Results tagged “horror” from PEDABLOGUE

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As a creativity challenge, I recently signed up for THE FICTION PROJECT, sponsored by The Art House Co-op. Registrants (before Feb) will be mailed a Moleskine sketchbook in which to tell and show a story using words and art, based on a surprise random theme. Most participants scan and share their work-in-progress, with commenting available much like a weblog. The deadline is in April, when sketchbooks are returned to be put on permanent display in the Brooklyn Art Library.

The length of the experience nicely fits into a college semester-length calendar for the coming Spring, so I thought I would recommend it to others who are considering a creative class project for their art or writing courses. The "rules" are flexible enough to allow collaborative creations for the class as a whole, or to allow individual entries. The site offers an educational discount for groups over 10.

Visit my profile and feel free to friend me if you sign up. I don't know what I'll be doing for this project, or if I'll even succeed, but I know it will be very weird.

Exploring Uncanny Digital Literacies

Over on my other blog, The Popular Uncanny, I wrote this evening about a neat Prezi presentation on “Uncanny Digital Literacies” by Sian Bayne, from the ESRC seminar series on Literacies in the Digital University (University of Edinburgh, 16 Oct 2009). She mentions a book called A Will to Learn: Being a Student in an Age of Uncertainty by Ronald Barrett that I want to get my hands on.

For now, I'll just embed Bayne's presentation here -- if you want to read some of my thoughts and light research on it, visit my blog entry entitled "Uncanny Digital Literacies: Defamiliarization in The Classroom" on The Popular Uncanny.


Cover to Writers Workshop of Horror

This week I'll be teaching in our weeklong, intensive graduate creative writing workshops for the MA in Writing Popular Fiction program at Seton Hill U. It's always a great experience, and I particularly enjoy getting to teach and work with students and colleagues in my favorite literary genre: horror. Indeed, I'm rather fortunate to be able to do this, since the majority of creative writing programs in this country not only eschew genre labels, but also would likely eschew horror even if they didn't. Genre, most assume, is too formulaic, too emotional, too popular (and therefore too oriented to the lowest common denominator).

Obviously, such hierarchical distinctions are usually an expression of "highbrow" class politics, or a culture which reifies the individual over the collective in the creative arts -- but I won't repeat the lessons of cultural studies here right now. Instead, I've been thinking a lot lately about how genre fiction -- and particularly horror fiction, as I recently argued in a pedagogical essay on "Horror and Responsibilities of the Liberal Educator" -- may actually be more "educational" than many literary academics realize.

Often "literary" fiction and canonical literature is considered of higher educational value because it has historical lessons to teach us about culture, or because it addresses universal issues pertinent to mankind. But this is no less true of genre fiction (and many genre stories are in the canon, actually). Genre fiction is castigated because it focuses more often on emotional payoffs than intellectual ones, but this is not all that genre fiction seeks. Horror stories, for instance, are often "cautionary" in nature, and therefore teach lessons. Readers of romances and children's fiction often turn to these books for models of behavior in human relationships. Science fiction rewards knowledge of the sciences and often teaches readers about emergent research; mystery, likewise, teaches readers about criminalistics and is predicated on the notion that reader and detective alike will be engage fully in critical thinking as crimes are solved.

Thus, I'm mulling over the notion that the writers who create these stories have to be "teacherly" in their approach to the reader, to some degree. I've often heard the notion that the bestsellers of any given period not only catch the interest of the masses, but often teach readers something new -- this draw to discover and learn is a large part of popular genre fiction. It assuages curiosity about "what everyone is talking about." Yet at the same time, writers who seek to educate (usually) cannot be didactic or preachy or dogmatic about some ideological belief. As with "literary" fiction, good authors of popular fiction should raise issues of import (and often they pull these issues from the headlines, which ties them to time at the cost of being 'timeless') while keeping their own biases out of the story and lead readers to think critically about these issues on their own. The characters in a story often are models for such ways of thinking.

For the writers, however, their models are often each other. They read each others' books, or find each other at conventions, or -- for the dedicated -- encounter each other in workshops like the program we host at SHU, or the less-academic-but-more-deeply-focused-on-genre groups like Odyssey, Clarion, Borderlands Boot Camp, Alpha, and the various workshops held in meeting rooms at genre conventions. I've taught at these, and they are not nearly as "amateur" or "commercial" as one might assume. Fan and genre communities are perhaps more critical and knowledgeable about their own genre than anyone else, as the work of Henry Jenkins and others have taught us.

I have the good fortune to appear in a new instructional book for writers in the horror genre, The Writer's Workshop of Horror (ed. Michael Knost, Woodland Press, Aug 2009). Like the Horror Writer's Association guidebook, On Writing Horror, this is an example of how the creative community of genre authors "teaches" within that community. What I like about these books is that they are not just written by a single author, but a gathering together of multiple views and voices in anthology form.

For those reading this who might have the opportunity to teach horror writing, and are looking for resources, you can order The Writer's Workshop of Horror early from Woodland Press; it will be out in August, just in time for school.

I'll end with a small excerpt from my contribution, called "Stripping Away the Mask: Scene and Structure in Horror Fiction," which deals with issues regarding the pleasures of the taboo in horror, and how these are embedded into the structure (not necessarily the content) of horror narratives:

...horror is a striptease of suspense. It is an inherently exhibitionist genre, as much as it is the genre of fear. And this may very well be why horror gets a bum rap from the literati: horror can make a reader feel dirty, because it refuses to obey the inner censor that tells us that such-and-such is morally wrong, that such-and-such is ugly or grotesque, that such-and-such is perverse or unhealthy, that such-and-such is unreasonable or irrational, that such-and-such is dangerous or inhumane. Horror writers seek truth in the darkness. They remove the mask, to peer unabashedly at what it hides, horrendous warts and all....

If you wish to write horror stories, it is imperative that you understand this aesthetic. There are no "rules," really, because readers only expect the unexpected when they pick up a work of horror. In place of rules, we just have a worldview that says: "Readers peek between their fingers. I refuse to look away." We remove the mask.

I got the idea for this essay from the late author Robert Bloch, who defined horror in passing during an interview once as "the removal of masks."

Is this not also the mission of liberal education?

The latest issue of DISSECTIONS: The Journal of Contemporary Horror just went live online. The theme this time around is "Teaching Horror" which emerged as part of a series of panels at the International Conference for the Fantastic in the Arts in March 2008. It includes a few spectacular articles from a panel I was on with Doug Ford and Frances Auld. My article from that panel ("The Unlearning: Horror and Transformative Theory") went on to be published at a journal called Transformative Works & Cultures), but I wrote a new essay for Dissections in its place: "Horror and the Responsibilities of the Liberal Educator" . Here's a sample:

....Luckily, the teacher fully knows what the students want to ignore: that horror is inherently an educational genre. The very notion of a ‘cautionary’ tale is predicated on the notion of teaching someone a lesson. And while not all horror stories and films are cautionary in nature, they are always stimuli that aim at generating a dark emotional reaction which - when all the screaming stops - one inevitably attempts to manage with enlightened intellectual reasoning: whether it's in the mode of investigation (‘what's really lurking in the shadows?’) or metaphysical inquiry (‘do alternatives to God exist?’) or logic judgement (‘why did her baby have to die?’). Our rational minds are still at work when we contend with the most irrational of fictions. Indeed, even when a horror narrative - such as the work of Lovecraft - attempts to obliterate logical reasoning and symbolic systems altogether, it needs to construct them first.

What all this means is that, despite the naysayers, horror provides an excellent context for learning. It raises the serious questions that allow critical inquiry to transpire.

Go visit Dissections to read on, or to see other essays on issues related to integrating the horror genre into the classroom by Ford, Auld, Brock-Servais, Schnopp-Wyatt, Wisker, and more!

Halloween is fast approaching, so horror literature is in the air. If you're teaching it, you might want to look for the "Writer's Talk" series on WCBE (Ohio's NPR station), which will be airing interviews with horror writers Michael Arnzen, Gary Braunbeck, Lucy Snyder, and Lawrence Connolly each Wednesday in October.


The topic is "The Business & Life of Writing Horror" and all of us had a blast together answering questions about this crazy genre of dread and terror, from how to write it, to what it means for today's culture. The Arnzen session airs tonight on WCBE (10/8/08) at 8pm, and I think it turned out really well.

If you miss it, don't worry:  you should be able to hear the podcast online, provided by Doug Dangler and the Ohio Center for the Study and Teaching of Writing. In fact, you can stream a copy of it on your computer right now here:


Writer's Talk with Michael Arnzen




The full interview will all four horror writers will soon be available on OSU's CSTW website -- which you can also subscribe to on iTunes .

My essay on the teaching of horror fiction -- "The Unlearning: Horror and Transformative Theory" -- just went live in the debut issue of the journal, Transformative Works and Cultures. Here's the abstract:

"The Unlearning: Horror and Transformative Theory" by Michael A. Arnzen

Abstract:

Building on the foundational concepts of transformative learning theory, I argue that horror fiction strongly encourages perspective transformation by challenging student assumptions about both genre writing and educational experience. I informally describe a specific creative writing class period focusing on the motif of the scream in diverse horror texts, and I illustrate how students learn to transform what they already bring to the classroom by employing a variety of particular in-class writing exercises and literary discussions. Among these, transformative writing exercises—such as the revision of an existing text by Stephen King—are highlighted as instructional techniques. As cautionary literature, horror especially dramatizes strategies of fight versus flight. I reveal how students can learn by transforming their knowledge through disorientation that is particular to reading and writing in the horror genre.

I started thinking about the ideas in this article after writing a blog entry back in 2005 called "Shifting the Paradigm: Transformative Learning Theory" -- a response to an essay I read by Kelly McGonigal called "Teaching for Transformation."

McGonigal's article got me to rethink the role of the reflective essay assignments in my classes, and I soon found myself in the library, catching up on transformative learning theory by reading the works of Jack Mezirow and others who seek to change the worldviews of adult learners. The key role of the "activating event" in transformation got me thinking about how "cautionary" tales and other works in the horror genre often trigger anticipatory thinking that requires a revision of what one initially assumed to be true. After applying these lessons to a course I taught in horror fiction writing last year, I captured some of these ideas in a conference paper in March 2008 at the International Conference for the Fantastic in the Arts...an early draft of this now-published version. I invite comments here or at the journal, which includes a number of good articles on fan studies and popular culture.

Arnzen Featured in TAA Online

A profile on my writing and teaching career, called "Horror Writer Does his Best Work Having Fun" was just published in the newsletter of the Textbook & Academic Authors Association. Their web site is for members only but they've kindly shared a .pdf file of the feature story that the public can read.

Here's a short excerpt:

Arnzen also credits his success with taking creative risks. “This is another way of saying I don’t mind embarrassing myself,” he said. “Genres rely on conventions and expectations, so many writers err on the side of repeating what’s been done before.” Arnzen said he’s “always thrown caution to the wind and tried to be as weird and experimental as I can. I try not to censor myself too much.” Horror itself can be taken too seriously at times. Arnzen balances this seriousness with humor. “I don’t hold back the humor. To me, a lot of the appeal of horror is its absurdity,” he said. “I find much of what I’ve read or seen in horror quite laughable.”

Anyone who writes instructional books will find the TAA organization a useful hub of information. Their introductory membership rates are reasonable. Check them out.

I'm building a new weblog called THE POPULAR UNCANNY. It's a supplement of sorts for my upcoming non-fiction title from Guide Dog Books by the same name.

The book is a critical study of theories of the Uncanny/"das Unheimliche" as they appear in advertising, film, bestsellers, and online. Chapters include examinations of such topics as the icon of the dismembered hand in the history of horror cinema, and a treatment of the advertising world's "Doublemint Twins" as uncanny doppelgangers. (The Popular Uncanny, btw, was originally my doctoral dissertation at the University of Oregon.)

While the entries in the new blog will tend to lean toward the "academic" side and may refer to theories not all readers will be familiar with, my hope is that the blog will keep my research fresh and fun while also giving me a place to muse about the weirdness in pop culture -- in addition to raising awareness about theories of the Uncanny. As a horror writer as well as a scholar of the horror genre, I think the blog will also help me merge these two interests in new ways. The site design and structure is still under construction, but posts have already been released on such things as the "gaze" in The Ring and the uncanny in a new 'singing robot' art exhibit by Talking Heads frontman, David Byrne. Comments and recommendations are always welcome.

Pedablogue, of course, will continue. I'll post news here about the book when its publication is imminent in Spring 2009. For now, I invite you to come on by the new weblog, anytime.

[See also: "Uncanny Teaching"]

Are we bending under the oppressive rule of children? Do kids have too much power?

There are days, I think, when every teacher wonders this, even at the college level.

Dennis Jerz posts a good response to this idea, particularly in terms of catholic teaching, as raised by Joseph Epstein in his recent lament about the Millenial generation in the conservative journal, Weekly Standard. It's given me a lot to think about, because I often have mixed emotions about inappropriate student behavior and obvious expressions of immaturity, which sometimes conflicts with my drive to treat all students as adult thinkers and learners.

Epstein grossly broadens this idea to suggest that we're living under a "Kindergarchy." [That's a neologism; as Michael Gilleland points out, the correct term is "paedarchy"]. Epstein has used this term before -- in a Wall St. Journal article celebrating Thanksgiving (because, of course, it is the least kid-centered holiday) -- so I think it's safe to say his suspicion of children is something of a leitmotif for him, if not a future book topic.

He's not alone: Time magazine even did a fascinating cover story on the topic a few years ago, "Do Kids Have Too Much Power?"

And it's an interesting question, though when it comes to college teaching (which both Jerz and Epstein mention in exempla), I think we need to be careful not to fall for such widespread generalizations about "kids today." Kids today are just like kids yesterday, but they have different cultural frames of reference, different ways of reading the world. And even while parents seem to be playing a larger role in the academic life of their offspring, I refuse to think of my students as "children" let alone "kids." (No one old enough to wear a military uniform is a child. A better word would be "initiate"...students are "uninitiated" into our learning communities and undergoing a transformation to join them.)

The adult/child divide is not only an issue of parenting, but -- particularly when pushed into abstractions such as "generation" gaps -- also a power relationship, complicated by fears of aging and the desire for eternally youthful vim. Often what seems to be a "grumpy old teacher" engaging a "hostile youth" is really a status game of some kind. In some classrooms, the assumed power position of wisdom (only earned by years of disciplined brain training) butts heads against the assumed power of the youthful physique (usually unearned, though it can be earned through disciplined body training); the classroom is a bastion of the mind, so I can understand why it makes instructors angry when, say, a student-athlete cops an attitude of superiority and refuses to "play along" with a teacher's classroom work. Yet how many teachers channel and project their hostility about their own aging out on the youthful students they have to contend and spar with? How many dream of eternal youth, aligning themselves with their students rather than owning up to their own aged wisdom and experience? To what degree do such psychological hang-ups and unconscious wishes get in the way of teaching and learning?

While it may be true, as many of my colleagues note, that today's students have a strong sense of unearned "privilege" that earlier generations did not, this does not mean that these students are tyrants who rule us. Unfortunately, however, we've all probably heard of -- or personally dealt with -- students who act like they "pay our salaries" and therefore should not have to follow our rules but in fact can direct us to do their bidding (when most of the time, it's their parents or the government's loans and/or scholarships that are "paying" us). The marketing of college campuses as commodities may very well have something to do with this attitude (as Jerz also obliquely suggests). And this, perhaps, is at the root of the problem: students are still "children" in the eyes of their parents and thus they become so to those who market to those parents. To us, on the front lines in the classroom, students need to be treated as adults. Or in the very least, adults-in-progress.

But I always believe it's a good idea to talk about these things openly; if there is a "power struggle" in the classroom, even when it's between me and a student, I'm all for calling attention to it. People at a particular stage of development -- say, 18-24 year olds -- will almost universally be coming "of age" about the world, and will have the same sorts of quirks, assumptions, hostilities, resistences, curiosities, presumptions, and drives. Good college teachers probably recognize or intuit the ways that people of this age group process the world, and can tap into it in order to generate learning. Often this requires dismantling the assumptions that a person of this age group has unwisely settled upon too soon in life, while also remaining skeptical of one's own assumptions about that age group. This is why I always enjoy teaching "education" as an outright topic when I am running a freshmen level course. It is a good way to get these assumptions about "privilege" out into the air, to be tested and challenged in a collaborative open discussion. Once students see that not everyone has the same economic background and different motivations for attending college, they usually modify and reflect on their own background and motivation and, ideally, how these are influenced by outside forces beyond their own organic will.

In Epstein's "Kindergarchy," he slips into a reflection about teaching literature that reveals his persistent struggle against the idealism of the young in his classroom:

...often in my literature classes students told me what they "felt" about a novel, or a particular character in a novel. I tried, ever so gently, to tell them that no one cared what they felt; the trick was to discover not one's feelings but what the author had put into the book, its moral weight and its resultant power. In essay courses, many of these same students turned in papers upon which I wished to -- but did not -- write: "D-, Too much love in the home."

Call me a softie, but there's no such thing as too much love, anywhere. This is a primary example of the "power struggle" I was talking about above. Epstein's secret desire to punish students for being loved as children by their parents sounds awfully sadistic to me, but I have to admit that I have felt a similar twinge of frustration before. (Especially when teaching film, which students are trained to think of as "entertainment" not "art").

While it is true that an affective response to literature is not wholly relevant to a conversation in a literature classroom, and that literary professionals truck with reason not emotion, these feelings still exist in any reader response and a skilled teacher can -- and often must -- train students to see how those emotions are constructed by the text, manipulated by the book and its packaging, their own assumptions, etc. Our very job, I think, is to wean students in lower division classes away from "settling" for emotional reactions as a telos for judgment. Yet this emotion is a stepping stone into criticism, and our job is to point to the river and say: look there, a stone that can help you cross over to my side. But of course, sometimes the teacher too must be willing to cross over toward the students side once in awhile too... but there are many rivers to cross.

[Besides, I challenge Epstein's assumptions about the goal of teaching literature generally: When Epstein says that the focus should be "what the author had put into the book" I would ask how one could possibly know that intention and why not just focus on the "book" not the author's effort; when he refers to "its moral weight" I would question how he "weighs" morals and if they are really as pertinent as he suggests; and when he mentions "resultant power" I would ask if he does not here mean the very emotion he was hoping to quash in the first place, albeit an informed one?

[And I wonder if in the memory he recounts, they were responding to a Dickens novel? Muhahah.]

Another way to get into this matter is to discuss the very notions of "childhood" and "adulthood" in the classroom and to unpack how the meanings of these terms are socially-constructed. A child in one country is not a child in another (just think of the drinking age or legal marriage age in some countries, and you know what I mean). Some are afraid that childhood no longer even exists. I teach an advanced lit course -- when I'm lucky -- called "Childhood in Literature" in which we discuss cultural issues like these, while surveying the representation of the child historically and culturally, across a wide range of fiction and poetry (yes, including Oliver Twist!). The course begins with theory by having the class analyze and discuss Neil Postman's excellent book, The Disappearance of Childhood. Postman argues that childhood is a social construct that operates only in relation to what we think it means to be an adult. For Postman, to be a child is not just an organic age bracket -- it means not yet having literacy -- which gives one "access" to adult "secrets." For Postman, the mass media of TV has erased the need for literacy to have this access, producing adultified children and child-like adults. When we teach literacy, we are teaching adulthood.

In another article on aging, Epstein himself seems to recognize the cultural paedomorphism -- that is, the extension of juvenile tendencies into adulthood -- that Postman has lamented when he writes:

I also grew up at a time when the goal was to be adult as soon as possible, while today--the late 1960s is the watershed moment here--the goal has become to stay as young as possible for as long as possible. The consequences of this for the culture are enormous. That people live longer only means that they feel they can remain kids longer: uncommitted to marriage, serious work, life itself. Adolescence has been stretched out, at least, into one's 30s, perhaps one's early 40s.

Many -- if not the majority -- of the college teachers I know are in their 30s and 40s. Many don't have "kids." You might leap to the assumption that these young teachers are perpetual adolescents who are so much "still in school" that it's become their entire career. (And anyone who wants to be quick to judgment can summon examples easily enough of some teacher they've met who dresses too young, or acts too juvenile, or goes out drinking and dating with students beneath their age bracket, or still loves comix, or plays games, or writes horror stories, or relishes stuffed animals in their offic, or watches Disney cartoons, or plays with coloring books and action figures, or does any number of activities that one might associate with youth culture. Does this make them perpetually juvenile, or simply interesting people who actively know where their pleasures lie?)

We as teachers need to be conscious of our outward expression of "age affiliation" as well as our students, but it should not control us or fill us with shame. The psychology of identity behind age affiliation is intriguing but very complicated, and the distinctions between childhood and adulthood are often false binaries. What Epstein might fail to recognize is that the "serious work" of academia is neither to "become adult as soon as possible" nor to "stay as young as possible for as long as possible" but rather to have a more consciously realized life, period. That's how I prefer to think of it. Shine light on behavior, perhaps even share one's own feelings, but ultimately let students judge it for themselves. To lash out at students with poor grades for "too much love in the home" is probably fighting childishness with childish behavior. It is not always what we do, but how we do it, that separates children from adults. Thus, we need to treat college-aged students like adults, perhaps most of all when they are acting like children.


Feature story in Pittsburgh Professional Magazine

I'm humbled to be featured in the June issue of Pittsburgh Professional Magazine, and they've kindly given me permission to post a .pdf of the article on my horror website. To check it out, visit:

"Ghoulish Goals: Seton Hill writing professor keeps collecting awards for his horror fiction"
by Kathleen Ganster (photos by Jim Judkis).

If (and only if!) you enjoy weird twisted horror stories, then you might want to drop by the new incarnation of my horrror writing blog, The Goreletter.

munch-pinata1.jpg

The "Munch Piñata" pictured above was created by my wife, Renate Müller, as one of the "prizes" students could win in a live "writing contest" held in the final session of my fun "Horror & Suspense Writing" course this semester. She did a knockout job emulating Edvard Munch's "The Scream" -- a subject which we had discussed often in this particular class. Other prizes included a few of my horror books and fun little things I bought at a thrift store -- like vintage Halloween decorations and (my personal favorite find) an antique sausage grinder. It was very kind of my wife to hand paint the "Munch Piñata," which she built by modifying a strange decoration of what was supposed to be a referee shouting a touchdown call. She modeled the colors and lines off the expressionist's painting, but really crafted an amazing piece of sculpture on her own. I'm so very lucky to have such a supportive spouse and a great artist in my life. Everyone who saw this sculpture (which I had to share with my colleagues up and down the hall prior to class) was impressed, and I have to congratulate student Kevin Hinton on winning it -- and I hope he won't destroy the thing with a bat just for the cheap candy that I shoved inside its guts. (It's more fun to scoop that out with your fingers, Kevin!)

The writing contest today involved a 2 column list of "scary" adjectives (dark, bloody, etc.) down one side of a handout, and "scary" nouns (blood, obsession, etc.) down the other. Students had to make their favorite match and then use that as a fictional book title (like "Bloody Obsession"). Then they had to write the back cover copy -- the book description in all its hyperbole. This they read to the class, while a handful of studnt judges (who also won prizes for being the top of the class, as voted by their classmates) decided the criteria and then picked the winner. The process for making this 'game show' sequence of events work is rather complex, but it was a fun time for all. After the winners were chosen (who all got to pick their favorite prizes from the prize table), I spit out trivia questions to give away the remaining gifts to the first person to get the answer right. These were all based on class readings over the semester. The class had a fun end of term, I think. And though everyone didn't win a prize, everyone got candy.

Here's a photo of the class that I asked them to take before we got started on the contest. No, this isn't how they always received me when I walked into the room, and no, they're not all screaming from the stress of the end of term. They're all emulating the character, who you can see on the table in the center. They were a great group of students -- very induldgent of my whims all term -- and very open with their creativity and willingness to take creative and imaginative risks. This is how fun teaching can and should be. I'm proud to have shared the experience with them. And I like to see them scream....

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Screams from Right Here

Last week in my Horror Writing course (one of my favorite Topics in Creative Writing classes to teach), we looked at the role of the "scream" in horror. I decided this would be a great way to put the "Friday Shout-Out" exercise -- an idea culled from Coyotebanjo's music teaching weblog and discussed here at Pedablogue in February -- to the test.

Essentially, I began class by calling roll with the requirement that the student had to scream "Here!" to be marked as present. The first few names called were timid in their replies -- they kept looking at the door as if expecting an angry dean or concerned prof to show up at our doorstep. So I shouted at them: "Come on! Belt it out!" showing them that if it was okay for me to cry out, it was okay for them. After a few risky shouts, rewarded by laughter and my own shouts in reply, their cries became louder and louder. "That's more like it! Come on, make my blood-curdle! This is a horror class!" The barks of "Here!" and "Present!" became as thunderous as a Marine's drill team, as shrill and glass-shattering as an audition session for a horror movie 'scream queen.'

It was a lot of fun, and though I did risk annoying some classrooms down the hall (our room is relatively isolated, off in a corner past a stairwell) I could tell it gave the students a sort of purging relief (it had been a deadline day, after all). I dare say that the loudest and best screamer in the class was one of the most quiet students in the class, usually -- she erupted with a cry of the banshee that visibly surprised everyone to great glee.

Mission accomplished.

I feel such expressions can be helpful in teaching "artistic" expression, once the aura of permissibility has been opened up. And because the course was in horror fiction writing, it had relevance. We openly discussed why screams are so prevalent in horror films, and whether or not they generate fear or simply signify it. We discussed how they operate symbolically. We looked into the strategy of representing screams in fiction, noting that people rarely, if ever, actually scream while reading a book. We looked at a story we had read in Stephen King's Night Shift (a text I have taught before to great success) called "The Man Who Loved Flowers," which features a passage regarding the screams that the titular lover tries to quell with his hammer. And near the end of the hour, I read an entire article aloud to the class called "Screams from Somewhere Else" by Roger Rosenblatt -- an eloquent short essay that addresses the primal relevance of the scream in today's modern world:

Civilization is tested by its screams. One has the choice to hear or not to hear; to detect location or not to detect location; to discover cause; to help or not to help. Along the many lines of choice, excuses and mistakes are possible, even reasonable. One is left with oneself and the screams, like two opponents.

I could tell just from their rapt attention that the students were fascinated by the ideas this was raising. I let them absorb the ideas in silence for a moment. Then I asked them to write a fictional scene in which a character is walking at night, and overhears a scream from a dark alleyway nearby. ("What happens next? Go.") It was very productive.

This is but one example, I think, of how it can be beneficial to introduce a little Dionysian fun into the otherwise Appolonian hallways of academe. I'll continue to discuss activities in my horror writing class in the future.

Related reading...

[UPDATE Sept. 2008: This class was featured in my article, "The Unlearning: Horror and Transformative Theory" published this month in the Journal of Transformative Works and Cultures.]

Humor in Genre Writing

During my sabbatical, I had the opportunity to be a guest writer for a weekend at the Odyssey Fantasy Writing Workshop -- an outstanding workshop for writers of science fiction, fantasy and horror literature, run each summer out of St. Anselm college in New Hampshire (a place you may recognize from the recent presidential primaries) by my former editor from Dell Books, Jeanne Cavelos.

Today, Odyssey posted their latest podcast: a recording of my guest lecture on "Humor in Fantasy Writing" from July 2007. Here's the full description of the event from their site:

Michael A. Arnzen was a guest lecturer at Odyssey 2007. Michael led the class in a wild exercise that revealed some of the qualities that make us laugh and discussed the fascinating connections between humor and horror. In this fun and illuminating podcast, Mike explores the characteristics of humor. What qualities are necessary for humor? When is the weird and gross funny? Mike reads his amazing story "Domestic Fowl" and discusses how you can develop a comic perspective, how to be funny without trying, and how to make humor arise organically out of your story. How is a funny story different than a joke? What joys does comedy provide the reader?

You can download this lecture on the Odyssey Podcast page, or even subscribe to all the Odyssey lecture podcasts on iTunes.

If any of your students is (or if you yourself are) a writer of fantasy stories, horrific tales, or science fiction odysseys, you ought to consider the Odyssey workshop. We get a number of Odyssey graduates in our Master's program in Writing Popular Fiction at Seton Hill, so I can attest that it is not only a well-run and fun program, but that it also produces great writers who are very savvy about the genre and publishing.
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I'll no doubt be writing a lot about horror genre writing workshops this term, since I'm running an undergrad course in Horror & Suspense this term. See also my horror writing blog, The Goreletter, for a post on this, Odyssey, and other Horror Writing Courses & Academics in 2008.

On Sabbatical

I am going on sabbatical for the full 2006-7 academic year, in order to secure time to develop my next novel.

While I intend to keep researching and reflecting on teaching during that time, I've decided to put Pedablogue on hiatus until August 2007, when I return to full-time teaching. If I write about teaching before then, I will likely do it for traditional publication, and if anything appears in print I will alert you through a comment appended to this post.

If you're a regular viewer of this site, or if you want to be alerted when it relaunches (because, believe me, you will forget), please enter your e-mail address in the "subscribe" box on your right. This will add you to an announcement list, which will automatically send you a message whenever a new post is made to Pedablogue. Alternately, you could simply add the site as an RSS feed to your aggregrator, if you have one (if not, I recommend FeedDemon).

I want to thank everyone for visiting, reading, and referencing Pedablogue since 2003. I don't consider this page a dead site by any means -- I've simply "gone fishing" at the Isle of Sabbitcus for a year -- and I look forward to returning to this place to exchange ideas. Since I'll be focusing mostly on creative writing for the year to come, I will continue to post regularly to my other blog dedicated to horror writing, The Goreletter. If you like offbeat humor or bizarre horror, please subscribe!

It's been a great year for me: my second novel was published, tenure was approved, my classes were wonderful experiences, sabbatical was awarded, and I've got a poetry book presently on the final ballot for the the Bram Stoker Award (decided in June). I've also learned a LOT about teaching by maintaining this site and reading pedagogy and edublogs across the net. I will still be out there, reading along with you. As a final post, I will simply share some good links about sabbatical (which is often misconstrued as simply a "paid vacation")....

Keep teaching well. No matter how hard it might seem, or how little you feel you're accomplishing, remember that it always matters. -- Mike Arnzen

Gifts for Professors


Hi Michael,
I found your website by putting the phrase "recommendation letter appreciation gift" into Google. After reading your blog on writing recommendation letters I felt compelled to email you and ask you my question. A former professor of mine wrote a recommendation letter on my behalf for a graduate scholarship application. I want to send a gift of appreciation with my thank you note. We are both members of the same financial association; would their logo on a mug be an appropriate gift? (Incidentally, it is not the organization giving the scholarship.)

Thanks for your help!
Warm regards, Jessica Smith, CFP

Hi Jessica!

Thanks for writing...and posing such an interesting question! I think the truth is that a former professor will be happy to receive almost any gift you send, because they rarely receive such things from their students (it's true!), and because the kindness of the gesture -- along that thank you letter you mentioned -- will often mean more to them than anything else. Teachers are often rewarded simply by teaching and having their students achieve success. But a personal touch in a gift is icing on the cake and you shouldn't hold back. The mug sounds fine; especially if you think it will bring a smile and a memory of you to the prof's face when they drink their morning coffee or while they're sitting in a boring staff meeting. Heck, if you are close with your prof, you could even buy matching mugs -- one for you, one for them -- to signify your newly forged professional bond as colleagues in that financial association you mentioned.

I've received some interesting gifts in my day, for a variety of reasons (graduation, rec letters, end-of-term goodbyes). The typical gift is a book or a pen, because I teach English. But I really treasure the creative gifts the most. I've had students give me paintings or other pieces of art they've made, and I display them proudly in my office. I've received DVDs from films I've mentioned in class, or actual music by the student, like a mix tape, of songs related to a piece of their writing. Office-based gifts are great choices, but they don't have to be so corporate or official as, say, a paperweight or picture frame. A student once got me a Xmas tree ornament that reminded her of a Leonard Trawick poem called "At the Flying School" that I taught in our class together. Another student gave me one of those glass mannequin heads that often display hats, just because they thought I would enjoy the weirdness of it. (I did). I've got lots of Halloween decorations (my favorite, a gargoyled door knocker that screams in pain when you knock it), stuffed animals in the shape of flesh-eating viruses (not joking!), and even action figures from horror movies, like The Thing. A pair of graduate students put their money together and bought me a lamp that realistically looks like a human skull. As a horror writer, I appreciate these offbeat tokens of affection and though you'll never see me playing with an action figure, I do enjoy the fact that the students gave me something personal (and my house is starting to look like an abattoir!)

I'm not big on decorating trees, but I put that Xmas ornament I mentioned on my tree every year and it reminds me that my teaching does matter in the world outside of the hallways of the school. And I use that glass head as a prop for a poetry writing exercise in my writing class ("Write an extended metaphor for this glass head, being as descriptive as possible."). I'm not sure if a corporate-styled mug (even if that logo is for the school itself) will inspire such creative uses, but I appreciated these personal touches a great deal. If a gift inspires me to be more creative in the classroom, or actually provides me with a prop I can use in a future class, I'm overjoyed. But I'm just as happy to just receive a handshake, thank you note, kind word on an evaluation, a recommendation letter for my files, or even just a knowing smile.

-- Mike Arnzen

p.s. for readers of Pedablogue....
Thank you cards are always a good idea when a prof does work for you that they aren't paid to do. Obviously, gifts should never be traded for grades or used to ply a prof for favoritism. They should usually be given only during sanctioned events (like, say a club Xmas party), a holiday, or a goodbye present after grades have been turned in. A good time to exchange gifts is immediately following a thesis defense or somewhere in the auditorium/grounds (or even at a graduation party) immediately following graduation.

Getting Tenure

Happy news. I received tenure in my position as Associate Professor of English at Seton Hill University this week.

I'm grateful. To mark the occasion, soon I'll be writing letters to the important teachers I've had in my life, just to share the good news and to let them know how much they really made a difference. I'm joyful, but also almost too busy to celebrate. I have to finish up a conference paper I'll be delivering next week at the International Conference for the Fantastic in the Arts, in addition to grading papers so I can submit midterm grades to the registrar before I leave. Oh, and there's the search committee dossiers I have to read before I can go to that conference. And the campus litzine editorial meetings I need to attend, as well, so the magazine will be out on time. And then more papers to collect. And then....

Ah, tenure.

I'm no less busy than I've always been. But it's an exciting achievement. There are a lot of myths attached to tenure -- mostly that it provides "lifetime job guarantee" (which it doesn't -- nationally, 2% of all tenured faculty are dismissed each year) -- or that it means a faculty member can kick back and rest on his laurels (which they don't, and can't since there are future reviews, evaluations for promotion to "full" professor, and more ... stats say that tenured faculty work an average of 52 hours a week!). But one thing that it signifies, which I hope is not a myth, is the security of academic freedom. As a creative writer, one who works in the taboo-breaking realms of horror fiction, that means a lot to me. (Not that I intend to suddenly start writing satanic bible study manuals featuring nude torture illustrations or anything like that -- I realize, naturally, that with tenure comes the responsibility for representing my college, my field, my colleagues, my home, my students, my future... -- but when I see articles reporting how professors are being fired for inane things like using the "f-word" in class, I cherish the academic freedom of tenure all the more.)

I don't have a lot to say here about achieving tenure (other than "whew!" and "now what?" and "hey, is there any more champagne in the fridge?"). But I am trying to take the time to think deeply about what tenure really means, to both myself and to others, because I have never really thought of tenure as the "brass ring" of my academic life (and, frankly, I rarely trust anyone who does... the autonomy granted by tenure is simply a tool enabling one to achieve higher aims). So I'm reading a lot. Here are some excellent sources I've come across.

Whew. Now what? Ah yes, to the fridge!

What's On Your Office Door?

Arnzen's Office Door at Seton Hill University


1. If you peer through the frosted window, you'll see that I use a stickie note that says "Be Right Back -- Please Wait!" that I keep at the ready, in case I need to step out.

2. Promotional postcard for my novel, Play Dead.

3. A Gary Larson "Far Side" cartoon (cut from a calendar I once had in my office). The caption reads: "Notice all the computations, theoretical scribblings, and lab equipment, Norm...Yes, curiosity killed these cats."

4. A Peanuts comic strip, copied from Snoopy's Guide to the Writer's Life. Lucy is critiquing Snoopy's novel, saying a good book should be witty, beautiful, etc. In the final pane, Snoopy asks, "Sick doesn't count?"

5. A Valentine's Day gift from the SHU Craft Club. A handmade, heart-shaped pin that reads "WRATH" in the center where you would normally see something like, "Be Mine" or whatever.

6. Corporate signage, common in shape and appearance to all faculty doors at Seton Hill University.

7. Self-made signage, including this term's office hours, and full contact information (including this website). I print a new one of these out every term and just tape it to the door.

8. Cover flat from my short story collection, 100 Jolts: Shockingly Short Stories.

9. Redundant card with basic contact info. I need to remove this; it's taking up valuable real estate!



I was inspired to do this after reading the tongue-in-cheek study, "Deconstructing Faculty Doors" by Karl M. Petruso. I'm a big fan of examining faculty doors; I think office decor and a faculty doorway can tell you a lot about a teacher's or campus' personality. Mine seems more sparse than I realized; I need to post more comics and quirky things (though the horror stuff is already pushing it). I also notice that it's organized in a very linear and orderly fashion. On a pragmatic side, I see that I should identify myself as the advisor to the campus litmag, as well. I challenge any teacher reading this: post a photo of yours on your weblog, and add a link to it below (using the "Comment" feature)!

When the Professor Wrote the Textbook

I recently contributed a chapter to a forthcoming 2nd edition of a book called Writing Horror which could, ostensibly, become a textbook I assign some day. I've been thinking, too, about writing an outright writing instruction text in the near future. The longer I do this, the more closely aligned what I write and what I teach become.

This is what most scholars do: produce scholarship, in the form of books and other publications. The benefits to students of taking a course by the prof who "wrote the book" on the subject would seem self-evident. The author is an authority on the subject and knows the book so well that she'd be the best person to teach from it.

But is there a conflict of interest when a teacher assigns a text of their own authorship to a class, earning royalties from the sales?

The American Association of University Professors' statement "On Professors Assigning Their Own Texts to Students" provides a great overview of the ethical issues this matter raises. As they put it, there is a risk of abusing their "captive audience":

Because professors are encouraged to publish the results of their research, they should certainly be free to require their own students to read what they have written. At the same time, however, students in a classroom can be a captive audience if they must purchase an assigned text.... Because professors sometimes realize profits from sales to their students (although, more often than not, the profits are trivial or nonexistent), professors may seem to be inappropriately enriching themselves at the expense of their students.

The AAUP article goes on to show some model ways in which some campus policies have dealt with the issue: from requiring committee (or supervisory) approval of required course texts to the school picking up the tab to distribute a professor's texts for free. All good ideas, but, as the AAUP also reminds us, it is ultimitely best for faculty themselves to have the freedom to determine which texts are the best to teach a subject -- so long as they do not take advantage of students by the authority inherent in the instructional role.

Of course, this doesn't just pertain to assigning one's own titles in a class just to make a few dimes in royalties. I've seen (and had) profs who have required texts written by friends, colleagues, spouses, and advisors; I've seen them require books that can only be purchased at specific bookstores or copy services downtown; some have students buy them through their website, with a hidden referral fee (aka "kickback") built into the web code. While many probably have the best intentions, and probably teach these books well, there are probably alternative avenues of delivery that they should have considered.

In fact, faculty who do assign their own books can take the initiative and sometimes help students SAVE money. They could put extra copies on reserve in the library or make electronic editions of the manuscript available free of charge. Or they could buy books at their contracted author discounts and pass the savings on to the students. Another idea might be to have course fees or a departmental budget pay for buying enough texts to cover a section, and then loan them to the students each term the course is taught, retreiving them at the end. In the very least, they could encourage students to sell them as used editions at the end of the term. And when money-saving measures are unrealistic (say, with a brand new title), one could promise -- in the syllabus, in writing -- to donate the personal royalties earned from class purchases to a course-related charity.

According to testimony in an article at Yale Daily News on this issue, students are often more comfortable buying a professor-authored book for a class than the professor is selling them. Often, having the author of the book in the classroom is a bonus and it can enhance the learning. One problem the article mentions, however, is that sometimes the professor risks repeating the book verbetim, and the use of the book creates much redundancy.

It may be better, in fact, to have a class help with the creation of a textbook rather than deliver the material to them post-facto. This issue of "illuminating the process" is the best way, I believe, to think about it. This is why it might actually make more sense to bring students into the inside of a work-in-progress rather sharing the end results of a work of scholarship in the shape of an already-finished and published book. I once had a sociology teacher who assigned a few of the books he had read as a precursor to the book he was currently working on, and he shared his book outline with the class in the form of lectures, soliciting feedback, questions, and inviting us to share our own ideas. Although it was a little too teacher-centered for my tastes, I found this collaborative process very enriching. If he would have published the book (he sadly died before he could), I'm sure he would have credited our class in the acknowledgments.

If a professor-authored book is assigned (or even an article, poem, or play, for that matter), then the teacher should be open to criticism and even invite suggestions for expansion and revision. As a teacher, I have assigned both my own creative writing and my own criticism in my courses. While I've never put my books in the bookstore as mandatory buys, I have freely shared my writing in oral form (performing a fiction/poetry reading to my classes), in handouts I pass around (having students critique my own short-short fiction and poetry), and in assigned readings put on reserve in the library (articles I've written on books or films we've studied in the class). The only disadvantage I see with doing this is that sometimes students are reluctant to critique me honestly; but I do a lot of self-critique so they can see that I am open to it, and I do actively solicit feedback and ideas.

Creative writing books are a bit different than, say, a biology textbook. I read an article in a student paper online (Southern Nevada's Coyote Press), where the student writer felt profs shouldn't assign novels at all. She smartly reminds us that "writing THE book" and "writing A book" are two very different things. And with creative works, ego is often involved. It's bad enough that the students might perceive the assigned book as a sort of highway robbery -- they might even consider it professorial narcissism.

Personally, when I share my own creative writing with students, one of my purposes is to model what it's like to be an "artist as thinker" -- that is, someone who is thoughtful about what they are doing and not just writing blindly under the auspices of "entertainment." And as a literary critic, I am trying to practice what I preach about writing for a "discourse community"...because, in my opinion, good writing always raises issues for discussion. Ultimately, when I assign my own texts for a class I do so not because I am "the authority" but because it gives me an opportunity to show what it means for a writer/scholar to be open to criticism. When I put one of my own texts on the table, I solicit the same sort of critical probing and editorial inquiry I would like to see happening when they discuss any text, particularly in their own writing workshops and peer editing sessions (which are usually mandatory in my classes, particularly for end-of-term papers).

What I'm suggesting is that the teacher who assigns his or her own books has to be a particular kind of teacher and a particular kind of author. At bottom, they have to be a very humble or courageous one, I would imagine. One who doesn't limit interpretation of the book to "what he intended." One who is extremely receptive to criticism from students and not afraid to admit errors. One who is as open to hearing about the flaws of the text as he should be skeptical when told about the strengths. In other words, a writer who models how writers learn from listening to their readers rather than a writer who weilds the text like a cop might flash his shiny new badge -- as some sort of evidence of authority over the students. Being teacher is already authority -- and ego-boo -- enough.

[I will be in attendance as respondent to this panel, so I thought I'd help Dr. Sandner get the word out by posting his Call for Papers here...]

Call for Papers:
Paper Session: “Michael Arnzen: New Directions in Horror”
The 27th International Conference on the Fantastic in the Arts, Ft. Lauderdale, FL, March 15-19, 2006.

Responding to the conference’s focus on “the fantastic in other media,” “Michael Arnzen: New Directions in Horror” attempts to define the impact of new media on popular literature by exploring multiple award-winning author Dr. Arnzen’s literary experiments producing horror for such media as palm pilots, email, electronic texts and his Stoker award winning website, The Goreletter (as well as traditional print forms). Dr. Arnzen has already agreed to act as a respondent.

Deadline: Nov 15 for paper abstracts to dsandner@fullerton.edu. ICFA deadline: Nov 30. Presenters must be members of IAFA at the time of the conference.

On Dr. David Sandner:
My paper, “Meat Shots, Gorelets, Severed Hands and the Uncanny in your Inbox: Michael Arnzen’s New Directions in Horror,” will interrogate the intersection of theory, new media and the traditions of the horror field in Dr. Arnzen’s texts. I am a Assistant Professor of English at California State University, Fullerton. I recently edited Fantastic Literature: A Critical Reader, currently available from Praeger. I also wrote The Fantastic Sublime and co-edited The Treasury of the Fantastic. My fantastic fiction and poetry appear in Realms of Fantasy, Asimov's, the collections Mammoth Book of Sorcerers and Baseball Fantastic, Weird Tales, and elsewhere.

On Dr. Michael Arnzen:
The Bram Stoker Award is the horror field’s highest honor: Dr. Arnzen has won for Best First Novel (Grave Markings, 1994) and Best Alternative Forms (2003) for his website; he has been nominated four other times for Fiction Collection (100 Jolts, 2004), Poetry Collection (Paratabloids, 2001 and Gorelets: Unpleasant Poems, 2003) and Alternative Forms (The Goreletter, 2004). As an Associate Professor of English at Seton Hill University, Dr. Arnzen has also brought to his work an extraordinary theoretical grounding for his experiments in form.

Play Dead: My New Horror Novel


PlayDead Cover
  


Forgive the intrusion, but I just have to share my excitement: my second horror novel, Play Dead, is now shipping! The first draft of this book served as my Master's Thesis at the University of Idaho, but I have to warn you this book is, as Cemetery Dance magazine put it, "...a fast-paced, brutal, gritty, and unflinching" work of horror. It's entertaining and full of literary play based on my playing card research, but it goes for the gut. Not the typical grad school thesis!

If dark fiction is your cup of tea, then check it out. Play Dead is available at booksellers everywhere, but I recommend either shocklines.com (for a signed edition) or amazon.com (for a discount). You can learn more about Play Dead on my horror-oriented weblog, The Goreletter.

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