The Risk Of Writing

This book brings together a variety of voices – students and teachers, journal editors and authors, writers from the global north and south – to interrogate the notion of risk as it applies to the production of academic writing. Risk-taking is viewed as a productive force in teaching, learning and writing, and one that can be used to challenge the silences and erasures inherent in academic tradition and convention. Widening participation and the internationalisation of higher education make questions of language, register, agency and identity in postgraduate writing all the more pressing, and this book offers a powerful argument against the further reinforcement of a ‘northern’ Anglophone understanding of knowledge and its production and dissemination. This volume will provide food-for-thought for postgraduate students and their supervisors everywhere.

What happens when you cannot do what you loved the most? Do you obey the rules, or follow your heart? For Lottie, Jerry, Kayla, Sienna and Melanie, they chose to put everything on the line for their passions. But is the risk worth it?

Much has been made of the image of writers in Paris—romanticized and idealized in fiction and on screen, these émigré artists in sidewalk cafés spark our imagination with unusual force. But rarely do the real-life figures speak to us directly to comment on their work, their lives, and their reasons for choosing to live and work in Paris. In these striking interviews, E. M. Cioran, Julio Cortázar, Brion Gysin, Eugène Ionesco, Carlos Fuentes, Jean-Claude Carrière, Milan Kundera, Nathalie Sarraute, and Edmund Jabès do just this as they speak out on the risks they've taken, on their struggles and discoveries, on tradition, challenge, and their near-unanimous status as émigrés. A consummate interviewer, Jason Weiss spoke in depth with these pathbreaking artists regarding their lives, their craft, and their very special relationship to Paris. Their writings were naturally the main focus of investigation, but Weiss' concern was always to build on previous interviews, to deepen certain lines of inquiry and open new ones, to contribute fresh material to the ongoing record. The result is a series of invigorating, detailed portraits that go beyond personality, habits, and pleasures to examine some of the causes and effects in the unique relationship of place and temperament. Writing at Risk suggests that there is more than we suspect binding writers of such disparate cultures and genres...perhaps their attitudes toward writing, perhaps their common attraction to risk. Readers will relish the immediacy of these interviews and will want to (re)discover the work of these exceptional artists.

In Victorian Writing about Risk, first published in 2000, Elaine Freedgood explores the geography of risk produced by a wide spectrum of once-popular literature, including works on political economy, sanitary reform, balloon flight, Alpine mountaineering and African exploration. The consolations offered by this geography of risk are precariously predicated on the stability of dominant Victorian definitions of people and places. Women, men, the labouring and middle classes, the English and the Irish, Africa and Africans: all have assigned identities which allow risk to be located and contained. When identities shift and boundaries fail, danger and safety begin to appear in all the wrong places. The texts that this study focuses on reveal the ways in which risk moralizes and naturalizes the economic and political institutions of industrial, imperial culture during a period of unprecedented expansion and change.

This volume details the development and initial evaluation of a supplemental literacy course intended to support at-risk high school students in the US. Developed using design based research (DBR), the course combines argument writing and knowledge building literacy routines to support academic literacy development. Acknowledging the demand for US students to meet academic literacy standards that emphasize explanatory and argumentative writing, the text foregrounds knowledge building as key to effective writing development. Chapters trace the development and implementation of course literacy routines designed using DBR and use whole-class and individual case studies to demonstrate how informational reading, discussion, and argument writing become an activity system to support literacy development. Ultimately, the text has important implications for literacy course design, and the use of knowledge building analysis and DBR in research. The text will benefit researchers, academics, and educators in higher education with an interest in academic literacy education, writing and composition, and secondary education more broadly. Those specifically interested in methodologies relating to classroom teaching and learning as well as argumentation and argument writing will also benefit from this book.

The #1 international bestselling author of The Gray Rhino offers a bold new framework for understanding and re-shaping our relationship with risk and uncertainty to live more productive and successful lives. What drives a sixty-four-year-old woman to hurl herself over Niagara Falls in a barrel? Why do we often create bigger risks than the risks we try to avoid? Why are corporate boards newly worried about risky personal behavior by CEOs? Why are some nations quicker than others to recognize and manage risks like pandemics, technological change, and climate crisis? The answers define each person, organization, and society as distinctively as a fingerprint. Understanding the often-surprising origins of these risk fingerprints can open your eyes, inspire new habits, catalyze innovation and creativity, improve teamwork, and provide a beacon in a world that seems suddenly more uncertain than ever. How you see risk and what you do about it depend on your personality and experiences. How you make these cost-benefit calculations depend on your culture, your values, the people in the room, and even unexpected things like what you’ve eaten recently, the temperature, the music playing, or the fragrance in the air. Being alert to these often-unconscious influences will help you to seize opportunity and avoid danger. You Are What You Risk is a clarion call for an entirely new conversation about our relationship with risk and uncertainty. In this ground-breaking, accessible and eminently timely book, Michele Wucker examines why it’s so important to understand your risk fingerprint and how to make your risk relationship work better in business, life, and the world. Drawing on compelling risk stories around the world and weaving in economics, anthropology, sociology, and psychology research, Wucker bridges the divide between professional and lay risk conversations. She challenges stereotypes about risk attitudes, re-frames how gender and risk are related, and shines new light on generational differences. She shows how the new science of “risk personality” is re-shaping business and finance, how healthy risk ecosystems support economies and societies, and why embracing risk empathy can resolve conflicts. Wucker shares insights, practical tools, and proven strategies that will help you to understand what makes you who you are –and, in turn, to make better choices, both big and small.

This book is about teaching writing and the gritty particulars of teaching adolescents. But it is also the planning, the thinking, the writing, the journey: all I've been putting into my teaching for the last two decades. This is the book I wanted when I was first given ninth graders and a list of novels to teach. This is a book of vision and hope and joy, but it is also a book of genre units and minilessons and actual conferences with students. -Penny Kittle What makes the single biggest difference to student writers? When the invisible machinery of your writing processes is made visible to them. Write Beside Them shows you how to do it. It's the comprehensive book and companion video that English/language arts teachers need to ensure that teens improve their writing. Across genres, Penny Kittle presents a flexible framework for instruction, the theory and experience to back it up, and detailed teaching information to help you implement it right away. Each section of Write Beside Them describes a specific element of Penny's workshop: Daily writing practice: writer's notebooks and quick writes Instructional frameworks: minilessons, organization, conferring, and sharing drafts Genre work: narrative, persuasion, and writing in multiple genres Skills work: grammar, punctuation, and style Assessment: evaluation, feedback, portfolios, and grading All along the way, Penny demonstrates minilessons that respond to students' immediate needs, and her Student Focus sections profile and spotlight how individual writers grew and changed over the course of her workshop. In addition, Write Beside Them provides a study guide, reproducibles, writing samples from Penny and her students, suggestions for nurturing your own writing life, and a helpful FAQ. Best of all, the online videos take you right inside Penny's classroom, explicitly modeling how to make the process of writing accessible to all kids. Penny Kittle's active coaching and can-do attitude alone will energize your teaching and inspire you to write with your students. But her strategies, expert advice, and compelling in-class video footage will help you turn inspiration into great teaching. Read Write Beside Them and discover that the most important influence for all young writers is their teacher. Penny was the recipient of the 2009 NCTE Britton Award for Write Beside Them.

The short story and the short story cycle have long been considered a marginal genre, free to make room for fresh or risk-taking voices. But in thematizing masculinity in crisis, the genre uses the premise of the marginal to elevate recuperative masculinity politics and nostalgia for traditional patriarchy. Despite the scholarly tendency to link marginal genres and marginalized voices, features of the CanLit infrastructure – including genre criticism and literary prize culture – are complicit in normalizing hegemonic masculinity and the Settler colonial project. Bearers of Risk examines how male Canadian writers mobilize the early twenty-first-century short story cycle as an illustration of post-9/11 recuperative masculinity politics, exposing the tendency to position White, heteronormative men’s viewpoints as objective. Neta Gordon introduces the civil bearer of risk, a figure who comprehends the position of men as being marked by or for failure, and who reasserts masculine authority as civil duty towards community. This book looks at contemporary experimental short story cycles, debut cycles by ethnically minoritized and immigrant writers, and cycles unified by setting, whether suburban, urban, or rural. Bearers of Risk unsettles popular notions of the inherent outsider status of the short story cycle while also scrutinizing expressions of recuperative masculinity politics through which men assert their right to reclaim the centre.