Hello all,
I’m going to try something different this time in my discussion of the text. Instead of just running down what the text said, I’m going to approach it a bit more personally. By this, I mean that I want to compare the process introduced by Syverson to the process I went through in learning College Comp 1 as a freshman 6 years ago at Rowan. For this week, we read the first 3 chapters of Margaret Syverson’s The Wealth of Reality: an Ecology of Composition. I have to say that based on the title, I really had no idea what to expect. Based on the bookcover, which looks like a printed picture of synthetic wood grain, I was expecting even less. Still, the old saying, “don’t judge a book by its cover”, rings true. I know that sounds cheesy, but for anyone that’s seen this cover, it’s certainly one of the most ill-advised pieces of graphical work you’ve ever seen. Still, the book is informative, and presents a way at looking at composition studies that I had not yet been exposed to.
Syverson presents a different way of looking at composition. Instead of explaining that writing is a contained process on the part of a writer and his text that exists within a vacuum of isolation, the author argues the opposite. Instead, writing is a culmination of many things: author, ideas (notice the difference; in Syverson’s estimation, the author and the author’s ideas are separate entities), sources, upbringing, prior experience, emerging experience, context, physical environment, mental environment, and peers. While Syverson may have mentioned more, I have at least presented the basic idea. What Syverson discusses most is how these various factors interact and react with one another and how the author negotiates these considerations and produces a text. Essentially she argues that the composition of a text is an interplay of sorts, with the author being a facilitator and organizer rather than a creator. While I don’t know if I agree with this entirely, I do like the fresh perspective.
First, Syverson talked about the experiences of Charles Reznikoff, a Russian Jew that grew up in New York in an era when the population was exploding. Reznikoff’s experiences and by extension, his writing were an amalgamation of his social and economic situation, his religious beliefs, the influences of his Russian-born parents, of his fellow Russian Jews, and of social hardships he faced by Jews that came to the US before him. Against this rich social tapestry, we can see Reznikoff’s development take turns that may not have made sense otherwise.
After presenting this example, Syverson talks about some of her experiences teaching a first year writing class at a first-rate state university. From what she was saying, the university she taught at was probably a little more selective than Rowan, probably more on par with TCNJ, with most students in the top 12% of their high schools in California. Still, I think I can roughly compare my experience with that of the students Syverson discusses.
Syverson explains first the importance of composition in a college setting, and how this class was set up to best equip students in negotiating the news spheres in which they would be expected to write. The class was small, with no more than 16, and students were then broken into groups of three or so. Writing was a highly collaborative and communicative process. While the essay about noise in the dorm room was perceived by most everyone involved as lackluster, I thought the process was interesting. The students, who all seemed to be pretty motivated and responsible, worked together on all of the essays. They bounced ideas off each other and the professor. I think they developed a more well rounded idea of the writing process and the importance of dealing with opposition than I did at that age.
As mentioned before, I think that I was somewhat shortchanged as a freshman, and this came back to haunt me later. While these students had to constantly rework and rewrite things, I think that looking back, this process helped them all as writers. On the contrary, it seems that CC1 and CC2 at Rowan were more concerned with just getting the students at a certain level of proficiency, as opposed to teaching them about the process. When I came into the classes, I was ahead of the curve, and I got A’s in both classes without any problem. Later on, with my history work, I faced a pretty steep learning curve, and it wasn’t until the end that I feel it all “clicked” for me. Maybe it’s not fair that I’m criticizing my CC1 and CC2 (college composition 1 and college composition 2) classes, as they certainly made sure I was good enough to write in college. I don’t know. I do know that while I had a good sense of diction and wordplay, my organization skills needed a lot of work.