Tuesday, February 15, 2011

I'm Real! I'm Real!


Some days you think you really have a sense of what's going to happen. The fact that life has always proven otherwise seems to always fall by the wayside.

Last weekend, we played Super-Sleuth trying to determine who was affected by the ginormous budget cuts our college is facing. We had bits of information. Connect person A to gossip B and get faulty conclusion C. But we knew something was coming, and that something was going to be big. On Friday, they said that all of us who were not going to be employed anymore have been notified. Whew. Add piece of information A to verifiable e-mail B and get one solid answer. Job Still In Place. Check. Whew.

Yesterday, we had an all-employee meeting. Who knew we had so many employees? They came out of cubicles and doors. They came from under the buildings and above the buildings. They came from facilities and faculty and staff and part-time and quarter-time and full-time and administration. We came for ... wait for it ... a Power Point presentation on the state of our lives.

Slides slid in and out. Charts appeared, morphed, and vanished. 15 full time positions eliminated. 18,000 part-time hours cut. Work week hours increased. Health center closing. Two sports teams eliminated. Ten open positions closed out. 11 faculty members who are eligible for early retirement will get to buy that Range Rover they've always wanted. And then, the organizational restructuring chart. We stared. 13 divisions condensed into 6. Alliances shifted. Who? Where? When? How? Seriously?

And then I saw the slide that set me free. I, a proud and noble department of one, long struggling (cue melodrama music) under the heavy shadow of Composition studies, have been divorced (amicably) from the English department. I am now actually officially a department, and I am now part of Liberal Arts and Sciences. My English department colleagues have become part of the Math department (how fun, though, it would have been to call my mom and tell her I've been moved to the Math department) under the new division of Foundation Studies. I've always felt like an impostor in the English department. I can teach anybody how to write better, but it's inauthentic to me to teach composition. I've pretended well, and I think because I understand writing, it's sort of worked, but my soul has shivered a bit. "It's OK," I tell her. "We teach composition so we can buy funky clothes." Usually that works.

But now, I can play with the other crazy art people where I have always belonged. I now can have department meetings with only myself instead of having to sit through hours of English department meetings which dealt with things I don't have to deal with. I no longer have to pretend that teaching rhetoric is important to me, and no one will expect that I care about or keep up with composition studies. It's been so exhausting (cue hand to forehead) being a twirly-crazy-dancy-person in a field of rigid paragraph structures and outcomes assessment. I can now talk about stories with the crazy Humanities instructor whose PhD is in mythology. The psychology professor stopped by yesterday and we wrote a poem together. My people! My people! I have arrived!

I also get to keep my supervisor, who has been a staunch supporter of creative writing and my program. So, I tried not to be too giddy as my colleagues of 7 years try to readjust to being with a new division with a new dean who does not know their subject matter. I tried to not be too giddy, but I am anyway. And ultimately, I'm grateful for a job, and if one day I find myself back in the English department, I'll be grateful for a job and the ability to diversify, and fewer years to go before retirement.

But in the meantime, I am very excited about what this new organization can mean for the creative writing program. Yes, we have to cut back and cut our course offerings like everyone else, but we have a chance at a legitimacy we could never have in the shadow of Composition. We will be able to grow up now -- to individuate and become something we could never be in an English department. I've already talked with some of the arty-folks no one knows how to classify about doing Guerrilla Art on campus and around town to try and promote the arts and general education classes. Spontaneous poetry? Dance? Who knows.

The administration waved a magic wand and set me free. At last. They see me, my students, and my program for what it has always been: Artists creating art.

Oh happy, happy day.

Monday, January 10, 2011

Calvin & Hobbes & Us & Them & Arizona


Here's a link to the Calvin & Hobbes cartoon above.

Most of you know I live in Arizona, a state that has been in national news a lot this past year for a variety of reasons, very few of them positive. This weekend, you've no doubt heard about the Tucson shooting. I have been thinking about what to say about that, if anything. I have been sitting for the past year in the cesspool of the political rhetoric in AZ on both sides on immigration, on citizenship issues, on English and Spanish language in schools. I know exactly what Safeway parking lot the shooting took place in. Tucson was my home for a little over two years, and I always think of Tucson in shades of yellow and turquoise.

I went to the YouTube site of the alleged shooter. I won't link to it here. You know how to find it if you want to read what he said. I went to his site because the man was a community college creative writing student. I went there, like I went to the Virginia Tech shooter's site (who was also a creative writing student), because each man was using language to try and say something.

It's my job to read people's writing and then try and help them figure out what they are trying to say. Every semester, we get students whose thought processes don't make sense on the page -- ideologies aside, their sentence structures are backwards, their logical leaps fall off cliffs. Every semester, we get students who are the lone wolves, the outsiders, the ones who don't gel with the group. Every semester we get a threatening one.

The last time I taught freshman composition, I realized the depth of the divisions among our students. For $50K a  year, do I have the energy to incite them out of their belief systems and into honest dialogue? Not really. We faculty get told we're promoting left wing agendas. We get told we're communists. Elitists. Intellectuals. We get called all sorts of things, but most of us are just trying to help people think critically. Believe what you want. Vote how you want. But understand how and why you believe what you believe. Look at other points of view. When I first started teaching, I enjoyed teaching argumentation and rhetoric because it was fascinating to watch people open to other viewpoints (both sides). I don't see this as much, and in a state where we think it's OK to carry concealed weapons anywhere, I'm not inclined to push at doors that are sealed shut.

I read the writings of the alleged shooter. His thought processes (not the content, but the process itself) are very familiar to me as a teacher of developmental and first year composition. And though he's writing what appears to ramble, those ramblings reveal clues. He appears to recognize the importance of words even though he does not know how to use them well. He wrote, 'What's government, if words don't have meaning?'

I thought about that sentence a lot. I thought about how hard it is to accept the chaos and randomness of this world. I thought of all the religions and belief systems set up by people to help provide a way we can make meaning out of chaos. As humans, we seem to need to have a meaning almost more than we need oxygen. The commentators and news programs yesterday and today are already tracking the path of the shooter, laying down the clues, the breadcrumbs, that will help them write the story of meaning (or at least a reason for) the killing. Meaning helps us be at peace, it seems. Only, since no one can agree on meaning, the stories we create seeking peace often incite conflict.

We have been killing each other as long as we have had the tools to do so. We have yet, apparently, to find a story about it that makes it make sense to everyone. A story that makes it OK. Or a story that will convince all of us to stop. We continue our killing, actively and passively, and we then try and make a hierarchy of the dead so the illusion of order is maintained. (You can think about this hierarchy in the context of food -- this animal and this one are OK for food -- those animals are pets. Of course, choosing which animals are pets and which are food is the luxury of those with enough to eat.)

Our media is going to use language, words, to construct the story of this shooting and the story of the shooter. We are going to find a way with language to tuck this into the fabric of our country in the pattern we are most comfortable with. Right now, what seems comfortable is to blame the events on a climate of bitterness. It's this radio host; no it's that one! It's this cable show; no it's that one! The blame story, a familiar one, is also an external one. It is also only a single part of the fabric. I always had trouble teaching cause and effect writing because I don't believe there's a clear sequence. To me, causes and effects are simultaneous, and there are a multitude of factors involved in any action which results in a consequence. There's not a single reason for things, and often, I think, there is no reason at all. It just is. Things just are. The mind fights this concept. Observe it.

When I was in my twenties, all I knew to do was shout. I read books on feminism that made me angrier and angrier at what I felt had been denied to me because I was a woman. I read rants, wrote rants, and wrote plays and stories that attacked men, attacked patriarchy, attacked society.

I don't do this anymore. I have become apolitical. I vote, but I do not engage in political discussions except with those closest to me. I do not try to persuade or coerce. Instead, I have been listening, and rather than trying to shout back, I have been trying to live a life of quiet grace and peace. I honestly don't know if this is akin to burying my head in the sand. I know some would say so. My favorite bumper sticker of my early twenties was "if you're not outraged, you're not paying attention." I have found for myself that outrage leads to high blood pressure, weight gain, a sore throat, and a closed heart. The fire-anger I stoked in my body began to turn on me. I had to find another way. If I put a bumper sticker on my car today, it would be something like: Shut up. Listen.

Words are my way. Stories are my way. I read books with content I'd rather not know about. I watch documentaries and television shows that keep showing me that the world is much bigger than my tiny mountain town. It is too easy to live in Prescott, and I do not want to fall asleep. The very least I can do is bear witness to suffering. The very least. 

I do not believe in a heaven and a hell. I do not believe in a being of some type who has predetermined our lives or who is manipulating them or benevolently watching over them. I do, though, see divinity all around me, in what we label as sacred and what we label as profane. Our practice, as I see it, is to face ourselves. To sit with the conflicts raging within us and breathe into them. Soften to them. Open the door to the totality of who we are -- the parts of us who will rescue an animal from the humane society and the parts of us who will step over a homeless person on the street. Observe these things. Us and them, you and me, all contained inside each terrifying, beautiful human. Find the way to sit at peace with that.

Arizona has been bashed as a bastion of hate, bigotry, and intolerance. I am not prepared to deny those claims, and I am often ashamed and appalled by the rhetoric of Arizona, but I will propose that Arizona is part of a larger whole, and that which is found in Arizona is found in every state, in every country. These are not qualities of Arizona. These are human qualities. The shooter's website also stated "I am human." Indeed. Let us not turn our backs to that. Let us dare to look at the totality of humanness, not just its tenderness and gentleness. The more we turn away and deny the sides of ourselves we find 'ugly', the fiercer and louder they become.

I cannot imagine holding a gun and shooting a living thing, yet I eat meat, I drive a car, I wear leather. I cannot deny that I am a part of a world that kills, even if I am not the one with the literal gun in my hand. If I rage against the hunter while still consuming what he kills, I am fracturing myself into unrecognizable pieces. I cannot imagine the grief of the parents of the child who died, or the families of the other victims, or the feelings of Representative Gifford's husband, but neither can I offer them a half-sculpted story of the hows and whys. If I were sitting with them today, I could only sit with them, listen, hold their hands if they asked, stay silent while they cried.

My friend Cain Carroll tweeted this last summer: The heart may have to break a thousand times to make enough room for the kind of love it takes to embrace the world as it is.

My prayer and hope for us is that we sit still, listen without judgment, and breathe. That we allow our hearts to break open, screaming all the while until the breath runs clear and crisp and the edges we thought were barriers have vanished into stars.

As we write the story of these events, let's start inside ourselves. As we write the story, rather than look outward for meaning, look inward for compassion.

And then, may we let our stories go and stand empty in the field.

Monday, November 29, 2010

So You Want to Write a Novel





If only I wrote this, but I didn't. But I could have. And at this time of the semester when I have heard everything (& I mean everything) about how easy writing is, how anyone can do it, why grammar doesn't matter (there are editors, silly girl!), why reading is dying, why there's no craft involved in writing, no work involved, no revision, no discipline (it's creative after all) ... how I want to be allowed to say, as this poor teacher in the video says, "I wish I could kill you and get away with it."

But I can't say it.

So, for all of you who are teaching writing, this is for you. And for all of you who are writing, this is for you.

And for those of you who are my students who do get it (and I know who you are, and I think you do too...) thank you. It's because of you that I can stand the rest of it. If you know why the phrase "fiction novel" is hilarious, thank you. If you know why this dear young writer is delusional, thank you. If you understand why phoning agents is hilarious, why "I've been living my life, not wasting my time reading" is hilarious, why "but my idea is a guaranteed bestseller", why the emphasis on "my work is copyrighted" is hilarious, and why "but I'm the talent" is hilarious, thank you, thank you, thank you. Come back to my class anytime. We'll work it.

And to whomever put this video together, thank you for saying everything that my overworked, end of the semester internal censor must stop cold at my teeth.

I'll see you on Oprah. :-) (that's hilarious too...)

Wednesday, November 17, 2010

In Defense of Fiction


Something has happened. Somewhere along the line, imagination has become a bad word. Reading stories that are not "true" has become a waste of time, something one does while waiting for a root canal, or because one is in a literature class being force-fed novels. There are so many "true" books out there, why read fiction?

I hear this from my students (keep in mind, these are students who want to be writers). The gifts of a story, a piece of fiction, have gotten lost in the labyrinth of information and data and statistics that have become the ways in which we measure the success of our lives. I simply cannot tell you how this breaks my heart. Data never makes me cry (well, maybe in frustration). Information may tell me which train to take and what corner to stand on to catch that next bus, but it won't make meaning of my journey. The meaning comes from the filters. From the point of view, from the characters, from the false starts, the connections, the disconnections, the revisioning, and most important of all, the reflection.

The characters from my childhood fictions (Ramona the Pest, Harriet the Spy, Betsey, Tacy and Tibb, Paddington the Bear, the Velveteen Rabbit) are as much a part of my family as my literal family. Toni Morrison's stunning character Beloved, Shug Avery in Alice Walker's The Color Purple, Saul Bellow's Henderson the Rain King, John Grimes from James Baldwin's Go Tell It On the Mountain, Rosa in Alma Luz Villanueva's The Ultraviolet Sky -- these characters, these people, (and thousands more) showed me something about myself. They showed me something of the world, of a different way of living, of unexamined possibilities.

Data did not tell me I could be a writer (though my childhood test scores showed that.) Harriet the Spy told me that. Data did not tell me I could move out of Phoenix, but Rose in The Ultraviolet Sky did. I don't know how to show my students how much fiction matters. The obsession with 'truth' in world filled, at best, with 'truthiness', is puzzling to me.

I fear that we are losing the people underneath all our knowledge.

I fear that we are losing empathy in our desire to be right.

I fear that we are losing compassion in a rush to be first.

What if we stopped dividing into true/not true and just told stories? What if, by "just" telling stories, we learned to listen rather than argue? And what if, in the middle of all of that, we heard one another rather than distilled each other's words down to the lowest common denominator?

Even I cringe at the Pollyanna-ish nature of that paragraph. (But Pollyanna, of course, was a fiction). But I am going to continue to shout it out because I cannot bear the thought of a world without stories. I cannot imagine who I would have been without them.

Read them. Write them. Tell them. Nurture them. Buy them. Make up characters and dance with them. Create storylines and inhabit them. It is imagination that will free us. It is imagination that will open doors.

This image below is from Phillip Toledano's website Days With My Father. The website is a gorgeous photo essay of the final days of his father's life. His dad had Alzheimer's and died at 99 years old. The photo essay opens with the death of Phillip's mother, Helene. His father doesn't understand where Helene has gone, and it's tearing both of them apart for Phillip to keep saying day after day, "She died, dad. Mom died."  So, Phillip told him that she had gone to Paris, which seemed to help them both. A fiction. A truth. Please go take a look at Phillip's website. It ends with this note that his father had written to Helene (who had already died, of course, but was, to him, happily in Paris).

Now tell me again why fiction doesn't matter. Why only the literal truth (whatever that is) will save us. Tell me again why we communicate best in zeros, ones, and pie charts.

Tell me again, but please, tell it to me in story, the language of my heart, the only language of love.

Monday, October 18, 2010

So long, Ma Bell; it's been fun


There comes a time in every relationship when we must say farewell, good-bye, adieu, go away, so long, get out the back, Jack, get a new plan, Stan.

That's what I've done. Qwest could not provide me with the same service and the same pricing as Verizon. By disconnecting the land line and adding a data plan to my already existent cell phone plan, I still saved almost fifty dollars a month. This understanding falls within my basic math skills. We haven't had a raise in three years. Voila. $600 raise. A trip to San Francisco. Basic math.

I'm traveling more, driving more, flying more, and generally getting lost more, so I wanted Google maps. The Blackberry scared me. The iPhone wasn't yet available on Verizon. So, I got a Droid (and it was free, thanks again Verizon, new every two plan). I was on my way to the 21st century.

But then I realized I'd have to cancel my land line, for real. I remembered getting my first phone in my name in Phoenix in 1987. Arrival, baby. Adulthood. A phone. Keep in mind, I also remember busy signals and phones that were attached to the wall with a curly cord and answering machines that were actual machines that were housed in your house, not in the great voice mail void of the airwaves. My land line has messages on it -- a message from my friend Jeffrey when he was in the hospital before he died. Birthday songs. The first message Keith ever left me. They all had to go.

I put off calling Qwest. I didn't know how to break it to them. We'd been together almost twenty-five years. Would they be sad? Actually, they were.

"Can I ask why you're canceling your service today, Ms. Herring?"

"I'm moving entirely mobile."

The sigh. I hope there are boxes of Oreos and cartons of Haagen Daz in the Qwest offices. "If you'd ever like to come back ..."

Yes. We can still be friends.


The new phone arrived overnight. We took it out of the box and stared at it. We couldn't figure out how to slide open the keyboard. We couldn't figure out how to install the battery. We turned it on and it made a lot of noises. A little green droid that looks like Gazoo, the space alien from the Flinstones, popped up and wanted to talk. The pamphlet they sent with the phone was in English and Spanish, with only a few pages of truly helpful hints. We could request a manual, or download one (377 pages) from the website. Gazoo/Droid wanted me to input my google account information. Then, it wanted me to type in the letters I saw as a security measure. They were in 4 point font.

"Can you see this?" I asked Keith.

We squinted in the kitchen at the phone. "No."

I tried punching in what I thought I saw. Gazoo/Droid was sorry that we were not communicating and tried a new set of letters and numbers. I tried again. Gazoo/Droid was still sorry that we were not communicating.

By accident, I touched the screen and it got bigger. Who knew?

Gazoo/Droid was pleased that we were now communicating, and it would begin downloading everything I've ever done on the web, on e-mail, or in the darkness of my own room.


Gazoo/Droid tried to be friendly, but he really assumed a base line of knowledge that I did not have. How do you quit an application? Why does it need to run MySpace all the time? (Ever) Why does it need constant YouTube updates? Why does it have suggestions for me on what I might want to buy in the Droid Marketplace? Why do I actually want to buy anything in the Droid Marketplace? I just want to talk on the phone, find the hotel, and maybe call a cab from time to time.

"I'm afraid of the phone," I said. "It just does things without me telling it to do anything."

It beeps, burps, rings, buzzes, snorts, and jiggles. These sounds probably mean something.

"Call me," I said to Keith.

The phone beeped and the screen flashed. I couldn't figure out how to answer it before it went to voice mail. "Huh. Try again."

The phone flashed directions. SLIDE RIGHT TO UNLOCK! Press GREEN BUTTON to answer! (I could hear the underlying "you moron" underneath the words.)

"Hello?"

"Hello," he said.

We stood three feet apart talking to each other on the phone. "How do you hang up?"

PRESS RED BUTTON TO END CALL (you moron).

Fine.

It's been a week. Today, Qwest officially packed up the last of its clothes and left the house. I don't know where it'll go. I hope it'll be happy, find someone it can make a relationship work with. It wasn't Qwest, it was me.

I put away the actual phones with cords today. I wrapped them in plastic bags and stored them in the laundry room just in case Qwest maybe wanted to come back, just for a quickie, just for the good old days, just for one last farewell.

Friday, September 24, 2010

2 x 3 = 5



Math.

See the poor kitty up there? This was me, staring at the green-covered algebra I book in ninth grade. It was me again in algebra 2. And then, three years later, in college algebra. See the poor kitty's answer? That was always my problem. The answers I came up with didn't necessarily fit the problem, though they were viable solutions. Does not this kitty's response make more sense? Do you not want to ask the kitty, "Dude! What were you thinking? There are ways of preventing an excess of kittens!"

I passed geometry by grace alone. The teacher knew I had no chance at any career involving numbers. I wrote the breathtaking saga of the Isosceles Triangle Family and its adventures through the land of Proofs and Puzzles. Do I see a Scalene Triangle lurking in the bushes? Get back, nave! Back to your own land of Scales! Equilateral Triangles were not very interesting story subjects, precisely because they were so even-keeled. No drama. No conflicted innards to delve into. They were the Switzerland of the triangle world, so unless you're hiding money in a Swiss bank account, there's not much left to do with them in a story. Every geometry test resulted in one more chapter in the Isosceles Triangle Family saga. Now that I've been a teacher for more years than I care to think about, I like to think that while this poor shmuck, the geometry teacher by day, baseball coach by night, was pouring his fourth glass of whiskey on another lonely Saturday night, he got a little laugh.

Last night, by a bizarre set of circumstances, I had a graphing calculator in my hands. A Texas Instruments 83, to be exact. It's a frightening piece of equipment, but for the record, it's not nearly as cute or as cool as an iPad. I suppose it does things that matter somehow. Lines. Slopes. Tangents. I tried to draw a kitty on it, but I couldn't figure out how to turn it on. Just holding a calculator like that brought me back to high school. My Texas Instruments calculator had a red display, and the most exciting thing I could do with it was type in 4377, turn the calculator upside down to spell 'hell'. To this day, I cannot punch in the numbers correctly in an arithmetic sequence. If you're doing division, which one goes in first? It's never the one you think. I figured out that if I ended up with a staggering decimal number with no end in sight, I probably need to reverse the way I put the numbers in. I'm adaptable.

2 x 3 = 5 was the mistake that followed me throughout my brief and fiery relationship with math. I do actually know that 2 x 3 = 6, but somehow, when I had to show my work in equations, that was the mistake I always made. One number off shouldn't make that much difference. But, in the inflexible world of math, it does. In came real numbers, imaginary numbers, x, y, and z axes, parabolas, (why??) and lots and lots of random letters, like Campbell's alphabet soup, suddenly dancing through the math books. As I've gotten older, I have more respect for math, but I have no concept of what it really is, what it can do, and why we need it. They had me when two apples and three apples equaled five apples. But once two apples plus the coefficient of x minus pi (not chocolate) and three apples equaled x - n + 4, I was onto a new romance deep in the hallowed halls of literature. The roots of my innumeracy are so deep in the earth no one can untangle them.

It drives me crazy when educated people misuse its and it's. Yet, I have two master's degrees and I have the mathematical literacy of an average third grader. All my classes have grading scales in multiples of ten. Every class has a total of 100 points -- no more, no less. I am a big fan of 10, and I don't see how expanding much beyond anything that can be wrapped in the big wide belly of a 10 would make my life easier. If it can't be done on my calculator with the REALLY BIG numbers and five functions only, then I don't really need to do it.

Here's a page from the TI-83 manual's attempts to help you understand what it can do:

A small forest of 4,000 trees is under a new forestry plan. Each year 20 percent of the trees will be harvested and 1,000 new trees will be planted. Will the forest eventually disappear? Will the forest size stabilize? If so, in how many years and with how many trees?
 

1. Press MODE. Press down-arrow, down-arrow, down-arrow, right-arrow, right-arrow, right-arrow ENTER to select Seq graphing mode.
 

2. Press 2nd (FORMAT) and select Time axes format and ExprOn format if necessary.

3. Press Y=. .If the graph-style icon is not(dot), press | |, press ENTER until (dot) is displayed, and then press ~ ~.
 

4. Press MATH~3 to select iPart( (integerpart) because only whole trees are harvested. After each annual harvest, 80 percent (.80) of the trees remain.

Press . 8 2nd (u) (() X,T 0, n) - 1 ) to define the number of trees after each harvest. Press + 1000 ) to define the new trees. Press † 4000 to define the number of trees at the beginning of the program.
 

5. Press WINDOW 0 to set nMin=0. Press down arrow 50 to set nMax=50. nMin and nMax evaluate forest size over 50 years. Set the other window variables.

PlotStart=1    Xmin=0             Ymin=0

PlotStep=1    Xmax=50           Ymax=6000
                      Xscl=10             Yscl=1000
 

6. Press TRACE. Tracing begins at nMin(thestart of the forestry plan). Press ~ to trace the sequence year by year. The sequence is displayed at the top of the screen. The values for n (number of years), X (X=n, because n is plotted on the x-axis), and Y (tree count) are displayed at the bottom. When will the forest stabilize? With how many trees?

(some symbols didn't translate into blog text ... not that I understand what they are...)

Here's my answer, courtesy of Mr. Theodore Geisel (Dr. Suess).

  • "Mister!" he said with a sawdusty sneeze,
    "I am the Lorax, I speak for the trees.
    I speak for the trees, for the trees have no tongues
    ,
    And I'm asking you, sir, at the top of my lungs" --
    He was very upset as he shouted and puffed --
    "What's that THING you've made out of my Truffula tuft?"
  • I am the Lorax! I speak for the trees,
    Which you seem to be chopping as fast as you please;
    But I also speak for the brown Barbaloots,
    Who frolicked and played in their Barbaloot suits,
    Happily eating Truffula fruits.
    Now, since you've chopped the trees to the ground
    There's not enough Truffula fruit to go 'round!
    And my poor Barbaloots are all feeling the crummies
    Because they have gas, and no food, in their tummies.
  • Unless someone like you cares a whole awful lot,
    nothing is going to get better. It's not.
  • Catch! calls the Once-ler.
    He lets something fall.
    It's a Truffula Seed.
    It's the last one of all!
    You're in charge of the last of the Truffula Seeds.
    And Truffula Trees are what everyone needs.
    Plant a new Truffula. Treat it with care.
    Give it clean water. And feed it fresh air.
    Grow a forest. Protect it from axes that hack.
    Then the Lorax
    and all of his friends
    may come back.
  • Now all that was left 'neath the bad-smelling sky
    was my big empty factory...
    the Lorax...
    and I.
    The Lorax said nothing
    just gave me a glance. Just gave me a very sad, sad backward glance.
    He lifted himself by the seat of his pants and I'll never forget the grim look on his face
    as he hoisted himself and took leave of this place through a hole in the smog without leaving a trace
    and all that the Lorax left here in this mess was a small pile of rocks with one word.
    UNLESS


Q4U:

If a faculty member is forced to attend 2.3 meetings per week, at a total of 3.5 hours of time, when she has 17.8 hours of student work to read and respond to, would it make more sense for her to travel to work by train or by bicycle or to go to the mall?

Not so hard, is it? 4377.

Friday, August 6, 2010

Helpful Hints For Your Weekend


Keith bought a new Toyota last weekend. We spent many a fun hour reading the owner's manual. The result are these tidbits for your weekend fun.

Toyota is not responsible for injury or death resulting from not following directions.

When napping in your vehicle, remember to turn your engine off.

Keep limbs within the vehicle at all times.

Caution: Coffee may be hot. Use extreme caution when enjoying this beverage.

Do not drive while drinking a beverage of any sort. Sudden stops and changes in traffic patterns may cause you to spill.  (In the unlikely event of a change in cabin pressure, please put the oxygen mask on yourself before assisting others.)

It is illegal to drive while drinking an alcoholic beverage or while intoxicated. Doing this may result in injury, death, or imprisonment.

Do not drive with the parking brake on.

Familiarize yourself with the location of the pedals. Use your right foot to depress the accelerator. (Note: We have fixed the spontaneous acceleration problem. No worries.) Use your left foot to depress the brake. Do not attempt to drive if you are unfamiliar with your left and right feet and their assigned pedals.

When driving in inclement weather, use caution. Failure to do so may result in injury or death.

If vehicle catches on fire, exit the vehicle promptly.

Toyota is not responsible for injury or death resulting from not exiting the vehicle in case of fire.

Do not drive this vehicle into standing water. Do not attempt to drive this vehicle into the ocean.  Doing this will void the warranty.

Use only unleaded gas. Failure to do so will damage the engine, void the warranty, and possibly result in injury or death.

Your vehicle is equipped with front and side airbags. Do not place children in the front seat. Doing this may result in injury or death. Toyota is not responsible for this.

Remember, Kohl's cash is not legal tender and may not be used for making payments on this vehicle.

This vehicle is not a toy. Only licensed operators may legally drive this vehicle. Toyota is not responsible for accidents, injuries, or deaths caused by unlicensed drivers.

If you are passing more people than are passing you, you are driving too fast.

Toyota is not responsible for that either.

We value your business. Please enjoy this Starbuck's coupon.

But not while driving. We are not responsible. (See page 13)