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Noise from the Writing Center NOISE FROM THE WRITING CENTER © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. NOISE FROM THE WRITING CENTER ELIZABETH H. BOQUET UTAH STATE UNIVERSITY PRESS Logan, Utah © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. ISBN 0-87421-467-X (E-BOOK) Utah State University Press Logan, Utah 84322-7800 Copyright © 2002 Utah State University Press All rights reserved. Manufactured in the United States of America. Cover design by Sans Serif. Cover photo: If 6 Was 9, by Trimpin. Courtesy of the Experience Music Project. All rights reserved Library of Congress Cataloging-in-Publication Data Boquet, Elizabeth, 1966- Noise from the writing center / Elizabeth Boquet. p. cm. Includes bibliographical references and index. ISBN 0-87421-434-3 (alk. paper) 1. English language—Rhetoric—Study and teaching. 2. Report writing—Study and teaching (Higher) 3. Tutors and tutoring. 4. Writing centers. I. Title. PE1404 .B66 2002 808'.042'0711—dc21 2001007759 © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. To my mom and dad, for music lessons, play practices, and Green Eggs and Ham © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. CONTENTS Acknowledgments ix Prologue xiii Introduction: Making a Joyful Noise 1 1 Tutoring as (Hard) Labor: The Writing Clinic, 7 The Writing Laboratory, The Writing Center 2 Channeling Jimi Hendrix, or Ghosts in the 35 Feedback Machine 3 Toward a Performative Pedagogy in the 83 Writing Center 4 Conclusion: Thanks for Listening, Folks 137 Notes 151 References 155 Index 161 About the Author 163 © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. ACKNOWLEDGMENTS Writing this book has often felt, to use Annie Lamott’s delicious phrase, “like putting an octopus to bed.”Like noise, a flailing limb is a signal, a sign frequently of distress, but also an expression of hope, of possible freedom and of rescue. I have experienced all of this while putting these ideas on paper, and it is here that I wish to acknowledge those people who have res- cued me, in all sorts of ways, during the time I’ve spent thinking, writing, and living. Though this list may seem long to those who read it, it is short to me, knowing as I do how many others, whose names do not appear here, have also sustained me. Thanks to my friends and colleagues on Wcenter, in the International Writing Centers Association, and in the Northeast Writing Centers Association, who brought me into the writing center fold as a graduate student and whose dedication, humor, and com- mitment to this work I value especially. To those writing center colleagues who have become treasured friends, especially Pete Gray, Neal Lerner, Anne Geller, Michele Eodice, and Libby Miles. You remind me that this work is supposed to be chal- lenging and fun. And you make it so. To Ben Rafoth, who made the writing center at Indiana University of Pennsylvania a place I wanted to hang out, as well as a place I wanted to work. To Nancy Welch, for her theorizing about writing center work and writing center play. To my graduate school compadres from IUP, especially Margie Vagt, Shelly Orr, Ann Ott, Gail Tayko, John Tassoni, Nancy Leech, and Todd Krug, for conversations about teaching and writing and researching that moved out of our classrooms and wound up around the tables of our Women’s Dinners and under the clear evening skies of Two Lick Reservoir. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. To my colleagues at Fairfield, from whom I continue to learn about the teaching/research/service triad by their personal and professional examples, especially John Thiel, Kathy Nantz, Dennis Keenan, and Betsy Bowen. To Susan Rakowitz, whose insistence on lunch provided much-needed breaks and sustenance. To David Schmidt, whose intel- lectual vision is equaled only by his knowledge of music/Hendrix/ feedback/noise; and to Mariann Regan, who not only assumed the role of writing center director during much of the writing of this draft, but who actually enjoyed it. To the peer tutors, whose takes on tutoring never fail to delight and surprise me. To the tutors at Fairfield University, whose mini- dramas and humorous renditions of campus life have made it diffi- cult to sit in my office and write, even as they have given me so much to write about. To the tutors at Rhode Island College, without whom I am not sure I could have written this book. And I am quite sure it would not have been nearly as much fun. Thank you. To Meg Carroll, for Zuka Juice, surf ’n’ turf, bug zappers, and Water Fire. But mostly for her amazing program at Rhode Island College, as well as for unrestricted access to her copious notes, books, journals, tutors, laptops, videos, and mind. To Mark Hurlbert and Michael Spooner, whose excitement about this project in all its incarnations has been unflagging and whose ideas about it always sent me back to write. To my phantom limbs, the people in my life whose daily presence I miss most: Cristina Parsons and Geoff Sanborn, two former Fairfield colleagues and two of the dearest, smartest, funniest, most irreverent people I know; and my parents, my brother and his family—would that I could shrink the world. To my husband, Dan Bedeker, for gently coaxing my sleeping limbs back to life. I promise longer bike rides and more frequent pad- dles through the marsh. Phew! This work has also been supported in part by a Fairfield University Summer Research Stipend and by a grant from the National Writing Centers Association. Despite all this assistance, there remain many shortcomings in this book. These are, of course, entirely my own. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. “People ask me what music I listen to. I listen to traffic and birds singing and people breathing. And fire engines. I always used to listen to the water pipes at night when the lights were off, and they played tunes. Half the musical ideas I’ve had have been accidental.” John Lennon (qtd. in Marzorati 31) © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. PROLOGUE Being right can stop all the momentum of a very interesting idea. Robert Rauschenberg (qtd. in Kimmelman 26) We write only at the frontiers of our knowledge, at the border which separates our knowledge from our ignorance and transforms the one into the other. Only in this manner are we resolved to write. Deleuze (xxi) MEMORANDUM Date: October 20 To: Dr. Beth Boquet From: PC Subject: Noise from the Writing Center Since the Writing Center is located in the main Faculty Office Building, I would expect you and your staff to act with appropriate courtesy. I think it is inappropriate and discourteous to make such a racket as I heard coming from the Writing Center this evening. Even after I politely asked if the door could be closed, I again was interrupted by loud noises periodically coming from the Writing Center. When I politely mentioned this to James McMahon, who was working there, he acted as if I was somehow in the wrong to ask for quiet. Further, at no time did anyone apologize for making such a racket. Faculty have an expectation that they can work in their offices with peace and quiet. The faculty office building is not an appropriate place for parties. I am deeply disappointed that you and your staff fail to recognize this, and would treat the © Utah State University Press. All rights reserved. Posting, copying, or distributing in print or electronic form without permission of USUP would be easy, but it's illegal. We're trusting you. xiv NOISE FROM THE WRITING CENTER faculty with such disrespect as I encountered this evening. I hope that you will speak to James in particular, and that you will do something about this problem to prevent its recurrence in the future.
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