5-page paper on Stevens, yours for just $59.75

Al Filreis

As I sat down to compose this note I proimised myself I wouldn't get worked up. Today during some somewhat relevant googling I happened up one of those Term Paper Mill sites. You know the ones. You've been assigned to write about Mercutio's relationship to Romeo and you find on the web that this company will sell you a 5-page paper on said topic. Everyone in academe (on one side of the paper-assigning divide or the other) has pondered this, at least briefly. I always assumed that if one of my students bought a ready-made paper from such an enterprise, I would notice it immediately--either because of the odd and invariably somewhat off-the-point presentation of the argument or because it would be badly argued and poorly written too.

But the price. Here's the kicker. Today, looking for a quick e-text of Stevens's poem "Mozart, 1935" (readers of this blog will know that I am somewhat obsessed with this poem)--I was too lazy at the moment to walk to the shelf for my copy of the book--I found a 5-page paper "interpreting" this poem. The cost: $59.75. I was so chagrined that I was very tempted to buy a copy and then...what?....expose? rail against? these people. What's more, the little summary reading of the poem remarkably resembles my own reading of it (in a book and at least two articles, the latter available online). Is it possible that I would have been buying a hack-job remix of my own article on the poem? (Click on the image above and left for a larger view.)

I think I would have asked for reimbursement from my university-sponsored research fund for this expense. After all, it would have been research. No?

How desperate would a student have to be to use one of these sites?

As Stevens says, "Play the present."

October 12, 2009

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.