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WA2020-Rev-6-26.Pdf The Writing Anthology Edited by Gabrielle Anderson and Christa Miller Advisors: Valerie Billing and Mark Thomas A Publication of the English Department and the Art Department Cover Art by Jessica Popejoy-Geiken Central College Pella, Iowa 2020 Dear Readers, Welcome to the 40th edition of The Writing Anthology. Founded in 1981 by now-retired Central College professor Dr. Walter Cannon, The Writing Anthology is a collection of exceptional student work from across the liberal arts curriculum. After reviewing dozens of submissions, our team selected the following ten pieces for inclusion in this year’s anthology. The difficulty of this selection process is a testament to the excellent quality of student writing at Central College, and we are immensely proud of all the hard work of our peers. As we all learned this year, change happens quickly. However, transition tends to go slowly, bringing with it feelings of denial, shock, anger, frustration and stress. Transition can also bring us closer together and give us hope. The pieces chosen for this year’s anthology can change our perspective and shed light on uncomfortable topics, causing us to reevaluate our thoughts and beliefs. Now more than ever there seems to be an enthusiasm to learn something new, and a longing to explore new ways of conducting established practices. This year’s works put forth new ideas, and work to examine difference from multiple angles. As a whole, our team believes this anthology develops a unique statement in this historical moment about the importance of dealing with change and transitions. Each year, the John Allen Award is awarded to piece of student writing that the selection panel deems to have superior rhetorical competence, high levels of readability, originality and insight. This year, we are pleased to announce that Emma Clodfelter will receive this honor. Emma’s essay “The Function of Stabilimenta in Spider Webs” is a intriguing scientific exploration into the possible reasons for spiders’ web design. Emma’s closely detailed study is fascinating for all disciplines as her writing style is engaging and challenges its readers to consider the natural world around them. We would like to congratulate all of the student authors on their accomplishments and for producing such excellent work. Additionally, we thank the professors who recognized the talents of their students and submitted these essays to The Writing Anthology. Thanks also to Mat Kelly for his discerning eye, and for once again agreeing to design this year’s cover. Thank you to all of the talented artists for their outstanding contributions which make The Writing Anthology a well- rounded and visually-interesting publication. Finally, we offer our thanks to Steffanie Bonnstetter for her expertise, and to Jordan Bohr and the student workers of Central College Communications Office for their outstanding work in bringingThe Writing Anthology’s website to life. Most importantly, we would like to express our gratitude towards our faculty advisors, Dr. Valerie Billing and Dr. Mark Thomas. Thank you for your flexibility and guidance during this historical year of changes. Once again, thank you to all who made this year’s publication possible. We hope you enjoy the 2020 Writing Anthology! Christa Miller ‘20 Gabrielle Anderson ‘22 Table of Contents Bridging Cultural Difference in Albert Camus’s “The Guest” � � � � � � 1 Marin Harrington ENGL 362: World Literature ll Race Perceptions in “Recitatif” � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 Allison Stuenkel ENGL 160: The Literary Imagination Day of the Dead � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8 Lauren McKee ENGL-290Y: Travel Writing in the Yucatan Blurred Boundaries: Soldiers/Terrorists, War/Peace � � � � � � � � � � � � � 10 Barbara Engleheart ANTH 370: The Anthropology of Violence Young���Love? � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16 Madaline Hucks PSYC-240: Psychology of Gender A Rooted Education � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20 Alora Nowlin LAS 110: Problem Solving for Sustainability Aristotle and Alison Discover the Secrets of Their Dads � � � � � � � � � � 25 Emma Carlson ENGL 216: LGBTQ+ Literature and Culture Recycling Crisis � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 32 Lauren Goeke LAS 410: Ecotones: Exploring Literature, Science, and History *The Function of Stabilimenta in Spider Webs � � � � � � � � � � � � � � � � � � � � � � � 36 Emma Clodfelter BIOL 320: Evolution El efecto de la casa en la salud en comunidades mayas � � � � � � � � � � � 42 Kayleigh Rohr SPAN 487: Senior Seminar in Hispanic Literature and Culture Art Credits � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 51 * John Allen Award Recipient Bridging Cultural Difference in Albert Camus’s “The Guest” Marin Harrington ENGL 362: World Literature ll Marin reads this story, not as the narrator’s existential crisis (as is so common), but as an illustration of how a cultural gap – in this case, between the French and Arab people – can be effectively overcome through a kind of wordless empathy. By looking at the story in this unusual way, Marin breathes new life into it, and reveals how contemporary the story seems. - Michael Harris Differences between that remains essential in the his students for their nationality cultures—whether related to face of increased globalization or low socioeconomic class, race, nationality, gender, sexual Daru’s relationship with either. In fact, the class orientation, socioeconomic his profession as a teacher difference between Daru and class, or political affiliation— is a way of reaching across his students makes him more are frequently the root of differences, it and highlights self-reflective, and he displays conflict, and these types the emotional reflection in empathy towards them. After of conflicts are often well- which he frequently partakes. explaining that the school documented. Less discussed How people feel is often provides daily food rations to are the instances when different from how they want the children yet the children people unify despite their to feel, as evidenced by the do not have access to these cultural differences, or, even loneliness Daru alludes to rations when weather prevents more profoundly, expand when his students are not in them from going to school, their own worldview by school because of the region’s Daru refers to the children as understanding someone else’s extreme weather. Describing “victims” and says he feels like cultural perspective. Albert the scarce light emanating “a lord with his whitewashed Camus’s short story “The from his classroom window, walls, his narrow couch, his Guest” is grounded in cultural Daru thinks this weather is still unpainted shelves, his well, and differences, from the setting in “better than those three days his weekly provisions of water French-colonized Algeria to when the thick snow was falling and food” (2575). He struggles the relationship between the amidst unbroken darkness… to reconcile the privilege he two main characters: Daru, a Then Daru had spent long has over his students and never school teacher, and the Arab, hours in his room, leaving it displays hostility towards them. a prisoner. Despite its 1957 only to go to the shed and feed Daru recognizes the need to try publication and setting in a the chickens or get some coal” to understand the situations of colony which no longer exists, (2574). His feelings of isolation those who are different from the story maintains its relevance are something he wants to himself, and this informs much by exploring the various ways escape, and while they exist in of his empathy later in the story. humans can contemplate, part due to the weather, they are Daru must also navigate empathize, and connect amidst also fueled by the absence of the difference between how he cultural differences, a process his students. He does not judge feels about the physical land 1 upon which he lives and how overshadowed by political the Arab is with him, Daru he feels about the political motivations. Daru’s relationship simply responds, “Why? I have conflict that overruns the land. to place is further complicated nothing to fear” (2577). Daru He describes the land as “cruel by the need to assign everyone also equalizes the relationship to live in, even without men,” on the land to a specific between the Arab and himself but also feels attached to the political agenda. When debating by speaking to him in Arabic, region because “Daru had been whether or not he will follow not French (2578). The Arab born here. Everywhere else, he Balducci’s orders to take the is also allowed to sleep in a felt exiled” (2575). No matter Arab to prison, Daru asks, “Is bed in the same room as Daru the conditions of the land, Daru [the Arab] against us?” and despite his criminal status, is unable to leave it, as moving Balducci responds, “I don’t another attempt to coexist anywhere else would feel like think so. But you can never be despite cultural differences. It a displacement rather than a sure” (2576). The land is used is never entirely clear whether choice. There are also political as a backdrop for political and the Arab is innocent or guilty expectations that accompany social divisions, which affects of the crime of which Balducci living on the land, which Daru’s own relationship to it accuses
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