Featuring Pianist/Musicologist Dr. David Kushner. The recital took
place on October 30, 2003
is Sarah's report
funds were used to bring Dr. David Kushner into music appreciation
classes to present two, one-hour ‘Recitals in Schools’
programs. Dr. Kushner is an esteemed musicologist and pianist
from the University of Florida who travels throughout the
country performing music of ‘under-represented’
composers such as Ernest Bloch in both professional and
educational venues. The lecture-recitals featured the music
of Bloch, as well as suites by J.S. Bach from the Baroque
period; Beethoven, Chopin, Mussorgsky, Rubinstein, and Grieg
from the Romantic era; and Debussy from the contemporary
epoch. Dr. Kushner supplemented his performances with insight
into the formal structure, tonality, rhythm, melodie and
intervallic traits, and programmatic ideology of each composition.
The lecture-recitals were attended by music appreciation,
theory, and humanities students and faculty members.”
Saturday a Success
the guidance of Joe Zimmerman, Delores Hunt
savors the thrill of victory while learning WebCT
us for the November 1 Super Saturday workshop were Debra
Vazquez, Joan Luebbe, Barbara Anderson, Delores Hunt, Trish
Glennon, Judy Haisten, Barbara Ashby, and Kay Fowler. Kathy
Kilcrease, Joe Zimmerman, and Steve Hill were on hand to
lend assistance. I kept the food coming and took pictures
of the event much to Delores’ chagrin.
workshops covered were: Excel Gradebook, WebCT, PowerPoint,
and Digitizing Video Clips.
the end of the day, we asked everyone to evaluate the strengths
of the workshop. Here is a sample of the comments we received:
“I love the atmosphere and that I can work at my own
pace—I went fast today!” “Excellent help—tech
support—at my fingertips.” “Having a block
of time and the equipment to complete a project.”
asked what could be improved, one participant stated, “Two
Saturdays in a row to continue our creative thinking.”
Not a bad idea!
always, we enjoyed working with another wonderful group
of faculty members. We hope that many of you will also join
us for the March 5th Super Saturday. The deadline for submission
of your proposals is February 13th, 2004.
your project is not limited to one of the topics covered
in the proposed workshops for those days—your suggestions
are welcome! We’re here to help you accomplish whatever
you want or need to do.
day’s end, Trish Glennon shares
her accomplishments with the group.
Anderson, Barbara Ashby, Kay Fowler
and Judy Haisten had a successful day as well.
October 7th, 2003
by Kathy Kilcrease, Teaching/Learning Institute
books, and more books…College Planning Day this term
afforded faculty the time to review the collections in the
CFCC Learning Resources Center associated with their various
instructional areas as well as learn more about the many
other resources and services available. The LRC Staff—Susan
Bradshaw, Sheila Evans, Liz Minnerly and Joanne Bellovin—took
us on a fast and furious ride through LINCC Web showing
us the many things that are available to both faculty and
students through this online site. We all came away with
a better appreciation of all that the LRC staff does to
help both faculty and students access the learning resources
they need and some skills that will help us better utilize
all that is available to us.
half of the faculty spent time in the LRC, many of the other
half took the opportunity to participate in one or more
of the workshops that were offered that day. From the evaluations
collected at the workshops it appears that all who participated
appreciated the opportunity to learn new things, review
some new teaching/learning tools, as well as have the time
to interact with other faculty members from across the campus.
special interest was the morning workshop facilitated my
Amy Mangan “The Courage to Teach…..A Time for
Sharing and Problem Solving.” The discussion, based
on Palmer’s book The Courage to Teach gave all involved
an opportunity to share teaching experiences, both good
and bad, and an opportunity to learn form each other in
a relaxed and open setting. All indicated that it was great
and were interested in having more informal exchanges in
the future. We’ll see if Amy might be able to do another
session next term.
Cooper’s session on Academic Integrity/Plagiarism
again provided a thought provoking discussion of some of
the issues we are facing and a time for brainstorming as
to how this problem might be addressed campus wide.
Smith’s session on “Teaching Strategies,”
Jean McCauley’s on “Using Student Portfolios,”
Charles Mott’s on “Using Case Studies,”
and Jana Bernhardt’s “Using Contextual Learning
Strategies” gave all involved new ideas to enhance their
teaching and student learning. Demonstrations of the Classroom
Performance System student response pad technology, facilitated
by Rod McGinnes, and PhysioEx software for science laboratories,
facilitated by Adam Hayashi, lead to the adoption of these
technologies by several departments on campus. Technology
workshops hosted by Debbie Towns in Cosmetology and by Dave
Lanzilla in the T/LC on “Using Jenzabar” gave
those involved some new skills with which to work.
big THANKS to all who participated and
especially to all those who presented and/or coordinated
workshops. It was truly a day of college wide sharing
Liability Trainer’s Conference
Bill Lemieux, Public Service
the High Liability Trainers’ Conference offered by
the Florida Criminal Justice Standards and Training Commission
August 26th through August 29th in Daytona Beach.
conference provided a program of expert speakers on various
topics. However, the highlight was being able to network
with other instructors and to learn about and discuss issues
that we all share as we try to train the next generation
of correction and law enforcement officers.
the four days of the conference, attendees could choose
from a list of twenty four topics in which to participate.
I chose topics that pertained to my position as Academy
Commander and Lead Driving Instructor for the Criminal Justice
Missy O’Linn, P. A. presented “Legal Issues
in High Liability Training”. She emphasized the trend
of the courts and attorneys through out the country on deadly
and non-deadly use of force. I am relaying this information
to my students.
area that was extremely interesting was “Advanced
Vehicle Stops.” We discussed the various methods for
stopping a fleeing vehicle i.e. the PIT maneuver and stop
sticks. The latest method is to disable the electrical system
of a fleeing vehicle by sending a small robot under the
vehicle. There is a brand new system that utilizes a computer
chip that is installed in vehicles that will disable the
electrical system when hit by a laser beam trained on the
vehicle. This will almost certainly end the high speed chase.
California is in the process of passing legislation to mandate
all new vehicles in California have this system installed.
good as these presenters were, and they were excellent,
Col. Danny McKnight was without a doubt the best presenter.
I am sure some of you have seen the movie Blackhawk Down.
Col. McKnight was the officer in charge of that mission
in Somalia. His presentation was “Survival under Stressful
Situations.” He told of his experience in Somalia
and how it can relate to law enforcement officers. Law enforcement
officers must learn that no matter what happens to us or
our surroundings, if you keep your head, your training will
bring you through.
enjoyed the conference and I am looking forward to the next
one in 2005.
Brenda Frazier, Health Occupations
instructors who attended the Association of Surgical Technologists
(AST) and Accreditation Review Committee on Surgical Technologists
(ARC-ST) workshops in New Orleans on May 27th and 28th were
given an update of all changes on evaluating student clinical
performance and crisis prevention. Included in the update
were specific directions and information on “Electronic
Annual Reporting” which will begin in 2003-2004.
were also provided with information on how to teach the
new core curriculum, with a special focus on clinical case
requirements for students on core cases, specialty cases
and independent number of scrubs with a preceptor available
in order to be a graduate of a CAAHEP accredited program.
Program Facilitator/Professor of the surgical technology
program, I gained valuable information about the new requirements
and guidelines required to keep the program accredited as
well as improve student learning. With this information,
I developed clinical case levels for the program upon my
return from the conference in preparation for the graduating
class of 2003, who must do case leveling according to clinical
Association of Accounting Educators 2003 Conference
by Vern Allen, Business & Technology
and unique aspect of the 2003 FAAE conference in West Palm
Beach on October 9-11 was a dynamic discussion of the potential
impact of UF’s mandate for all UF enrolled students
to take their first two accounting and economics classes
at UF. Such a mandate represents a direct threat to the
articulation agreement and the common course numbering system.
The jury remains out on this issue.
another presentation, Dr. Earl Stice examined the unethical
if not clearly illegal collusion between representatives
of Arthur Anderson and one of its major clients. Details
leading to the rapid and utter collapse of one of the “crown
jewels” of the American economy, Enron, indicated
the depravity of that nefarious relationship.
Finally, opportunity to share evolving instructional methodologies
with friends from the university and college environments
always proves among the most rewarding experience of any
at these conferences. Several of these colleagues agreed
to submit proposals to present in Cleveland in 2004 at the
two-year colleges annual Teachers of Accounting conference.
Why does our college have such a love
affair with PowerPoint?
Wide-eyed in Communications
If you’re in communications
and actually attended graduate school, you should
remember Marshall McLuhan’s dicta that “the
medium is the message” and that some media are
hot, while others are cool. PowerPoint gives high-definition,
direct transmission of data (hot), leaving no room
for the mind to fill in gaps or work out implications
on its own. In other words, it is meant to be soaked
up like a spill by a sponge. Haven’t you ever
wondered why PowerPoint presenters show you words
on the screen, and then read them to you, or why they
always give you a handout copy of those very words
on the screen? The PowerPoint pusher’s presumption
is that your porous little brain needs to absorb what
it cannot figure out for itself, and later you can
find someone to read the handout to you so that you
can re-absorb it. So stop griping and suck it up.
Say, who lives in a pineapple under the sea?
did t*aching become a bad word? When did I become
a facilitator rather than a t*acher or, heaven forbid,
Facilitating in Math
March 21, 1997, Our administraighters were summoned
to a secret government compound in New Mexico for
re-programming. You became a facilitator the following
fall semester on August 22, 1997. Take heart—the
seven-year cycle will end in the spring of 2004, and
the administraighters will need reprogramming. Then
you’ll become something else, maybe a lubricator.
had an expert visit my class to administer one of
those learning styles tests. Most of my students turned
out to be ‘A’s, but I’m a ‘K’.
Am I the wrong type for my students?
Typed in Nursing
Yes, you are the wrong type for your
students, because you are actually a ‘G’—Gullible.
You are, however, the perfect type for any charlatan
edu-scammer looking to prey upon the uncritical. Learning
style testing is a serious matter. You need to choose
a genuine test, like PHREN, in which the learning
style is detected by examining the bumps on the subject’s
head. Well, this is your lucky day, friend, because
I have training in PHREN and could administer the
test to you and your suckers, er, I mean students
for the amazingly low price of $19.95 a head. I’ll
also give you a good deal on some tapes that teach
you Spanish while you sleep. Whaddaya say?
of my students keep showing up ten minutes late, and
it disrupts my class. What can I do about it?
Ticked (and tocked) in Business
you would know that students are showing up for class
late only if you were already there to witness their
tardiness. So, the important question is, why are
you in class within ten minutes of the starting time?
Second, only a worthwhile activity can be disrupted.
Now, come on, you don’t expect me to believe
you’re doing something like that, do you?
you practice collaborative learning?
course—what do you expect me to do, t*ach?
tales and tips for staying on track
written by and for our Adjunct Faculty Members
Day’s Journey into Night:
Sharing the Power of Language with Students
by SuZi, Communications
childhood, my loves were literature—especially poetry—the
arts and horses. As a somewhat older child—which is to say,
someone who appears lined and graying—my loves inform my
daily activities: I am a teacher. Currently, as an employee of
two schools in the role of instructor, my responsibilities are
to facilitate eight courses a week (although my personal record
is three schools and ten courses) and these courses include both
Gordon rule and those which are not; they are courses which have
as their intent the improved proficiency of the students in writing,
public speaking and awareness of their literary heritage.
at more than one job is probably physically enervating for anyone;
in my case, running from school to school in one day means starting
at dark-thirty and ending near midnight. My students are often
people whose day is also long and my view of our classes together
is exactly that: we come together. Our purpose in coming together
appears to be merely a requirement of the institution of education—sadly,
for some students, it remains only this. Yet, eventually, in any
course, a student will witness the power language can have: either
as written by other people and sometimes—magically—written
by their own mind and hands. Sometimes a student will realize—after
much prompting on my part, you can be sure—that other realities
exist and that language is the transportation which takes us to
previously unexperienced lives.
this transportation to other realities which excited my childhood
passions; it is this transportation—revisitation, in many
cases—which still excites my passion in Orwell, Eliot and
Ginsberg. That language can be music is apparent in King, Williams
and Stevens. And although Orwell’s poor elephant dies at
least a dozen times a year in my classroom (and has for years),
it’s often a new world for my students and we, as teachers,
are their tour guides.
Alker Gets Some Well Deserved “R & R”
On Wednesday, October 8, the Science Department honored Julius
Alker for 5 years of dedicated service at CFCC as an adjunct
instructor. Julius brought great energy and a wealth of knowledge
to his students. Our best wishes go to him for a “stress-free”
England is the genesis of our political and religious history;
it fostered some of the finest writing in American letters
as well including Hawthorne, Thoreau, Emerson, Melville, and
Frost. Each of these unique and powerful writers was influenced
as much by place as by any other factor, including the personal
contact and interaction that their proximity provided. And,
in that case, setting became an integral factor, such as Hawthorne
and Thoreau’s innumerable fishing trips up the Concord
River that ran under Old North Bridge at the rear of the Emerson-owned
property called The Old Manse (where Emerson wrote his first
published essay, “Nature,” and where Hawthorne
wrote Mosses from the Old Manse); such as Thoreau’s
two year, two month, and two day sojourn on the banks of Walden
Pond where he wrote Walden; such as Melville’s red barn
wherein he and Hawthorne—as noted in both their diaries—smoked
cigars and talked of “everything.” That setting
was Melville’s Berkshire farm called Arrowhead, where
upstairs in a room overlooking a mountain called the “Greylock”
Melville composed the epic Moby Dick.
What a writer sees every day on his walk to work, what window
he looks out through upon the world. Place. Like Robert
Frost’s two mile walk from his first farm in Derry,
New Hampshire, into town where he taught at the academy.
Like Frost’s daily walk in the fields behind his farm.
Like Frost’s upstairs window through which he gazed
out on the somber New England countryside and wrote poems
of lonely despair like “The Hill Wife”: “It
was too lonely for her there, and too wild…”
Or the rock wall between Frost’s property and his
neighbor’s that once a year elicited the “shoring
up” walk, “he on his side, me on mine…”
emerging in a poem everyone knows called “Mending
Wall.” Or the apple orchard just to the rear of Frost’s
barn that inspired “After Apple Picking.”
did I seek to capture? The setting as muse, the setting
as lover, the setting as sanctuary, so my photographs seek
to create a vignette of place and to present a concrete
view of an abstract impetus to each writer’s art.
it was I came to think that to truly know a writer’s
work, one must get to know the setting that inspired it
or sheltered the writer during his creation of it. Thus
I went, armed with a heart full of literary lore, a shoulder
full of cameras (digital and 35 mm SLR), and a mind set
on the places lived in and loved by Hawthorne, Melville,
Emerson, Thoreau, and Frost. In late July 2003, I set off
on my journey sponsored by the CFCC Foundation Attie Branan
Endowed Chair in Communications.
stop: Lenox, MA The Berkshire Mountains—Melville’s
late in the afternoon when the shadows were deep across
the lawn and the old house seemed to be resting in shade.
The farm sits on a knoll on Oliver Wendell Holmes Road,
appropriately so for a man of letters, surrounded by eight
story grand, aged elms and maples. Perhaps because it was
a big night at the symphony in nearby Tanglewood, only two
tourists shared the last tour of the day with me, both English
teachers from Indiana.
bought the as yet unnamed farm from his uncle and moved
to this farm after his early years at sea, years that provided
the knowledge and experience whereon he based his first
novels; but those first novels, popular though they were,
showed little evidence of the depth, complexity and symbolism
of the novels to follow, most notably, one of four written
in the upstairs bedroom here at Arrowhead, Moby Dick. The
docent refused to allow any inside photographs to my dismay,
but I took a mental picture of this great house, built in
1780 and owned by the Melvilles from 1816 to 1927, with
its big square rooms and pine floors, with its leaded glass
windows and its multiple hearths. The room I was most interested
in was, of course, the room at the top of the stairs to
the left from which Melville wrote, looking out from his
surveyor’s table (used as his desk) across forty acres
of farmed fields where, in the distance on a clear day,
he could see rising the curious shaped mountain called Greylock,
looking ironically like the massive gray whale that worked
as symbol in the pages of his novel. Surely this view inspired
Melville as much as Hawthorne’s company and his prose,
for he turned his writing table towards the view so that
his back was to the door and his view of the mountain unobstructed.
Outside, Melville designed and had built “the piazza”—actually,
a simple wooden porch—for which he named a collection
of short fiction “The Piazza Tales.” The traditional
New England bright red barn enclosed by climbing morning
glory and surrounded by purple iris and tiger lilies looks
precisely as it did in 1850 when the two great authors—both
young (Melville about 30 to Hawthorne’s 46) and impressionable
still—sat in the straw talking of philosophy, God,
and writing. One can imagine them there: the powerfully
introspective Hawthorne listening to the manic, dramatic
Melville cursing at the universe, questioning everything.
lived at Arrowhead—named by Herman Melville for the
Indian artifacts found strewn on the property— for
13 years, and other than the sea, biographers concur no
place ever affected him more. Here he composed four novels,
many short stories including the enigmatic “Bartleby,
the Scrivener,” ten magazine articles, and the beginnings
of his poetry, which continued until his death. When he
left it for the concrete sidewalks of NYC, where he would
live until his obscure death thirty years later, he left
with heavy heart. When I shot the photos featured here,
the darkness and power of Melville suffused the grounds.
It was a place worthy of a great artist, worthy of the creation
stop: Derry, NH—The Robert Frost Farm
it was late July, the weather behaved like November, painting
the low stratus sky lead-gray and pelting us with long heavy
rains throughout the day and night. I stayed down the road
in The Robert Frost Inn, close enough to return a half dozen
times, trying to catch the few rays of light that shone
through at any hour of the day. Cursing the rain, I shot
the photographs, imagining the entire shoot a waste of time.
But when the photographs were developed, I found that they
expressed better than any innocuous summer day what Frost
found on those grounds that so powered his poetry for the
twelve years the Frost family lived there, from 1900 –
1912. Indeed, according to Frost’s own words in a
letter to a friend dated March 4, 1952, the poet “wrote
more than half” of his first published book and “much
more than half of the second, and even quite a little of”
his third, “though they were not published till [sic]
later.” For through the lens I saw the farm, the fields,
the gables of barn and house mingled in fog and New England
want of color, a color no doubt more familiar to Frost than
the sun. It is a small house with a big barn, a gothic board
and batten white farmhouse with miniature rooms and dark
halls. The barn, in Yankee fashion attached to house for
winter convenience, towers above the house, and from the
rear—a view we know Frost took in daily from his own
words in his own journals—the three gables of house
and barn sit steady and solemn on the land. It is a house
just far enough from town that anyone of sensibility might
find charming in daylight but eerie at night, and from the
upstairs windows looking out and looking in, a visitor could
feel the despair of the hill wife, or know the isolation
and night quiet of Mary and her farmer husband in “Death
of the Hired Man.”
Frost place has a quietude that evokes whispers, and a sense
of peace that, having left it for other states, stays always
in the mind.
three: Concord, MA—The Emerson House, The Old Manse,
and Walden Pond
today retains its 19th century charm and vestiges of the
American past from the 17th century. But for the cars, the
town itself has changed little, and the brick buildings
of the “downtown” hum with history. For in Concord,
visitors can visit sites from the American Revolution, like
the Old North Bridge gracefully spanning the Concord River
and the Minute Man Statue, arguably the location from where
democracy fired its first shots at its oppressors.
this singular setting, at mid-century a hundred and fifty
years ago, a group of writers and intellectuals, philosophers
and radicals, merged to discuss and to write, to create
and to ponder. One group was the Transcendentalists, “fathered”
by Ralph Waldo Emerson, who seems to be—despite his
being born only a year before Hawthorne in 1803—a
father figure to Thoreau and to Hawthorne. Indeed, Concord
is so rich in history and literary history that staying
there and visiting its houses, churches, buildings, and
great cemetery called Sleepy Hollow becomes an entire vacation.
houses as I came to know them differed dramatically in size,
type, scope, and feeling, just as the three writers differed.
Their houses befit them. The Emerson House—with its
white classical lines and sturdy two story rectangular shape—seems
sturdy as a church. It presents its classically formal face
to the world behind a four-foot wall of stone and wrought
iron, as if it knew its own prominent place in literary
history. A man living in such a house would be a pillar
of the community, and a literary man and philosopher would
be taken seriously and take himself seriously as well. It
is a confident house, smiling gracefully on its neighbors.
One would guess that its owner lived a long and prosperous
life, as indeed did Emerson, if not a life without personal
tragedy and sorrow.
Emerson house is the Old Manse, a dark-visaged, brown saltbox
style from a century before. Emerson’s family built
it in the late 18th century, but it looks like a Puritan
abode, and it sits like a proud old fossil on its ten acres
just out of town and adjacent to the Concord River and Old
North Bridge. In fact, from the upstairs windows in the
back of the house, one can see the long field and the river
beyond, as if history itself keeps flowing by. Despite its
formidable appearance, sitting far back from the road draped
in six story trees and staring through its dark windows
like an old
it is a remarkably light and pleasant house inside, with
two large and long windows to almost every room up and down,
and a wide formal central hall that lends it a timeless
grace. Emerson lived here as boy and later for a short time
in the 1830’s after the death of his first wife, when,
wild with grief, he composed his first published essay,
“Nature.” Later, from 1842-46, the newly married
Nathaniel Hawthorne brought his wife Sophia to live here,
renting it from the Emersons. From the same upstairs window
on the rear of the second floor, looking out through wavy
leaded glass to the rear field and the Concord River, both
Emerson and Hawthorne placed their writing desks, looking
out upon that bucolic and historic view. Hawthorne and Sophia
etched their names in the glass of the window above the
desk, still visible today. This is a fine, warm shouldered
house, embracing its occupants, offering them large and
light rooms. Hawthorne wrote in his journals that he was
perhaps happiest of all places there. Surely he was prolific
there, composing his book of enigmatic short fiction Mosses
from the Old Manse as he looked out that back window.
David Thoreau was the youngest of the Concord three, born
in 1817. Emerson found a kindred spirit, of sorts, and mentored
Thoreau, hiring him as a tutor for his sons, taking him
to NYC, and finally providing for him the land on which
the lifelong bachelor built his famous one room cabin on
the shore of Walden Pond. Walden Pond itself is cherished
by the residents of Concord and Boston, providing an escape
back to a time when life in America was rich with promise
and so safe that crime was virtually unknown in this area.
The pond is actually a mile-wide lake of spring-fed water,
clear to the bottom. In July 1845, Thoreau moved into his
one room cabin on the far edge of the pond, approximately
an hour’s walk from Concord center. Here, alone and
simply, he lived for just over two years in an experiment
to make sure that when he “came to die” he would
not find out that he had “never really lived.”
His perspicacious observations of nature developed into
complex symbols of human existence and behavior in the collection
of essays published in 1855 as simply Walden. Today, the
original cabin is gone, but the spot where it sat is marked
by a wooden plaque bearing Thoreau’s own words about
why he came to live in the woods. Nearby, visitors can see
a reproduction of the original spare cabin, Yankee in every
way: clean, economical, sparse. Thoreau’s view of
the pond and the world through his cabin windows seemed
an important photograph to take as did his view of the pond
from the original cabin site and the three chairs he kept
so that he would never have more than two visitors. This
eccentric genius found his muse on the shores of this timeless
lake that seems to calm the souls of city folk to this very
Did I capture at least a sense of the value of place in
the lives of Emerson, Thoreau, Hawthorne, Melville, and
Frost? For myself, I did. I came away from each writer’s
setting brimful of the singular ambience of time and place.
I glimpsed for a moment the magic of place and genius, the
mystery of muse. I hope I captured a sense of it for my
students and for my readers.
may have heard we are starting a maze garden behind the greenhouse.
Not the kind of maze garden where you might get lost, but
plantings that meander along paths that may end when you least
expect it. About a year ago I asked my students to draw a
sketch of what they thought would make a nice maze garden.
Marsha Dawe (you may know her as the plant lady on campus),
came through big time . We have started the garden which will
consist of winding paths, lined with all types of trees, flowers
and shrubs which find their way into Central Florida. This
will be a working garden for my students and as things become
established faculty and staff can enjoy a lunch in the garden
taking cuttings, running them into the greenhouse and eventually
planting them at their home. Sounds incredible? Well it is
a reality and the adrenalin is pumping down here. See you
soon under a tree in the old maze garden.
Umberto Eco. “The famed semioticist’s
latest novel is not as tricky as his Foucault’s Pendulum
nor quite as intriguing as The Name of the Rose, but the humor
and the erudition (does anyone on the planet know as much
about Medieval history and fable?) are here. More than an
engaging story of archetypal characters on a mythic quest,
the meta-narrative gives you the sense that Eco is pulling
off an elaborate joke that might be on you.”
Fury, Salman Rushdie. “The
Nobel-Prize-any-day-now master of linguistic acrobatics
takes American culture, especially our consumerism, to hilarious
task. This rather short novel might be a good introduction
to Rushdie, especially since it is set in the U.S.”
Two by Barry Hannah.
1. Geronimo Rex: “I read
this thirty-year-old (and first) novel by Mississippian
Hannah years ago and was inspired to pick it up again when
I recently read his short story collection High Lonesome.
This sprawling, coming-of-age story (in which I dare you
to find a plot) proves why Hannah was heralded with its
appearance as his generation’s bearer of the Southern
2. “Ray is a darkly funny
novella about a hard-drinking physician and Vietnam veteran
trying to make sense of, well, something or other. You may
scratch your head over what exactly is going on with this
bizarre character, but you will be dazzled by what Hannah
can do with words.”
The Courage to Teach, Parker J.
Palmer. “This book is for any professor who has ever
worried that he is not reaching his students, doubted her
talents and expertise, lost sleep because a class did not
go well, wondered if his whole approach to teaching was
all wrong, or was too embarrassed to discuss such issues
with her colleagues—in other words, this book is for
all of us. Palmer says that good teaching comes from identity
and integrity, not method and technique. He suggests some
changes in the ways we conceptualize teaching and learning
that may lead to new classroom approaches. My thanks to
Amy Mangan for telling me about this terrific book.”
~ Ron Cooper
Left Unfinished at the Time of Creation
by John Phillip Santos. “What does it mean to be both
Mexican and American? Born in Texas to a family of immigrants,
Santos delves into the conflicting emotions of trying to understand
one’s personal history, while facing the realities of
living in an increasingly impersonal world. The author finds
that the ghosts of the past are not easily dismissed once
they make an appearance. Part history, part personal memoir,
this is a great read for anyone interested in an inside view
of how America’s melting pot works—Latin American
In the Footsteps of Mr. Kurtz: Living
on the Brink of Disaster in Mobutu’s Congo
by Michela Wrong.
“Welcome to the nightmare that is
modern day central Africa. This book explores the reign
of Mobutu Sese Seko in Zaire, during which he became fabulously
wealthy and ordinary citizens sank deeper and deeper into
despair. The result was a situation in which everyone looked
out solely for themselves, and basic social order evaporated.
Government officials raced to rob the public treasury, and
in the face of a broken down economy the general public
turned to robbery and bribery to survive. Depressingly,
western governments continued to fund Mobutu’s extravagance
in the name of rewarding an anti-communist ally. Far from
being an isolated incident, Mobutu’s rule continues
to haunt Congo, and was mirrored most recently in the chaos
in Liberia as governmental power changed hands.”
~ Richard Kirk
Gift of Life an autobiography by
Henri Landwirth. “It is the inspiring story of a holocaust
survivor who came to America with only $20.00 in his pocket
and made a name for himself in the Central Florida hotel
business. He has begun several foundations including Give
Kids the World, a resort in Kissimmee, Florida for terminally
ill children and their families who visit Central Florida
area attractions, and Dignity-U-Wear, which distributes
brand new clothes to homeless people.
I thought this book would be especially
appropriate for our Service theme.”
~ Liz Minnerly
APPN 2 p.m. CFCC 7 p.m
STATE USA, 2002, 141 min.
John Sayles, the standard-bearer for American independent
film, is near peak form with this richly textured portrait
of a small Florida town and the conflicting interests that
arise when land developers select it as the ideal spot for
a new beach resort. Issues of economic divides, race, and
vanishing traditions are addressed with shades of gray that
respect the audience, while each character is vividly brought
to life through Sayles’ superb writing and a top-notch
cast that includes Angela Bassett, Edie Falco, Timothy Hutton,
Mary Steenburgen, Jane Alexander, James McDaniel, Ralph
Waite, Mary Alice, Alan King, and Miguel Ferrer. There will
be a discussion after the film in connection with this year’s
college wide theme of “Service
Feb. 3 Tues.
CFCC 2 p.m.
CFCC 7 p.m.
OF HEAVEN Iran, 1998, 89 min.
day, while running errands for his mother, Ali loses his
younger sister Zahra’s newly repaired–-and only—pair
of shoes. The loss of something so
basic as a pair of shoes could be a bitter financial setback
for their family, so both agree to share Ali’s beat
up sneakers. Ali plans to remedy this difficult situation
by winning for his sister a new pair of shoes, third prize
in a grueling running race. It's a lot harder than he imagined
and a real test of love. Director: Majid Majidi (Baran).
Recommended for ages 7 to 10/Families. (Farsi with English
WALK IN THE NIGHT South Africa, 1998, 78 min.
in the Night recounts a single terrible night when the fragile
of Mikey Adonis, a young steel worker, disintegrates.
As the pressures on Mikey build, we see a decent man driven
to an act of brutality by a racist society which humiliates
him at every turn. The parallels with Richard Wright's seminal
portrait of black rage in Native Son are unavoidable. A
Walk in the Night is one of thefirst films from a new generation
of talented young black South African filmmakers who have
become active since the overthrow of apartheid in 1994.
Director: Mickey Madoda Dube.
(English and Afrikaans with English subtitles.)
APPN 2 p.m.
CFCC 7 p.m.
SON / LE FILS Belgium, 2002, 103 min.
Fils/The Son is complete, self-contained and final. All
the critic can bring
to it is his admiration. It needs no insight
or explanation. It sees everything and explains all. It
is as assured and flawless a telling of sadness and joy
as I have ever seen. ...Olivier (Olivier Gourmet), a Belgian
carpenter, supervises a shop where teenage boys work...
Everything that Olivier does is exemplary. Walk like this.
Hold yourself just so. Measure exactly. Find out the truth
before you tell the truth. Do not use words to discuss what
cannot be explained. Be willing to say, ‘I don't know.’
Be willing to have a son and teach him a trade. Be willing
to be a father.” -- Roger Ebert
(French with English sub-titles)
CFCC 2 p.m. CFCC
CITY LIGHTS (Charlie
Chaplin) USA, 1931, 90 min.
One of Chaplin’s most highly acclaimed
films. The Little Tramp falls in love with a beautiful blind
flower girl and sets out to raise money for an operation
to cure her. A masterpiece of sentimentality that is consistently
listed as one of the greatest films of all time.
APPN 2 p.m.
CFCC 7 p.m.
FAST RUNNER Canada, 2001, 172 min.
remarkable first feature by Zacharias Kunuk also has the
distinction of being the first moviemade entirely in the
Inuktitut language. Based on an Inuit legend more than a
thousand years old, it vividly tells the story of a bloody
feud sparked by a romantic rivalry. Made with a largely
Inuit cast and crew, The Fast Runner is thrilling as a drama
and a cultural event… “A film of epic beauty
and pulse-racing adventure...a landmark movie that becomes
a priceless entryway into a distant land and its people.”
(Michael Wilmington, Chicago Tribune). Winner of the Camera
d’Or at Cannes and five of Canada's Genie Awards,
including Best Picture.
with English subtitles.)