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Needed: Words about words
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From: WOLF SHELBY A <wolfs>
Date: Thu, 16 May 1996 07:41:39 -0600 (MDT)
Dear CCBC Net Users,
I would like to introduce a new topic (a diversion, if you will) into the ongoing discussion of biography and autobiography. Forgive the sidetrack, but I could use some help. I am currently working on an article on the loss of language in writing assessment. The argument I?m trying to make is that most state, district, and national rubrics for assessing children?s writing stress convention over communication and organization over originality. In an attempt to fit the large round art of writing into the small square of affordable, reliable assesment, much of the recursive, exploratory, and passionate nature of writing has been reshaped to cut corners. The most woeful part of this tale is the loss of language--the delicious, playful, energetic work with words that can capture emotion, spirit, intention, and insight. Grant Wiggins, for example, takes NAEP and other rubrics to task for very similar issues. In his usually direct style he writes, ?The fact is that almost all writing assessments I have seen use rubrics that stress compliance with rules about writing as opposed to the real purpose of writing, namely, the power and insight of the words.?
Now here?s where I would like some help. What do you look for when you analyze a text (or for that matter simply enjoy a story) in terms of LANGUAGE? What is it about style, tone, metaphor, word choice (or whatever terms you put to it) that helps you not only think about the ideas or events but FEEL them? I am particularly interested in hearing from those of you who have served on award committees or who are editors--why are certain stories worthy of publication as well as prizes? Look, for example, at Roger Sutton?s first editorial in the latest edition of The Horn Book. Still, all of you have opinions about what Toni Morrison calls the ?nuanced, complex, mid-wifery properties? of the language of stories and whether you get to act on your opinions in such official ways or not, I would most appreciate your insights.
Sincere thanks,
Shelby A. Wolf University of Colorado at Boulder wolfs at spot.Colorado.edu
Received on Thu 16 May 1996 08:41:39 AM CDT
Date: Thu, 16 May 1996 07:41:39 -0600 (MDT)
Dear CCBC Net Users,
I would like to introduce a new topic (a diversion, if you will) into the ongoing discussion of biography and autobiography. Forgive the sidetrack, but I could use some help. I am currently working on an article on the loss of language in writing assessment. The argument I?m trying to make is that most state, district, and national rubrics for assessing children?s writing stress convention over communication and organization over originality. In an attempt to fit the large round art of writing into the small square of affordable, reliable assesment, much of the recursive, exploratory, and passionate nature of writing has been reshaped to cut corners. The most woeful part of this tale is the loss of language--the delicious, playful, energetic work with words that can capture emotion, spirit, intention, and insight. Grant Wiggins, for example, takes NAEP and other rubrics to task for very similar issues. In his usually direct style he writes, ?The fact is that almost all writing assessments I have seen use rubrics that stress compliance with rules about writing as opposed to the real purpose of writing, namely, the power and insight of the words.?
Now here?s where I would like some help. What do you look for when you analyze a text (or for that matter simply enjoy a story) in terms of LANGUAGE? What is it about style, tone, metaphor, word choice (or whatever terms you put to it) that helps you not only think about the ideas or events but FEEL them? I am particularly interested in hearing from those of you who have served on award committees or who are editors--why are certain stories worthy of publication as well as prizes? Look, for example, at Roger Sutton?s first editorial in the latest edition of The Horn Book. Still, all of you have opinions about what Toni Morrison calls the ?nuanced, complex, mid-wifery properties? of the language of stories and whether you get to act on your opinions in such official ways or not, I would most appreciate your insights.
Sincere thanks,
Shelby A. Wolf University of Colorado at Boulder wolfs at spot.Colorado.edu
Received on Thu 16 May 1996 08:41:39 AM CDT
