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Berkeley classroom. Image by amiz.

My classroom has two large, east-facing windows that magnify the mid-morning sun, and only open about six inches to provide breezy respite from the intensified warmth. This low crack is wide enough to attract curious squirrels, which understandably distract students whose desks butt up to the windowsill where the nosy creatures belly up. It is not, however, wide enough to cool off the room during any of the Bay Area’s rare but intense heat waves. The pale yellow of the walls just adds to the feeling of being trapped inside a rising soufflé, and students and GSI alike fall under melted-butter hypnosis, and focusing on the past perfect subjunctive rises from challenging to impossible on the difficulty scale.

After a few classes of sultry sighs and lackaday during the last hot spell, I walked into an exam review session to a full house. The chatter that had filled the muggy room vaporized as soon as I entered the room, and the students looked at me with wide eyes and held breaths. I looked at my immediately sticky sweater vest and regretted my wardrobe choice. Since I had no new material to teach that day and could probably get away with skipping the chalkboard, I suggested we take the class outside. Read the rest of this entry »

To Err is Traumatic

Exams to grade. Image by olga.

I will never forget the fear I felt the day my most beloved undergrad professor raged about an exam my Latin American Poetry class had taken. Among the errors that provoked his outburst were someone who had repeatedly used the masculine article with the word for woman: “¡El mujer! ¿¡El mujer!?” My cheeks burned, and though I was fairly sure I was not the offender, I still prayed and crossed my fingers that I hadn’t, in some test-induced delirium, forgotten one of the most basic aspects of the language I’d been studying for three years.

He moved on to the word for image, imagen, which made frequent appearances in the literary analysis class. From this berating I did not, unfortunately, escape unscathed. The word is feminine. I had modified it with feminine adjectives in the essay I wrote for the exam; in fact, I got one of the few A’s in the class on the exam. But the trauma of the tongue-lashing has left its mark. I am now in the midst of a PhD program studying Latin American literature, and I avoid using the word imagen in spoken language at all costs. What if I get it wrong? I look it up in the dictionary every time I write it down to reassure myself of its feminine nature. I even checked wordreference.com before typing this paragraph.

I know my professor meant well, and the amount of liberating and inspiring learning my classmates and I did in his classes overwhelms this limiting slip. But the incident exemplifies an important part of the instructor’s work. Balancing constructive criticism, encouragement, praise, and downright disappointment is hard work.

This semester I graded one of the worst exam sets I had ever seen. I went back through looking for ways I might have miscounted, places I might give back points lost, and just couldn’t justify it. In fact, el mujer made several appearances. The grades were low. I tried lecturing my students when I gave back their exams, and gave them a lot of writing homework, hoping the practice would help them improve before the next exam. The class average did improve, but the range was wide, and the low grades were very low.

Further on in the semester I began to worry that I was traumatizing my students when their first compositions came in. Some of them were marvelous, even moving. Others were just unacceptable. After some tears shed in office hours, and mid-semester evaluations complaining that I “grade really hard,” I began to question whether I was holding my students to an impossible standard. However, there are as many As as Ds on the compositions and exams I grade, so I know it’s not impossible. And thankfully, as the semester has progressed, more and more of those straggling students have dragged themselves into my office hours, written several more drafts before turning in final essays, and generally improved not only their grades, but their Spanish and writing skills as well.

What it boils down to is that the same fear instilled in me as a student that day worrying about gender agreement remains with me as an instructor. What if it’s somehow my fault that they didn’t learn the material, didn’t understand the instructions, didn’t realize they needed to study? Do I teach poorly? Do I grade too strictly? The student has become the teacher, but I’m still frightened by the specter of imagen.

The Edible Schoolyard at Martin Luther King, Jr. Middle School. Image by mental.masala.

The Edible Schoolyard at Martin Luther King, Jr. Middle School. Image by mental.masala.

Daria Wrubel, garden teacher at Thousand Oaks Elementary School, is teaching a lesson on salad. The students will soon be preparing and enjoying a root-to-fruit snack, a salad that incorporates all the different edible parts of plants: root (carrot), stalk (celery), seed (pumpkin seed), leaf (lettuce), and fruit (dried persimmon). The kids, who help out cooking in the school kitchen as well as planting, weeding, harvesting, and composting in the garden, are pretty conversant in vegetable taxonomy. But when Daria – or “Farmer D,” as she’s often called – asks the assembled third-graders what kind of leaves they might find in a salad, she has a hard time getting the answer she’s looking for.

“Kale!” shouts one.

“Arugula!” chimes another.

“Baby spinach!” says a third.

By the time Daria gets everyone to agree on “lettuce,” half the class has already moved on to a heated discussion of who has the biggest persimmon tree in their front yard. Read the rest of this entry »

It was an uneasy night in downtown Oakland. As dusk fell, three police helicopters still circled, casting long spotlights into the streets below. It was the evening after the light sentencing for Mehsehrle in the Oscar Grant case was handed down, and the police were prepared for another outbreak of grief and violence at the outcome of the case. Shop fronts were covered in plywood and reports from news sources and twitter were all over the place–people were burning cars, they were rampaging through neighborhoods, and protestors were being rounded up en masse and arrested.

Still, the group of Uptown businesses that participated in First Friday, the monthly art walk, made it clear that they were remaining open. A smaller-than-usual crowd milled around 23rd street, eating garlic noodles, cupcakes, and homemade sausages from the food carts and buying early gifts for the holidays from the local vendors selling their DIY goods. Plainclothes police officers wading through the crowd seemed tense, then relaxed as the night wound on without any displays of violence. Oakland struggles, but lives on.

It was within this milieu that the Black Diamonds Shining Group show opened at Mama Buzz. Since its opening in 2003, Mama Buzz has become a beloved fixture in a rapidly changing neighborhood, hosting art shows and musical acts, providing a hub for the local art scene. The Black Diamonds Shining show surpasses most offerings there, with a mix of several canvases and multimedia art blending with drawings that cover the walls in true graffiti style. The Black Diamonds Shining is “an Oakland based afro galactic black arts collective” comprised of the artists Ras Terms, Safety First, Deadeyes, Antjuan Jones, AshRose, Brooks Golden and Larry Dobie, many of whom have a decade of experience in the Oakland street art scene, with signature styles that residents of the city quickly come to recognize. Many of the works are executed in tandem, with two or three artists participating to create a single piece. The collective’s art is highly influenced by not only graffiti art, but classical and pop culture references, as well as ancient rock art, which they recognize as part of their tradition.

As a collective, their art is both extremely local and highly political. The collective participates in many “live painting” events, usually hosted at DJ nights at bars like Era or Club Oasis in downtown Oakland but also at rallies and protests. Before their First Friday opening, Safety First and AshRose painted for the Oscar Grant protest in front of the courthouse, producing a work depicting a black mother with the words, “I hope my child gets home safe.” Similar tributes are on the walls at Mama Buzz. Though the canvases will come down and the space will get painted over, the show will be remembered as a bright light in an otherwise dark hour in Oakland.

The Black Diamonds Shining show at Mama Buzz closes on December 2nd.

Photo by Marc Kjerland

Many New Media scholars find it productive to compare technological innovations and their impact on society across time as a way to ground their current research.  In Techniques of the Observer, Jonathan Crary traces the modern construction of the observer and visuality to the camera obscura, an early device used for redirecting light to project an image of its surroundings onto a screen or paper. The connection between texting and the telegraph seems more straightforward. After all, I did just sign up for another two years of service from American Telephone & Telegraph.

“Evans: Could you come superintend under my direction important excavation Knossos. Personal not school affair terms four months sixty pounds and all expenses paid to begin at once.

Mackenzie: Agreed coming next boat.”

Telegrams between Arthur Evans and Duncan Mackenzie regarding work at the excavation at Knossos

The 2008 Pew Internet report on Writing, Technology and Teens came amidst concerns over the “death of writing” and the “colour and poetry” of writing being lost. The Pew study also states that students do not consider texting writing, and indeed it appears to be closer to a vernacular form of speech. In their 2005 An SMS History, Taylor and Vincent describe this speech as “new linguistic repertoires that allow for the intimacy afforded in face-to-face encounters to be reproduced between physically remote interlocutors,” in other words, a unique texting argot.

Photo by tarabrown

Alternately, Caroline Habluetzel looks at texting as occupying a unique position between speech and writing, allowing it to “overcome the absence of the receiver and create what in the context of classic letter writing has been called epistolary presence, that is, a sense of presence between the two interlocutors that is more intense than geographical distance would suggest.”

This changing of our sense of place and space through time is something that I’ve always been interested in as an archaeologist. The properties of texting and telegrams are similar enough—limited transmission length, relatively expensive, conveyance of instantaneous information that is expected to be read and acted upon immediately—that it creates an intriguing parallel in history.  Tom Standage calls the telegraph The Victorian Internet in his book with the same title.

It appears that the telegraph has not destroyed writing, nor will texting. If anything, I appreciate the shortness of the telegram agreement quoted above between Arthur Evans and Duncan Mackenzie—how wonderful if more jobs had similar hiring practices!

By Only Wonder

Late in my ten-week odyssey through Berkeley’s Intensive Greek Workshop, I encountered a stranger whose shirt was emblazoned with a familiar script. When I asked him what it meant, he replied with a shrug: “It’s all Greek to me.”

It was to me too. Then he clarified: “No, it says ‘It’s all Greek to me’…in Greek.” In Modern Greek, of course, which is a language people actually speak today, as opposed to Attic Greek, which I was spending the summer attempting to learn. The embarrassment, confusion, and suspicions of irrelevancy I experienced that day may have been a metonym for my mental state this summer.

True to its name, the Workshop was intense. The course is designed for students with no previous exposure to Ancient Greek, but some prior language study is recommended. For the first six weeks, we neophytes spent six hours a day learning basic Greek grammar and went home to assiduously internalize vocabulary and increasingly irregular verb forms. To help us prepare for our daily quizzes and weekly exams, instructors offered morning and afternoon office hours and were “on call” in the evenings to handle any participle emergencies (my personal Achilles’ heel), which made us feel even more like suffering patients whom no pharmakon could cure. Read the rest of this entry »

Bay Area BBQ Roundup

Beef brisket at Phat Matt's

Given the reputation of the Bay Area as the home of the slow food movement, it may be surprising to learn that it is also home to an impressive number of slow-cookin’ barbecue restaurants. Most Bay Area BBQ joints serve a variety of meats, including beef brisket, ribs (usually pork), chicken (either pulled or on the bone), and beef sausage links. These are available as sandwiches, platters (which usually include two side orders), or combinations (2-way, 3-way, or even 4-way combos of different protein selections). Typical sides include baked beans, collard greens, mac & cheese, potato salad, and cole slaw. Some restaurants will offer sliced bread, some have corn bread, and some have both.

While purists may criticize Oakland- or Bay Area-style ‘que for its departures from the major regional BBQ traditions—Texas, Memphis, Kansas City, or the Carolinas round out the top four, but like any cuisine, numerous sub-genres also exist—most local places are worth checking out. There is a wide variety out there, but many of the Bay Area’s most famous restaurants have styles that are reminiscent of Texas barbecue, often with a soul food twist.

Take Everett and Jones, an Oakland institution since 1973, with a flagship restaurant at Jack London Square and another five satellite eateries, including one near the intersection of University and San Pablo in Berkeley.  The family-run Everett and Jones serves up beef brisket, pork ribs, homemade beef links, and chicken, with a sweet and smoky sauce available in mild, medium, or hot. The hot sauce is definitely hot, so watch out! Sides include cornbread muffin, candy yams, and homemade greens. Wash it all down with an iced tea or their specially brewed Saucy Sistah Ale.  Don’t just take it from me, the menus at the Jack London Square location showcase celebrity customers such as Bill Clinton, John Madden, and Whoopi Goldberg. Read the rest of this entry »

Summertime: an archaeologist in Jordan

June 2010. Last night I watched the sun set over four countries. Jordan, Israel, Saudi Arabia and Egypt are all visible from the beach on the Red Sea south of Aqaba and I had plenty of time to contemplate geopolitical vagaries as I dug my toes into the sand.  A hot wind was blowing in from the Jordanian desert and I watched the various families settle in around me.  The beach is a liminal zone in Muslim countries, where negotiations of culture, politics, and religion come into high relief.

The public beaches at the Red Sea, the Dead Sea, and the Turkish coast of the Mediterranean all have their own particular local mores and acceptable configurations of the highly contested terrain of women’s bodies.  Haram is a very rough equivalent of the word “sinful” in Arabic.  As a Western lady working in the Middle East, I hear it a lot. Pork is haram, chicken is not haram, exposing one’s hands may or may not be haram.  At first I tried fairly hard to figure out how to behave and dress respectfully, but it is contingent on so many factors that it is incredibly difficult–probably impossible since I am foreign anyway. Even my most conservative mosque-going wear was rejected at the Great Mosque in Damascus and I had to put on an Orko-like cloak to enter.  So now I just do what I can in most situations to not draw too much attention to myself, with one notable exception: The Beach. I wear a regular swimsuit and get stared at, but there are usually enough other scantily-clad foreigners to soften the impact. My tattoos also attract attention, perhaps only slightly more than on Western beaches where people pretend not to notice.

Anyway, I will always remember the first time I saw a conservative young couple come to the beach. She was dressed in a full burqa and niqab (face-veil) and he was in short swim trunks.  She sat down under and umbrella and fanned herself as he went splashing off into the sea.  He occasionally came back to check on her, but otherwise she just sat there, sweating in the 50 C heat.

Since then I have seen this same scenario played out several times, with different age-ranges in different states of dress.  I’ve only seen the vaunted burkhini twice, both times on pre-teens who were passing through another liminal state, becoming a sexually mature (and therefore covered) woman.

So it was a familiar scene last night, a woman with her husband and four children, she completely covered and the rest of the family ready for the beach.  She sat in the sand while her husband played with the children and splashed around.  A scholar that was more sympathetic would probably say that she was still the nucleus of the family, that she guarded with the rest of the beach gear, but she seemed very much forgotten in all of the fun.  So, to my surprise, she started playfully throwing rocks at her family and they giggled and dodged the rocks.  This continued until after sunset, when she finally hiked up her burqa and waded into the surf up to her knees.  I looked around and saw that many women were doing this semi-covert dusk activity and that couples were drawing closer together in the dim light of shisha coals.  There’s been daytime swimming as well, women being held tight by their husbands while their burqa swirls around them.  I guess it might not be so different than when I wore a t-shirt to the pool as a self-conscious little kid.

I think I will continue to find beaches in Muslim countries fascinating for both the changing ideas of how women should dress and how foreigners are integrated into the social scene.

You can read more about Colleen’s summer fieldwork and travels here and here.

This season’s new veggies will put a spring in anyone’s step (asparagus! fava beans! peas!), but amidst the market’s sea of green, fresh-picked fruit is hard to find. Autumn’s apples and winter citrus still show up at Bay Area farmer’s markets, as well as sun-dried reminders of summer’s peaches and plums, but fructose fiends have long been ready for a change. Not a moment too soon, strawberry season has arrived.

Karen Lucero, of Lucero Organic Farms in Lodi, started bringing her Seascape strawberries back to Berkeley Farmer’s Markets in April. (They’re also available at San Francisco’s Ferry Plaza Market, and Sundays at Temescal.) As Karen’s sometime market helper, I hold out samples by their stems to offer passers-by. Not many refuse a bite of bright ripe berry, but the cognoscenti sometimes will demur: “Oh, save the sample; I know they’re good!”

My opinion’s not unbiased, but Karen’s berries are a well-established market favorite, the preferred shortcake-toppers of Berkeley shoppers and the pastry chefs at Chez Panisse (strawberry soup? ok!). Lucero is a family-run, all-organic farm, which, since strawberries are among the “dirty dozen,” is worth keeping in mind. Most conventional strawberries are high-yield hybrids that owe their bright color and hefty size to heavy doses of fertilizer, water, and pesticide – this often makes them tasteless, too. Lucero’s Seascapes may not produce as much, but Karen and her husband, Ben, prize them for their flavor. The Luceros also minimize watering, which, ecological benefits aside, stresses the plants just enough, Karen says, to concentrate their nutrients and flavor. As a bonus, their distinctive long stems make for easy dipping in chocolate sauce (or a lucky mouth).

So take a break from your seminar papers, walk to the market, and stock up on some strawberries (and look out for cherries, which should show up soon). Not that the fruits of intellectual labor aren’t satisfying, but sometimes they’re not; and a basket of berries will always hit the spot.

“Graduate student” can be a totalizing identity. It can also be a fraught one, depending on your discipline (those of us in Comp Lit, for example, may be said to be “always already in crisis”). But we graduate students do sometimes manage to emerge from the devastating weight of questions like “Can contradiction be redeemed as determinate negation?” and “What am I doing here?!?!” to do other things, and identify in other ways. Lynn Xu, a first-year in the Comparative Literature department, is also a poet, which she sometimes finds at odds with academe. (Her poems have appeared in 1913, Best American Poetry 2008, Tinfish, Octopus, The Walrus, and elsewhere.) But if Lynn is always or ever in crisis, she’s also the kind of person who will, with glee, wish you weeks full of “happiness, humor, and disgust.” I’ve had worse weeks. (And if you’d like any of these things in your week, heavy on the happiness/humor side, you can come hear Lynn read with recent Pulitzer Prize-winner Rae Armantrout.)

During the academic year, Lynn may take notes for future poems, but most of her time and mental space is devoted to coursework. That doesn’t mean, though, that her lyrical spirit lies dormant. “Academic (critical) work asks so much from the imagination, but refuses to acknowledge it (the imagination) as an expression of the thought, as a form of expression inherent in the thinking,” she says. I suspect she’s not the only potential PhD who sympathizes with the grumbling so familiar in extramural discourse: a lot of academic writing is deadeningly dry, suppressing the imaginative impulse instead of fleshing it out. Though Lynn believes poetry itself can be a form of critique – and is writing a manifesto on the topic for a methodology course – she finds this mentality meets institutional resistance. “Criticism does not have take the form of the essay. But in school it does.  And a very restricted sense of the essay at that.”

When she’s not walking the rope between academic writing and creative writing, Lynn likes to walk the streets and trails of Berkeley. She also helps run a small press, Canarium Books. Though conscious of complaints about the institutionalization and over-production of poetry (the poets churned out by MFA programs, for example, and the poems they then churn out themselves), Lynn, who received her MFA from Brown, doesn’t think contemporary poetry is consigned to mediocrity. “The solution cannot be: stop writing poetry, or: stop publishing poetry,” she says. “Rather, it must be: to increase the quality of the conversation.  And hopefully our press does this.  All our authors I believe are luminaries in the craft.”

Lynn’s own luminous writing is, I find, peripatetic, peppered with paraprosdokian. Her lines have been described as “equal parts elegance and flippancy while staying all song.” In “Language exists because,” she writes: “Language exists because nothing exists between those / who express themselves. All language is therefore / a language of prayer.” Indeed, trying to write my seminar paper, I can’t help but feel that my language is a performance of prayer – a prayer that the thing will end itself. I don’t think that’s what she means; but I’m glad Lynn and her poems exist.

To read Lynn’s poems, go here.

To hear Lynn read, go here:

Rae Armantrout and Lynn Xu (music from Wee Giant)
Friday, May 7th, 7pm
Studio One
365 45th Street (@ Broadway), Oakland (near the MacArthur Bart)

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