project also provides an opportunity for publication–what we do and want to do (in different forms and forums) as writers. For example, you might consider submitting this essay for consideration by one of the numerous publications on campus that highlight student work–and include critical writing, are not limited to fiction or poetry. Those publications include The MediumThe Collegian, and The Washington College Review. Here is a student’s final project, later published in The WCR, written by Alex Smythe, now the Asst. Director of the Writing Center [Smythe.WCR.iamreader]

The projects also provides an opportunity for you to put to work the rhetorical focal points we explored and practiced with each project. In a preface to a final project, a former student wrote this review of those focal points, informed by Joseph Harris’s terminology and our use of his book Rewriting:

When Coming to Terms with a text by another writer, I then make three moves:

  • Define the project of the writer in my own terms,
  • Note keywords or passages in the text,
  • Assess the uses and limits of this approach

In Forwarding a text, I begin to shift the focus of my readers away from what its author has to say and toward my own project:

  • Illustrating: When I look to other texts for examples of a point I want to make.
  • Authorizing: When I involve the expertise or status of another writer to support my thinking
  • Borrowing: When I draw on terms or ideas from other writers to use in thinking through my subject
  • Extending: When I put my own spin on the terms or concepts that you take from other texts.

Countering– Three main ways of creating a sort of critical distance:

  • Arguing the other side: showing the usefulness of a term or idea that a writer has criticized or noting problems with one that she or he has argues for.
  • Uncovering values: Surfacing a word or concept for analysis that a text has left undefined or unexamined.
  • Dissenting: Identifying a shared line of thought on an issue in order to note its limits

Revising-My aim is instead to describe revising as a knowledge practice, as a consistent set of questions you can ask of a draft of an essay that I am working on:

  • What’s your project? What do you want to accomplish in this essay? (Coming to Terms)
  • What works? How can you build on the strengths of your draft? (Forwarding)
  • What else might be said? How might you acknowledge other views and possibilities? (Countering)
  • What’s next? What are the implications of what you have to say? (Taking an Approach)”

Student Sample: For one example of how you might extend your revision work, and extend the medium of your writing (in the senses of Marshall McLuhan), consider this digital version of the project produced by Caitrin Doyle, a former student in the class. This digital project offers an extension of what the author submitted, which was itself an extension of her third writing project. One of the areas that the author extended in the revision focused on the forwarding and countering of critical perspective. Here is a sample of the extended discussion that allows the author to take her own approach, while clearly responding to and effectively building upon the work and ideas of others (in this case: Murray, Birkerts, Carr, and the hypertext poem “Faith”).

[…]Sadly, however, hypertext literature has been confronted with just as much skepticism as its conduit. According to people like Sven Birkerts, hypertext literature cannot be considered “true” literature and therefore cannot be worth reading because it lacks the depth present in classic literature; but that simply cannot be true. While beauty is in the eye of beholder, it is widely believed that art–and literature as a facet–are successful only if they evoke something in their audience; some emotion, a hard-to-describe feeling, anything. And the hypertext poem “Faith”, written by Robert Kendall, does exactly what Birkert’s claims it is incapable of: it inspires. Kendall’s poem garners its very meaning from the use of technology. With the use of coding and magic, Kendall guides and inspires his readers through a step-by-step journey of his own writing process. In fact, without the use of movement on the screen–entirely credited to his use of the tools that these new technologies have provided–the poem would not have been nearly as poignant. I got so much more out of this poem by physically watching it unfold word by sentence by thought then I would have had I simply read it in its entirety printed on a page. Kendall uses technology to take his readers on an adventure from the birth of his idea to the final executions of the language he uses to shape, flesh out, and express it. The problem with a lot of poetry is, after all, that the author’s meaning, what he or she actually set out to express, often gets lost in the muddied interpretations of its readers. With this multimedia poem, Kendall’s true meaning rings out loud and clear.  This poem is not read, it is experienced.  Multimedia literature–as made evident by this poem and by thousands of others like it–provokes as much thought, evokes as much emotion, and involves the audience as much if not more than any classic literature I have ever read. And by meeting those standards, set out by perhaps hypertext’s most vigilant critic himself, it proves itself worthy.

However, my personal experience with multimedia literature doesn’t do much in the way of convincing, and as Murray points out, “The birth of new medium of communication is both exhilarating and frightening. Any industrial technology that dramatically extends our capabilities also makes us uneasy by challenging our concept of humanity itself”, and that seems to ring especially true with the opponents of hypertext literature. But what everyone seems to be conveniently forgetting is that technology is what started it all, especially when it comes to literature. The printing press was invented by Johannes Gutenberg in 1439, decades before even the American continent was discovered. At the time, thousands of people were wary about the infusion of literature into the everyman’s experience, as literacy tended to breed uprisings and all kinds of problems for the ruling class. But what no one could have predicted, however, was the absolutely enormous influence the printing press would have. It changed every single aspect of life for the people of the world. All of the sudden, entire populations were learning how to read, expanding their minds, inventing, exploring, discovering, creating, and all in the active pursuit of knowledge brought on by easy accessibility to the printed word. The invention of the printing press sparked the Age of Enlightenment in Europe, and led to so many countless new technologies, theories, and efficiencies that I couldn’t even begin to name them. This is the natural progression of our species; we sit and think on some problem for a great long while, we finally make some solution happen, nay-sayers and worshippers alike cry out, and then, often regardless of the public’s reaction, that new technology makes a shift in the world. Eventually, those changes have all proved to serve us and to improve our quality of life. The internet and hypertext, multimedia literature are simply in their “outcry” phase. I believe that once the dust settles, we will be left with a tool just as mighty and powerful as the printing press before it, we are simply following in the footsteps of our own ancestors before us.

All that being said, there are probably hundreds of thousands of people who are still unsettled by the shift occurring in our world right now. And to be entirely truthful, those concerns are not completely unfounded.  For example, Nicholas Carr, a kind of spokesperson for the healthily open-minded and skeptical, believes that if we make efficiency and immediacy our priorities with literature, we “may be weakening our capacity for the kind of deep reading that emerged when an earlier technology, the printing press, made long and complex works of prose commonplace”. And he’s got a point; the types of long, verbose novels that have come out of the invention of the printing press are definitely getting a little tougher to swallow. But I think the cause of that problem is a lot simpler than it may at first appear: just like a child’s favorite toy will inevitably be passed up for a newer, shinier version, so will it always be harder for a reader to engage in a long, complex, linear story printed on a page when they have experienced other complex worlds–co-authored by both writer and technology–that allow them to experience the same story with more than just their imaginations. Technology has made way for a way new kind of story-telling: an experience of the senses. Anyone who has embraced these new technologies has become accustomed to being completely engrossed; eyes, ears, and minds, into the worlds that are being created for them by a medium that uses multiple forms of media. Over time those changes in the way we experience our content have reflected themselves as changes even in the way our brains process new things. It makes absolute sense that people would have a hard time concentrating on and engaging with novels, because they are simply not as engaging as the new types of literature readers have been experimenting with.

However, Carr is right when he points out that “never has a communications system played so many roles in our lives-or exerted such broad influence over our thoughts-as the Internet does today.” But I don’t think he’s really considering the reasons why that would be happening.  The internet is a tool that can make almost every single aspect of daily life go a little bit smoother. It’s a tool that can be used to do literally anything it is programmed to do. Could I sit in the library stacks, combing through text after text, running my finger and my eyes endlessly down the page searching for that perfect quote I read once in seventh grade? Absolutely.  But, do I have the time or the inclination to be doing that on a daily basis? Not at all. The internet gives us the opportunity to explore whole world if we have a few minutes to kill. I know that the argument that Carr is making here is that that all that time spent doing one thing–like reading an 800-page novel–is incredibly valuable, and I think he’s entirely right. But should that mean that people should not also spend their time finding meaning in short little poems that quite literally sing and dance their way across the page? I don’t believe so. Time spent experiencing literature is incredibly valuable, but what Carr is missing is that literature doesn’t have to be experienced solely on the printed page.

Readers who experience hypertext literature are connecting sensory memories; like sound, and sight, with their thoughts and memories. With novels, you can only have thought. If anything, these new forms of literature are opening us up to deeper levels of contemplation. Birkerts takes Carr’s argument a step further: “[Hypertext forms of literature] are not only extensions of the senses, they are extensions of the senses that put us in touch with the extended senses of others,” (224). He is concerned that the Internet’s ultimate goal is to forge connections between every person in the world, turning the individual perspective into a global one. He goes on to say “The end of it all…is a kind of amniotic environment of impulses, a condition of connectedness,” (224), but I really don’t see a problem with that. He uses the image of an amniotic environment, and I think, like Murray’s use of the word “bound” to describe the words printed on a page, that he’s chosen a really appropriate metaphor. The internet and its brain children are still so incredibly young. The symbol he’s provided for us is one of growth, and one of hope. Absolutely endless possibilities have come out of this new form of technology already, and I think it’s absolutely ridiculous that Birkerts wants to stomp it out before it has even had a chance to grow. What might be happening is a sort of social adaptation, a change that will yield a possibly better world. To give all of that hope and opportunity away to revert back to our old ways would only seem to me to be simply barbaric and cowardly. It’s in our blood to move forward, to keep ourselves rooted in the past would be to deny our always striving minds.

 


Editing Workshop: Signals for Argument

When you make an argument in writing you are participating in an ongoing conversation. One of the primary ways that conversation takes place in writing is when you quote other critics and views, bring them into your argument, and in some way work off them: come to terms, forward, counter, take an approach. Because this conversation is taking place in your writing, it is important that you clearly identify things such as: who is speaking, which part of the argument you agree with, where you would disagree. These signals are words and phrases that you can revise and edit into your essay. I adapt the following templates from the book They Say/I Say: The Moves that Matter in Academic Writing by Gerald Graff and Cathy Birkenstein.

Introducing Quotations: X states (argues, believes, asserts), “………..”

Explaining Quotations (a way to begin your follow up): In other words, X believes…..

Signaling Agreement/Disagreement

[Disagreeing with reasons] X’s claim that  ___________ rests upon the questionable assumption that _________.

However, by focusing on ________, X overlooks the deeper problem of ___________.

[Agreeing with a difference] X’s view of ____ is useful because it sheds insight on the difficult problem of __________.

[Agreeing and Disagreeing] Although I agree with X up to a point, I cannot accept his overall conclusion that __________.

My feelings on the issue are mixed. I do support X’s position that ________, but I find Y’s argument about _________ equally persuasive.

Entertaining Objections

Of course, many will probably disagree with my assertion that _________.

Yet some readers may challenge my view that _______. Indeed, my own argument seems to ignore _________.

Yet is it always true that ________? Is it always the case, as I have been arguing, that __________?

Although I grant that _______, I still maintain that __________.

In classical rhetorical, this introduction of a counterargument is called Procatalepsis or prolepsis–refuting anticipated objections.

Useful Metacommentary (ways of talking more directly to your reader about your argument)

In other words, _________.

Essentially, I am arguing that _________.

My point is ________.

My conclusion, then, is that __________.

Saying why your argument matters (template for larger implications/resolution)

This argument has important consequences for the larger issue of ___________.

Although X may seem of concern to only a small group of _______, it should in fact concern anyone who cares about ________.

A poorly signaled argument can often lead problems with logos (evidence, logic) known as logical fallacies. We have focused on counterargument with the third writing project as a way to strengthen our logos, our handling of evidence. Recall that “countering,” as Harris terms it, doesn’t mean simply letting “the other side” have a say or merely disagreeing with an opposing view. That may be how argument on cable television (unfortunately) works these days, but it isn’t what academic argument is about. Rather, countering means locating a thread or idea or implication in another’s argument that will be useful to the development of your own argument. This oppositional or contradictory thread may be useful in locating a potential weakness of your own argument–a point that your reader might expect you to consider and possibly refute. The thread may well point to a weakness in the other’s argument that you can use to elaborate your own. In other words, you might find language in an argument that you don’t agree with but can put to work.

Given this view of countering, I have suggested that focusing on counterargument can serve as an effective revision strategy. After completing a draft that focuses on developing your argument, you can revise your argument by giving more time to the terms of another’s argument that contends or contradicts your own. One way to evaluate this other argument–and by extension, to reconsider the structure of your own–is to pay attention to its logic. Below are some common errors in logic that you might find in another’s argument (and therefore useful for countering) or may well find in your own. These errors are known as logical fallacies:

Ad hominem: At the man; attacking the person instead of his or her argument.

Ad populum: At the people; appealing to the people’s emotions, prejudices, etc.

Ad Authoritate: Appeal to authority; using a celebrity rather than expertise as authority.

Post hoc, ergo propter hoc: After this, therefore, because of this; faulty cause and effect, jumping to conclusions.

Non sequitur: It does not follow; conclusion does not extend from the argument.

Circular logic: Begging the question; using a statement to prove itself.

False dilemma: Giving only two options in a situation when others may be possible.

False analogy: Argument based on incomplete comparison.

Faulty generalization: A conclusion that inappropriately makes a claim for all based on conclusions about a few.

Hidden premise: An unexpressed assumption, hidden agenda.

Reductio ad absurdum: (reduction to the absurd); argument in which a position is refuted by following its implications logically to an absurd consequence.

Special Pleading: Basically, invoking a double standard–arguing that a particular case is an exception to the rule based on an irrelevant characteristic that is not in fact an exception.

Tu Quoque: Turning the criticism back onto the critic.

For a comprehensive listing, see Taxonomy of Logical Fallacies.

Some additional digital tools for editing to consider–ways to go hyper with your text!


Workshop: Counterargument

In addition to our reading into countering in Rewriting, this page from Harvard’s writing program on some of the basics of counterargument is useful. If countering in general terms means challenging or resisting or–as Harris puts it–finding the useful limitations of a critical perspective or assumption, then counterargument is when the writer turns the countering onto his or her own perspective. It is a rhetorical move in critical writing–useful in exploring, anticipating, and answering the limitations of one’s own argument.

An argument, as we have seen, in effect is a counter to a previous argument (or view, idea, understanding, position) that you believe is limited, in need of further thinking, if not rethinking. Thus, counterargument helps us clarify our argument and its stakes–the problem that we are addressing and responding to. For more on stakes in an argument, consider these approaches–and the ways that you might counter others, as well as counter your own argument toward clarifying and strengthening what you are arguing for:

1. Challenge an initial read.

2. Challenge a published view.

3. Explain an inconsistency, gap, or ambiguity.

4. Explain unexpected conclusions.

5. Intervene in a debate.

6. Point out how a piece of evidence encapsulates a larger issue.

7. Point out how an insignificant moment is actually critical.

8. Point out the limits of the existing literature.

9. Point out a problem others don’t usually see.

 

Here is an example of counterargument (placed as last body paragraph) by Shana, a writer from a previous class.

For this project, counterargument is an element that needs to show up in your essay, a rhetorical element we are focusing. However, counterargument can also be useful as a composting and revising strategy, as you move from ideas, to outline, to draft, to revised draft. It gets at one of our 4 revision questions: What Else? Imagine another perspective that is out there, or a different perspective from yours, or a perspective that your emerging argument responds to (a basic need for any argument or thesis). In other words, considering counterargument can help you sharpen the focus, purpose, stake of your argument and essay. So use the counterargument exercise (what’s the opposite of my argument? who disagrees with me and why?) to go back to your thesis and refine; to draft out an introduction; to revise one or more of your body paragraphs (strengthen by further complicating); potentially, to find a different and stronger argument.

If the opposite of your initial thesis/hypothesis turns out to be stronger or more compelling than your thesis, that’s a good thing–and a good thing to know in time to revise and change your essay and argument.


Workshop: The Abstract

We have used the “abstract” of our arguments this semester as a revision tool: something to develop and revise as we develop and revise the argument. It provides some shorthand for the larger argument (the conventional views, the problems, and the response to the problem that shapes the argument) that is emerging. As I have suggested, the key terms and keywords of your argument that show up in your final version of the abstract need to show up in the essay itself.

Here is an example from Project 3 of what I consider to be an effective abstract. Notice the ways that it condenses the dynamics of the argument (signaled right away with the word “although”) and the keywords that will be developed and extended. Nested in this abstract of the argument is a possible objection that this argument can offer as a counterargument as a way to qualify, and ultimately, to reinforce its argument.

Although proven to be very useful amongst our society today, the convenience of Google is often perceived as laziness and is believed to have altered the way information is seen and obtained. Having used Google before, I believe it to be useful, especially when conducting research. I agree with Carr in the sense that the time it takes to do research has been shortened greatly; however, I do not think that has affected the way we perceive information as a whole. Knowledge is a universal item and remains the same regardless of which medium it is acquired from. Google and its users exist in almost a symbiotic relationship in the sense that Google supplies a universal medium where the contributors can place their ideas and their ideas can be explored and challenged by other readers.

As you work on revising and developing your argument, continue to use the abstract as a revision tool.


Electronic Literature: polymorphous possibilities

In the electronic poem “the dreamlife of letters,” the phrase “polymorphous possibilities” floats and twirls around the screen. The poem is grouped in the Ambient text section of the archive. This type of text is described in this way:

Work that plays by itself, meant to evoke or engage intermittent attention, as a painting or scrolling feed would; in John Cayley’s words, “a dynamic linguistic wall-hanging.” Such work does not require or particularly invite a focused reading session.

I think this particular text, and this kind of text (ambient), represents something larger about electronic literature that you are likely to experience as you explore this new media type of literature this week. “Dreamlife” is interested in “letters.”  All verbal texts are, to some extent. Some texts more than others. This one takes its interest more deliberately, and perhaps (so I might argue) more fervently, than many others. When you read–or watch–this poem, you witness the polymorphous possibilities of language. The poem reminds us, it seems to me, of the fact that any poem, any text, is made of such things. And made from the possibility of making and unmaking words and combining and moving letters.

It doesn’t “invite a focused reading session.” This is true. And yet, poetry is hard for many people, readers and non-readers alike. Consider the poem “Poem” by Charles Bernstein–a well-known, academic poet (and a co-founder of the Electronic Poetry Center at SUNY Buffalo). Is it so different from “Dreamlife”–except that it is static? Might we think of reading “Dreamlife” more like listening to a song: moving and morphing along? Does the poetry (or more broadly, the literary) reading experience need to be difficult? Must it be a focused reading session? What about, instead, an experience of reading? “Ambient” suggests that the environment and the experience of the text and its reading (its watching, its playing…) matters more than a conventional view of focusing on the meaning within a text.

Focus is a concern for Sven Birkerts; it point to a difference between linear print texts and many, if not all, of the electronic literary texts available at the archive. But what if focus implies, or derives, from participation rather than concentration? Isn’t poetry difficult, in part, when we are sitting too quietly or silently, waiting for it to speak to us? Consider some of the Oulipoems [constraint-based texts] which invite reader activity while also working something like a mad-libs game. It might surprise you, but these computer-generated texts are based on print poems from the mid-twentieth century, including the famous “Hundred Thousand Billion Poems” by Queneau. Andrew Piper refers to this group of poets in his chapter “By the Numbers.”

Can or should the experience of reading literature be something like a game? Or an algorithm? Can composing literature–poem or story or essay or argument–be processed like information, combined and re-combined like numbers or letters in a slot machine? What if it already is?

Or, perhaps hypermediacy means the hyperactivity of print culture, rather than its disappearance. Recall what Murray says–electronic text is the child of print culture. Here is one text, as sort of nightmare of digital communication: Out of Touch.

A text by Moulthorp (the hypertext author Birkerts reads in his chapter) titled Radio Silence–showing an interest in the ideas of play (rules for reading) and the interest in pattern.

A well-regarded hypertext–that emphasizes a different kind of linking nonlinearity: The Jew’s Daughter.

For links to other literary hypertexts, visit HTLit: Literary Hypertext.


Project 2: follow up

Once again, here are some examples (from previous writers in the class) of elements that we focused on in developing the second writing project, particularly in focusing on the forwarding of a literary text and the close reading its implications/complications as a way to support and extend your argument.

Remember my thesis about how best to learn and develop as writers: by giving more time to reflect on our writing, especially after we have finished a project. Take time now, before we get into the third project, to explore some of these samples. I also recommend taking your final version of the project into the Writing Center and getting some additional feedback on elements on your to-do list.

  • Development/Close Reading
    • Allison’s essay, particularly this body paragraph; notice how she invites the reader (using metacommentary: it is fitting to pause) to slow down to do some close reading. She focuses on the poem “Mutability”:
      • Although it is easy to see how the stanzas included in the novel relate to what is going on, there are subtler references to a “bigger picture” present in the novel, parallels to which can be found in the poetic stanzas that Shelley chose not to include. While the second half of the poem gives insight into the large impact that one thought can have on the entire scope of a lifetime, the first half puts humans on a much smaller scale, comparing them to “clouds that veil the midnight moon” that float through the sky and soon “are lost forever.” Percy Shelley compares humans to a musical instrument “whose fragile frame no second motion brings one mood or modulation like the last.” What Mary Shelley is communicating – through her husband’s words, no less – is that human life is a volatile and fleeting thing. Here it is fitting to pause and analyze the context of this poem’s placement within the events of the novel. Victor Frankenstein has just scaled a massive, desolate mountain and is contemplating man’s susceptibility to impulses and flighty desires. He essentially concludes that with the higher intelligence of mankind there is a great danger, and this danger stems from our uniquely human ability to “feel, conceive, or reason; laugh or weep; embrace fond woe, or cast our cares away.” Both Victor’s conclusion and the poem are a meditation on the flightiness and triviality of human lives and, by contrast, the extent to which these lives can be impacted through seemingly harmless decisions. The two halves of this poem are two conflicting views on a topic of immense depth, which is quite fitting for a poem entitled “Mutability.” While most readers will only experience the part of the poem found in the novel, it is important that one understands the significance that can be found by reading the entire text.
    • Allyson shows (in the first two body paragraphs) the effective use of keywords from the quotation as a basis for the interpretation or extension. Her argument is extended from the language she quotes.
  • Arrangement and Coherence
    • One of the ways we grasped this in the revision workshop: the importance of using keywords of our argument and signposts for where the argument is, where it is going, especially in places such as topic sentences. David presents a good example (third body paragraph) of how as simple a word such as “this” can do this.
    • Rachel’s project provides a strong example of how the keywords of the argument move the reader through the body paragraphs, extending from topic sentences into the close reading of the passages she forwards.
  • Argument set-up [reviewing Clarity and Complexity]
    • Sara sets up her problem with her thesis as response, effectively signaled with transition words:
      • In the novel Frankenstein by Mary Shelley, the author uses different texts to illustrate her main points, as many authors sometimes do. Unlike the novel’s intricate uses of eloquent language and the intertextual weaving being used, many people tend to think of Frankenstein as a simple horror story—a mad scientist creates a monster that is portrayed as a mindless killing machine, which escapes and terrorizes everything in its path. However, there is a more complex story suggested by the intertext Genesis—a complexity that I read as important to illustrate my belief that the creature Frankenstein created was not a monster at all. Mary Shelley uses Genesis to show the pain and suffering and loneliness the creature went through that ultimately spurns his actions, some being violent and hateful. Nevertheless, this is human nature, and based on how the creature is treated, he has the capacity for both good and evil.
    • Good example from Robbie of setting up the given/conventional view–starting generally, then moving in toward the more specific reading/argument that the thesis signals.
  • Conclusion
    • Jacob: A good example of raising implications at the end that both reiterate the complications of the argument, but reach out beyond the essay, to new ways of thinking with this information–thus answering the all-important So What?
    • Xavier’s project offers a good example of concluding the argument, then moving out toward some larger implications for the reader to consider.
      • Hollywood would have one believe that Frankenstein is just another simple monster horror story. But, upon further analysis, it is noticeable that Mary Shelley had a deeper meaning for her story. The story, using comparisons from John Milton’s Paradise Lost as well as other inter texts, develops a complicated picture of humans and our struggle with God from the beginning of time. Putting a monstrous, yet humanistic creature was an interesting choice. The monster in Frankenstein shows the best and worst of mankind. In this aspect, it represents all that humans are. And I think that Shelley wants us to realize that God wants the best for us; for us to strive for perfection, even though He knows we will never fully attain it. Though Victor dies before he gets his revenge, the monster comes to realize the error of his ways. This novel shows us that we are more than our mistakes and that we can overcome them. We all make mistakes; it is how we overcome them that defines who we are.
  • Citation format: for a reminder of MLA citation format (including the listing of works cited needed at the end of your essay), consult the Purdue OWL here.

Birkerts: process over product

In his chapter “Hypertext,” Birkerts continues his exploration of the differences between print and electronic texts, between words on a page and words on a screen. In “Into the Electronic Millennium,” he emphasizes the difference as one between linearity (print) and association (electronic)–earlier in the book, this opposition was described as  depth versus shallowness. Here, turning his attention to a literary hypertext created for a digital environment (Moulthorp’s Victory Garden), he continues the opposition, focusing it on a difference between process and product. As he puts it succinctly,

Writing on the computer promotes process over product and favors the whole over the execution of the part. (158)

Moving forward from page to screen, he believes, we move backwards from the book as a product to the process of writing and producing it. Along with this “profound” and “consequential” shift from literature and product to writing as process, Birkerts argues, “provisionality” is promoted and the traditional goal of the writer (he mentions the French novelist Flaubert) is lost. Attending to this loss, the reader of the book, turned into “process” at best, at worst a “sophisticated Nintendo game,” loses his or her sense of the private self (164).

These are familiar  keywords Birkerts uses in his argument: process, product, privacy, provisionality, perfection, potential. My criticism and concern for the implications of his argument might best be focused by adding another ‘p’ word to his list: pedagogy. It seems to me that in worrying about the ways that writing’s process becomes, potentially, revealed in a digital or electronic environment, Birkerts really worries the potential that anyone might become a writer. Here, my disagreement with Birkerts sharpens most into focus. In my view–recall, I am a teacher of writing, and a writer still learning my trade, as every writer does–provisionality and process are necessary ingredients for learning. One learns by learning the process; one writes by producing writing, not by having written, by having a product. The reader is always ready to turn into a writer, as Walter Benjamin put it in his essay on the “Work of Art in the Age of Technological Reproducibility.” We thus participate in writing. And participation is yet another concern, and another ‘p’ word, that Birkerts discusses. Instead of that, he wants to return to a time when the author perfected his writing by creating books that, in Birkerts’ phrasing, overpowered the reader.

Perfect, that is to say, completely finished, books might exist–though I haven’t read one. But even if they do exist, the problem becomes, for the writer, for the learner, how to get there while being imperfect? For learners, perfect books are dreamed of and always never written. Isn’t that what happened to Birkerts? These are some of the thoughts and concerns I take into the final pages of his argument and our initial exploration of electronic and hypertext writing.

I used Google Books, by the way, to do some keyword searching–for example, in Gutenberg Elegies. Here is an example (the word process appears 45 times).

As we explore more directly hypertext fiction and poetry this week, consider some basic background for hypertext fiction of the sort that Birkerts encounters. It is from that massive hypertext encyclopedia you know well, Wikipedia. Consider that as both the problem and potential of hypertext literary reading: what if novels or poems read like entires in Wikipedia: in what ways does that change literature? Here is the entry for Hypertext Fiction. We can also think back to McLuhan’s argument, one that I think Birkerts clearly has in mind, though he doesn’t directly quote from: the medium is the message; all media work us over completely. Birkerts believes that the author, not the medium, should be working the reader over. Hypertext, for him, is too much medium, not enough message. I assume he would say the same about the electronic literature archive–where the process, not the product, is on view in the ways the texts are described and categorized.

Do you agree? I agree somewhat. This means that I find both uses and limits in his argument that help me to think about ways to develop my argument by forwarding elements that I agree with, but also ways to complicate my argument by addressing places where I don’t agree–where I can anticipate how he would object and provide a response.

For a view and vision of hypertext literature that can be said to disagree with the vision of Birkerts (and strongly) by way of agreeing, consider Shelley Jackson’s essay “Stitch Bitch.” There she argues favorably that hypertext is “what we learned to call bad writing.”

Andrew Piper, who takes a different view of the idea of playing literature as a game, refers to The Apostrophe Engine in his chapter “By the Numbers.”