from Leggo, Carl. “Ninety-Five Questions for Generating Disputation on the Power and Efficacy of the Pedagogical Practices of Writing Teachers.” Langauge Arts 67.4 (1990).
13. Do I operate with the convviction that to write is to engage with questions concerning social, historical, political, and economic forces, how lives are shaped, how people are interpellatd as subjects in society?
23. Do my students perceive their writing as acting constructively on the world, capable of changing the world?
40. Am I reflecting on the implications of sexuality and textuality for pedagogy?
41. Can a classroom operate successfully if students are encouraged to develop their voices, thereby courting heterogeneity and unpredictability and disorder and cacophony? Can a classroom operate successfully if students are not encouraged to develop their voices, thereby courting heterogeneity and unpredictablity and disorder and cacophony?
51. How would I respond to a student who wrote a story or essay in one long, convoluted, meandering sentence, who ended a story with “etc.,” who used polysyllabic words combed from a dictionary, who insisted on writing in questions instead of statements, who ignored the conventions of punctuation and capitalization, who inserted blank spaces into the text, who wrote a story in one hundred numbered sentences, who wrote obfuscated prose that demanded an energetic recuperative effort by readers, who ignored connections between portions of a text, who wrote a peom in which the “I” claims not to be the “I” writing the poem or responsible for the poem, an essay that refuses to prove a point or defend a thesis or substantiate a truth, writing that constantly decenters the reader, a story that instructs a reader to read by folding one page ove ranother or to read from right to left?
84. Can I conceptualize writing as a patch-work quilt made up of scraps redolent with memories and stories and traces of the past? as brading or weaving as a mosaic, as a hybrid?
