a. rawlings

Multilingualism in the workshop

Creative writing across languages

The Tower of Babel
The Tower of Babel

Following up on my last post about Janet Neigh’s wonderful article on multilingual poetry and feminist pedagogy, I wanted to spend a bit more time reflecting on multilingual writing in the classroom, and more specifically in the creative writing workshop. I know this might sound daunting — what if the teacher doesn’t speak the same languages as the students? How will she know if their writing is any good?

Luckily for me (and also for my students), when I teach creative writing I’m not interested in diagnosing what’s good and what’s bad. Instead, I want to see what the students can make language do.

Dark ecology

In the wolf-songbird complex

Wolf kill
Wolf kill (elk bones) in Waterton Park

I had the good fortune to spend three days in the field, last week, with a wildlife biologist and her field crew, in their study area in the Southern Canadian Rockies, observing and helping the team “pull transects,” inventory tree growth, and track for wolf and other predator sign. They were compiling data for evidence of “trophic cascades,” in the ecosystems at the mountain-prairie interface. Trophic cascades are the energy that ripples out from the presence of a top predator, or a “keystone species,” in an ecosystem—not necessarily through direct predation so much as through an “ecology of fear,” which keeps herbivores vigilant and on the move, balancing browsing with scanning for predators. Removal of the predator can result in a collapse of the number and complexity of the energy cascades; presence of a predator amplifies and expands the energy ripples. Through such “cascade” effects, we ultimately might establish links between, say, wolf presence and songbird diversity. (For some ecosystems, a “mesopredator” like the coyote fulfills the function of the wolf.) Or so the theory goes. 

Theoretical or not, I like to call it the wolf-songbird complex.

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