Magazine 1002

8/14/2019 Magazine 1002

1/20

MagazineThe

Little Gallery on

the Prairie

Ten Years of theFaulconer Gallery

Photocourtesyoftheofficeofcommunicationsandeven

8/14/2019 Magazine 1002

2/20

from the editors desk

Welcome to the third installment o the S&B Magazine!

Tis month, were celebrating the 10th anniversary o the FaulconerGallery, along with examining a host o publicationsrom the most es-tablished to the newestthat have been serving the campus community

with equal ervor. In our Comments section, Asia Samples comic Luceritooers a light-hearted look at the Grinnell community, a teasing tone bal-anced with the more sober reections o student and proessor on the roleo the liberal arts today.

In our rst ull year on campus, the magazines identity is not all soobvious. Yeah, we have been here beore, but we are not quite second years.Maybe were more like transer studentsweve got some solid experienceunder our belts, but, in a lot o ways, were still learning the ropes. And

were working on developing a solid support group to help us achieve ourhopes and dreams, goals and aspirations. We need all the resources o theGrinnell community.

As a supplement to the newspaper, we provide a wider orum to dis-

cuss pressing issues and communicate creatively. Were always looking oreedback. I you have questions, comments, ideas, criticisms, witticisms,reach out to us. We may look and eel a little dierent rom our newsprintbrethren, but the [newspapr] e-mail account serves the same purpose.

Rebecca ParkMagazine Editor

2| The S&B Magazine

8/14/2019 Magazine 1002

3/20

contents5..........the big 1-0: the rst decade ofthe Faulconer Gallery

10............. magazines and more: acloser look at campus publications

13.......... lucerito, part one

14.......... overseeing a crisis (injournalism and conservatism)

16..........a beauty, chapters oneand two

19..........thoughts on the liberal arts

The S&B Magazine |

Tomas Agrans 09 work at the Student Salon epitomizes a Faulconer tradition.soPhiefajar

8/14/2019 Magazine 1002

4/20

contributers

graphics

photographers

editors

Mike Kleine

Sophie Fajardo

Courtney Moore

Lawrence Sumulong

James Anthofer

Sydney Devine RauschNora Frazin

Joe Hiller

Maxwell Leung

Solomon Miller

Rebecca Park

Asia Sample

Editor..........................................Rebecca Park

Associate Editor.......................J.Francis Buse

Associate Editor........................Chloe Moryl

Copy Editor..........................Bradley Gordon

Graphic Editor............................Mike Kleine

Design Editor.......................Margie Scribner

Photo Editor.................Lawrence Sumulong

MagazineThe

Volume 2, Issue 1

4 | The S&B Magazine

The S&B Magazine welcomes story ideas from studentfaculty and other members of the town and college community

If there is any story that should be covered, please [email protected].

Send letters to the editor via e-mail at [email protected] or mail them to Box 5886. The authors name must bincluded, but letters can be published anonymously in certaioccasions upon request. Letters may be printed at the discretioof the editor in the next issue of The S&B Magazine. The S&reserves the right to edit any and all submissions.

The opinions expressed in letters to the editor, opiniocolumns and advertising do not necessarily refect the opinionof the S&B, SPARC or Grinnell College.

Advertising inquiries should be directed to the businemanager, Katie McMullen, who can be reached at sandbads@

grinnell.edu or by mail at Box 5886, Grinnell College, Grinnell, IA 50112.

8/14/2019 Magazine 1002

5/20

The Big 1-0: The FirstDecade of the

Faulconer GallerySydney devine RauSch & Rebecca Pa

Molecules that Matter opened at the Faulconer Gallery Sept. 25, marking the 10th aniversary of the Bucksbaum establishment. As an integral part of the Grinnell community tFaulconer Gallery brings new arts, cultures and ideas onto campus every year. For the padecade, Lesley Wright, Director of the Gallery, has conducted the organization of exhibits anrelated activities.

Excellent management and student participation continues to bring exciting new exhibilike this one to our campus. At the S&B Magazine we had the opportunity to meet with WrighHere, we present you with the inner workings of the Faulconer Gallery and what students cdo to help out.

A gallery tour o the very frst Faulconer Gallery exhibit, Restructure, which ran rom September 25 to December 11, 1999.

courtesy

of

the

Grinnell

colleGe

archi

The S&B Magazine |

8/14/2019 Magazine 1002

6/20

Rebecca Park: Could you tell me a bit about the history o the Gallery?

Lesley Wright: Its my understanding that prior to 10 years ago, wehad a couple o places or displaying art. Tere was the Print and Draw-ing Study Room in the [Burling] Library, which was built in the 80s,and thats where the Collection did most o its exhibitions and presentedcontemporary traveling shows.

Tere was a corridor gallery that ran down the corridor that the ArtDepartment used to do little shows. Literally, it was a corridor that youwalked through. And then there was something called the errace Gallery,which is where the Health Center is now, that students used as their gal-lery space. So thats what there was 10 years ago [1999], beore Faulconer.

And as the trustees put together a committee to develop this building[Bucksbaum], they had administrators, had trustees and they had memberso the three ne arts departments, who all traveled around other collegesand looked at their ne arts buildings. And they decided they really wanteda space that had acilities or the three departments but also a kind o agallery that could do bigger shows than they had been able to do. So thatwas the beginning and that was the charge that was given to Cesar Pelli,to design a building that could accommodate theater, art history, studio art,music, dance, and have some kind o independent gallery space.

RP: And you nd thats adequate or the Gallery and its size and whatyou want to do here?

LW: I dont think theres amuseum director in the country

who wouldnt say they want moresta. Weve talked about it. Teresa couple o things wed love to have.A Registrar, a person who really isthe record-keeper or the Galleryand who also is the shipping expert,because we all participate in all othat and it would be nice to have oneexpert, whos just like our librarianwho could keep track o everything.Tat would be an ideal position tohave. We would like somebody tohelp Milton [Severe 87, Director oExhibition Design] with preparingworks, but we do what we can with

students or the rest o us helpingout. And wed love to have a sup-port sta person, you know, we donthave a secretary o any kind to planall our events and do all our corre-spondence and all that kind o stu.

RP: Youre totally independent rom the Art Department.

LW: Completely. We are an administrative department, we are not anacademic department, which is an important distinction. Not that we dontcollaborate a lot with all the departments in this building and with otherdepartments on campus.

Im on a lot o aculty committees across campus, but Im also on ad-ministrative committees. Its actually turned out to be really good or us

to have contact in both those areas because it gives us a base o knowledgewe wouldnt have had otherwise.Its been great or me to teach. I think it really helps me understand

the institution better, to really know the students.

RP: How involved are students in the gallery?

LW: We use students in a variety o ways. We always hire students tobe at the desk in the Gallery. So theyre kind o our ront line, theyre thepeople that greet the public, theyre the ace o the Gallery in many ways.

Kay [Wilson, Curator o the Collection] hires a lot o students towork in the Print and Drawing Study Room, helping her pull work, toget things photographed digitally to add up to the database and to installthe exhibitions over there. Tey also get involved sometimes with cuttingmats and doing some simple raming. And then we have since about 2005,

we have always had an intern, every all and spring.

But we also always have students who are working with us in the sumer, and oten its at least two who are here in the summer with us. A

we regularly hire a student clerk.Were always thinking o new ways we can nd to use students.

RP: You mentioned the Burling Gallery and Print and Drawing StRoom. How involved is Faulconer in other exhibition spaces like that

LW: Burling Gallery is under our control, so that is a space. Wunusual in that were one department but were in two dierent buildias our spaces. So Kay works or me, its part o Faulconer Gallery. And the years weve started to kind o branch out, nd other spaces. So we

do the exhibitions that are in the lower level o the John Chrystal Cenand some years thats a more active space than others, its been airly stnow or about a year.

We helped with the commission o art in Rose Hall a number o yeago. We brought in an artist who did an installation in Noyce last yeatemporary exhibition.

We did a project one year that had a work o art that was in HerChapel.

So i it s appropriate or the show, we will partner with somebody on campus or in the community to use another space. Because I really like i you only show art in the Faulconer Gallery, then people dont reathat art can be part o their lives in a way that s not in a traditional musespace. So I like to take the art out o the door sometimes and bring i

them and I think they see thinga dierent way and realize there

other possibilities.

RP: So how do you eel your has changed, how has the FaulcoGallery evolved and your particition in it?

LW: When we rst cameyears ago, it was crucial that we ate a reputation or this place tdidnt exist. We had been givencharge that part o the missionthe Faulconer Gallery was to hexpand the reputation o GrinCollege through art. And we

that meant that we had to reout very widely to artists and tocommunities around us. So rthe very beginning, we have curaexhibitions that are internatio

we have curated exhibitions wartists with national reputatio

By bringing their art here they come to know about us and we develoreputation as a museum thats serious and knows what its doing.

And we also wanted to do things that were innovative and would brreally great art to campus, so that students would see that art could b

very exciting part o their education. As it evolved, [what] we began to[to] add a third thing into the mix, which is to recognize and rom tto time highlight regional art. And thats something I eel strongly abi youre going to be a museum thats in a part o the country thats

New York or Los Angeles or Chicago, you have a responsibility to suppthe artists in that area.We took the Expanding Knowledge Initiative and the Strategic P

that the College had gone through and looked at that and realized tinterdisciplinarity was becoming a bigger and bigger act o lie on campAnd i we could have a person whose responsibility really was to nd thkind o projects to do with aculty, that would be great. So thats why title changed rom Curator o Education to Curator o Academic Community Outreach, because [illy Woodward, Curator o Acadeand Community Outreach, is] really intended to do both those thinnot just to bring the public in rom o-campus, but also to nd wayinvolve the Gallery in the lie o the campus. So Molecules that Matis going to have a lot o programming thats directly relevant to classe

well as directly relevant to the community.Were more actively collaborating now with departments than I th

we used [to]. Weve always done some o it, but it used to always be 6 | The S&B Magazine

8/14/2019 Magazine 1002

7/20

shot with one show and now I think were developing more o a role oncampus. You dont just have to come with us i you want to do somethingin the Gallery but we can help you do other kinds o projects as well.

RP: And now just a ashback a little bit. Do you remember the rsttime it opened? Do you remember what kind o reactions you got romother people?

LW: We had a really successul opening when we rst opened the build-ing. O course, they made it into a big dedication o the whole building.

We had an exhibition in the Gallery called Restructure, which wasall contemporary art.

It was a very exciting show, it had all sorts o dierent kinds o work init. I think it gave people the sense that there were a lot possibilities withthis space that we could do.

RP: I was looking at the attendance list. It looks like its almost doubledin the past year or two. Do you know what accounts or that?

LW: Its the outreach. Youll see it kind o ebbs and ows, and hasgone up and down. Te years where we have done something that hasImpressionism, there have been big spikes. And when we havent had anOutreach Curator, which we didnt have or 2006-2007, and then illywas brand-new 07-08, so she was getting things going but it was going totake awhile to see the eects o that. But when weve had really eectiveand active outreach, its made a big dierence. And now that were sort odoing it in two directions, its making an even bigger dierence.

Plus, I have to say, its also the quality o the shows were doing. Wevekept a very high level o quality with the exhibitions, and what that doesis it continues to draw audiences rom beyond the community. We are nowdenitely a player in the art world in Iowa.

We make sure our name is out there all the time with the shows weredoing.

RP: I was wondering too how is it balancing both being a museum,independent and also being on a college campus. Is that a difcult balanceto strike?

LW: I dont think so. I used to work at the Cedar Rapids Museum be-ore, which is a private museum in Cedar Rapids. And I actually ound thatharder because you didnt have an audience that assumed there was goingto be content to an exhibition. And here people are very comortable with

the act that theres content. Its not just entertainment. So I think beingon a college campus gives us the luxury o taking seriously the things thatwe do and the things that we show and being able to think about it in away thats beyond just trying to entertain people and get them in the door.

Not that other museums dont do that, but sometimes thats harder todo within the community, some communities. So I nd it a very naturalbalance, but Im the product o a small liberal arts college. It makes senseto me.

RP: How do you see the Gallery evolving? In the next 10 years, in thenext year, what are you looking orward to?

LW: One o the things that we have continued to do over the past 10years is weve continued to develop the collection.

As the collection gets stronger, and as we do more with being able to

present the collection in dierent ways using online and digital resources,I think how we use the collection in our exhibitions is going to become aplace where we can be creative and where things are going to shit a bit.

In recent years weve been doing more exhibitions that we ourselvesare curating out o the collections. So its becoming a resource or us tomine and look at in dierent ways. One o the things weve talked aboutdoing, that other schools have done some o, is to bring artists to campusor residencies who then work with the collection and work with studentsso that they bring resh eyes to the collection and develop other kinds oprojects using the resources we have here. And Id love to do somethinglike that where we can really be a acilitator or other kinds o projects withartists as well as with the art.

It would be good down the line i we could develop some better wayso doing some o our own undraising because I think that might give usexibility we dont always have. Right now we get a good budget rom the

College but we, except or writing grants, we really dont go out and raise

money rom donors. And weve talked about developing our own mebership, which a lot o college museums have. Its a way o cultivating developing sort o a support group. And also it s a way o cultivating developing interest in art, sort o over a lietimeits a way o expandour mission o what were doing already, but thats or down the line.

RP: Tats very exciting. Do you have any other nal things you wto say about the Gallery and where it s been?

LW: Its been a great 10 years. I cant believe its been 10 years, its gby very, very ast. Weve been very lucky in having the support o the Collto do what we do and Im hoping that continuesI see no reason wh

wont. Teres all sorts o things we can do out there and were excitedsee whats going to happen next.

I would like there to be a way that every student comes through Gallery in their time here. And I think something we would like to deveis a way to make the Gallery into a more integral part o New StudOrientation or nd ways to do even better outreach to students. BecaI think its a challenge or college museums, because its a stable audiein that there are always students here, but its never the same students.

you cant do something once, you have to continue to do things that brstudents in and keep them engaged in what youre doing.

A shot o Molecules that Matter, which combines science with art. Modelten signifcant molecules, each marking a decade and its scientifc discoveridisplayed throughout the Gallery organize the show.

courtneymo

The S&B Magazine |

8/14/2019 Magazine 1002

8/20

Vernon Faulconer 61, the Gallerys namesake, at Commencement, Spring 2003. courtesyoftheofficeofcommunicationsandevents

8 | The S&B Magazine

8/14/2019 Magazine 1002

9/20

An interior o the Faulconer Gallery, during installation o Molecules that Matter. courtneymo

The S&B Magazine |

Getting up close and personal at a Faulconer sculpture exhibit.courtesyoftheofficeofcommunicationsandeven

8/14/2019 Magazine 1002

10/2010 | The S&B Magazine

Is there a publications culture on campus? Many would say yes. And not onlythe writers and editors o the paper you are currently reading. But also the manystudents who write and sweat in the cabineted, windowless Publications ofces onthe second oor o the JRC oten eel like a part o a history o creation, connectedto the years o chaotic late nights producing the articles or stories or poems or essaysor parodies that constitute the newspapers, journals and magazines later seen strewnabout the mailroom.

Te history o publications is a history o innovation in a pressure cooker, whetherin the old publications ofce (the new Darkroom) or within the walls o the JRC.Here, we oer you a glimpse at the ull range o copy Grinnellians are currentlyproducing. How does a sudden burst o inspiration become an established presence?What survives and what ounders and sinks? And, most importantly, how do I getin on all this writing-editing-publishing action?

Our Very Own Grey LadyTe Scarlet and Black is Grinnells longest standing student publication, never

shies away rom proudly advertising that it is the rst college newspaper west o theMississippi River.

But the idea remains the same. Te goal is to have a really polished, nishedproduct, said Abby Rapoport 08, co-editor-in-chie during the 2007-2008 school year.

o this end, the S&B has been open to many changes that help make it livelier,improved its content and make it more interesting to read. Te past couple years aloneeatured the creation o the S&Bs eclectic back page, an increase in the types o stories

shown on the ront page, and a movement towards, and then away rom beat writing,in which a reporter covers a storyline as it develops over the course o the year.Te key to having good leadership in the S&B is having people who are a little

bit crazy, Rapoport explained. [People] who really want to not have a lie their senioryear, and instead spend their time on this product that most o the campus is goingto complain about even i its great.

On the Lighter SideAs any cursory glance into the second oor JRC ofce will show, using humor to

survive the grind has been essential to publications culture or a long time, whateverthe ocus o the publication may be.

Nick Lloyd 04 and Aron Szapiro 04 began the B&Sin 2004 in the wake o acontroversy surrounding the GUM, a campus humor magazine o indeterminate age.

Te earliest copies in Burling Librarys Iowa Room date rom 1992, but Lloyd thoughtit had actually started as the B&Sin the seventies. But age didnt matterthe truthremained. Te reality was that by that time the GUMwas just a bloated, ununny,tiresome piece o shit, and we thought we could do better, Lloyd said.

Te two had previously run a weekly pre-recorded radio show during the allcalled rapped in Darby, giving them the condence to approach SPARC during aNorth Forum lounge GUMprotest in spring 2003. [Te show] was airly popular,Szapiro said. Which is quite the accomplishment on KDIC.

Lloyd is more cautious about this assessment. I think calling our radio showpopular is a perhaps a stretch, he said. Te treasurer o SPARC was a close personalriend and we just called him up to take over the GUM[ater the protest]. He askedwhy we didnt just make our own paper.

Te two received $1000 rom SPARC or a year o monthly publishing in 2004.Te GUMhad a bigger budget than us, and the previous semester they had ailedto come out with a single issue, said Lloyd.

As they continued to reliably publish, they began to get more money and attract

Magazines and MoreA closer look at campus publications

JameS anthofeR & Solomon milleR

new writers until the GUM aded away. Te big dierebetween us and the GUMwas that we solicited articles, Lloyd. Te GUMwas [made up o] eight guys who all liin a house o-campus together.

Tis dierence rom other humor magazines (see belwould live on, though neither o the B&Ss creators would tcredit or its current incarnation. We sort o ooled arou

with it, tried to nd a ormat that worked, said Szapiro. recruited Renata [Sancken 07] to run it ater a year, andact that it exists probably has more to do with her than us

As part o the transition to Sancken, the B&Shopedincrease its stable o writers beyond the riends o Lloyd Szapiro. I wanted more people to get involved, which was haSancken explained. But I realized Id rather have our upeople than 15 not unny people, because I had to rewriteo the bad articles.

Te B&Ssolidied under Sancken, as she created the nior Editor and Webmaster positions. Eventually it carout a solid place in the Grinnell publishing community thstands by today.

We try not to be too hard on people, we want to be mlighthearted than scathingly satirical, said Ross Preston the current editor-in-chie o the newest ake newspaper wo the Mississippi.

We denitely respond to the S&B, he urther explainAnd we nd that people respond better to Grinnell spe[stories] rst, supplemented by current events.

However, the B&S, like the GUM, still didnt quite hitunny bone o some on campus. Jim Malewitz 09 workedthe GUMhis rst year and, unlike the protestors in the ormourned rather than celebrated the loss o the magazine. I lithe idea that the GUMexisted, because I thought it oeregood alternative to TeOnion-style humor, he said. I wana more ree-owing selection o things in a magazine.

In responding to the GUMs disappearance, Malewitzcused on keeping what he thought was unniest in it and movaway rom the insular attitude that the late magazine gaveI wasnt really in on the clique, he said.

He ound his greatest inspiration in the so-called lost isthat contributed to the demise o the GUM. Te one issue never got produced (but was unded by SPARC) was actumy inspiration or the Writers Digress, because it was a mReaders Digest.

Malewitz ound applying or money as easy as Lloyd Szapiro did, though he is careul to note that he never gomuch money as later critics o the Writers Digress would suggTat part o the protest really did annoy me, he said. got a really, really small cut o the money, and we used a recheap local printing place. Given that, I think we did a great j

Tis controversy, similar in type but not size to the GUMrevolved around articles that some in the campus communound sexist (an advice column rom Gary Kahn 09) or racclassist (a parody o Forrest Gump by Marshall Chavez Since, like Malewitz, both Kahn and Chavez were/are varbaseball players, the Digress was portrayed as a misuse o SPAunds or a sporadic publishing o inside jokes (the last is

8/14/2019 Magazine 1002

11/20The S&B Magazine |

didnt appear until Block Party).Chavez, who plans to create another issue o the Writers Digress in the

spring, deends the way Malewitz ran the magazine. Jim just had a groupo riends who were unny people, and he just wanted control, he said.We would make these articles and assign them and what we asked orwouldnt come back, so both o our publications came out urther than wewanted them to be put out.

As the editor-in-chie, Chavez plans to make the spring issue the bestyet, and SPARC has been behind such a goal in a manner analogous inmany aspects to the way they supported the B&Sve years ago. Chris

[Bulbulia 10, the head o SPARC] hadbeen encouraging me a lot, said Chavez.But he was quick to provide a dis-

claimer. Its going to be tough becauseIm only going to choose people I thinkare unny.

Humor doesnt have to be all aboutword play. Dont orget the visual! Sendus your unny comics, Barbara Monaco10, co-editor-in-chie o the Sequence,commanded.

Along with Asia Sample 10, theother editor-in-chie, Monaco overseesthe twice-semester publishing o comicsmagazine. Released right beore midtermsand right beore nals, Te Sequenceaimsto entertain its readers and lighten themood on campus. Look guys: silver lin-ing, Monaco said. Te Sequence is out.ake a breath.

Te Sequencewas ounded ve years ago as Grinnells only collection ostudent art dedicated to humor, shying away rom the more intense ocuso the Grinnell Review. Unlike the S&B and the B&S, which occasionallyprint comics, the Sequenceis dedicated solely to unny student art.

Te Sequence is trying to expand its set o contributors to studentsacross campus, o all artistic backgrounds. It doesnt matter i you cantdraw, Monaco said. I youre unny and you can tell a damn good nar-rative, well take it.

Te magazine also hopes to become even more visible on campus this

year. Its editors are even considering printing -shirts to make the Sequencemore visible on campus. I think more than anything, we just want to getthe word out there this year, Monaco said.

And Everything In BetweenAnother important (and surprisingly unny part) o the publications

universe is the Grinnell Review. Tough the angst in its pages o poems,short stories and photographs may seem to be the bloody heart to the sar-donic smiles o the B&S& Co., the writers and artists who have producedthe work in it since 1983 oten manage considerable levity as well. Tecurrent co-editor in chie, Jamie Alper 09.5, described such a situation:

Molly Rideout [10] and I actually have a running joke about judging

our own work, because at the release party, she told me that I had said oneher poems sounded like it had been written by the baseball teamandthen I said to her that you said that one o my poems sounded like it waswritten by a non-English speaker.

But the anonymous judging process that the Review committee putsevery piece o submitted work through doesnt have to be so acerbic. Alperand Lawrence Sumulong 10, the other editor-in-chie (and, in interest oull disclosure, the photo editor o the S&B), hope to relieve some o thepressure by opening up the organization to more writers and dispelling thenotion that the Review is a clique. Te tradition o the Review is that theeditor gets to train their successor and that person ascends the hierarchy,said Alper. Lawrence and I decided to split the position so we could traina new editor and pay the layout editor more.

As part o this change, they also tentatively plan to recruit new writersand artists to help with layout and to create a less unitary organizational

structure. Tere would have to be a more rigorous application proced[than or the committee] in the uture i we did do this, said Alper.

Opening up the Review committee would, in theory, streamline publication process. Te problem each year is that, or example, wAndrew ascended to editor he had no experience with InDesign [sotware used to lay out the Review], said Alper. Its kind o always bthe job o a person whos been considered to be a lesser person and I d

want it to be that way again.By paying everyone a little less and accepting some unpaid wri

onto the sta, the editors hope to be able to go rom 76 to 96-100 pasolving a couple o dierent problems. For one, the editors also hopreceive more non-photography art-submissions, and need space to

those into the Review as well. Also, Review has been unable to keep up wthe growth o students interest in ctTe quality and number o submissihas increased a lot in the last two years, its a problem to t it in, Alper explainWe dont generally want to ask peoplexcerpt the work.

Te rst e-mail that the editors out to the Review list this year callingsubmissions briey mentioned the rumo nepotism and cronyism that had bcirculating around the Review the last

years and required that the whole comittee re-apply. Its always been run w

committee members expressing intewith being on the committee, but I dknow i its always been rereshed in past, said Alper.

With this new ocus, Alper and Sumlong originally planned to try to accept every person who applied to art and writing committees to the Review, though now they may endcutting some applicants or space. In the past, the application process been more inormal and selective. Andrew [Lippmann 09, last years edicut people [rom the committee] and I know Brendan Mackie [07] too, she said. I really dont want to do that, but I told Lawrence ma15 people should be the maximum.

Both editors hope that they will get more submissions this all tlast spring, which Alper remembers as the smallest group shes ever sIn order to vary who was winning the creative writing contests, they m

it a rule that people who had previously published in the Review coulsubmit the same poems to the contests, she said. People do care a lot about getting into the Review than the contests. I know my rst year th

were over 100 submissions to the poetry contest alone.Overall, Alper hopes that the Review becomes even more importan

the campus writing community. At its best, the review has been a passattempt to show the best writing on campus, she said. Obviously sotalented writers dont submit, or make it a policy not to submit.

Hoping to join the Review in the ranks o respected semester plications, the Global Spectator, a merger o the magazines EyewitnessSpectator, will be debuting its rst issue this December.

In charge o the reborn publication is Liting Cong 11. [Te magazipurpose is] to provide students, on or o-campus, domestic or internatioa window to express their cultural heritage and [encounters] and to brglobal awareness to the Grinnell community, she explained.

he Eyewitness and the Spectatormay have originated rom dierent sourcesthe ormer was a Center or International Studpublication that provided an outlet or sharing o-campus experien

while Cong ounded the latter or the Global Perspective Associatioexplore multicultural and international issues. Yet contentand monerestrictionsdovetailed or the two magazines. Considering the incring overlap between two publications and budget constraints on evpublication, combining two expensive ull color magazines seemed togood or everyone, Cong said.

So how best to explain the variety o Grinnell publications, whrun the ull gamut rom edgy humor to established newspaper? WellBulbulia, the aorementioned current head o SPARC, succinctly summup: It only takes two people to start a publication.

It only takes two people

to start a publication, said

Chris Bulbulia 10, the head

of SPARC, an apt summary of

the free-wheeling universe

of Grinnell publications.

8/14/2019 Magazine 1002


COMMENTS

a section where we look

at the things we are

talking about today (andother related ramblings)

8/14/2019 Magazine 1002


Lucerito , Part 1 by Asia Sampl

8/14/2019 Magazine 1002


Te Death o Conservatism is an elegant little book. Te slender un-adorned white cover ts as easily in the hand as it does on the bookshel.It maintains an appropriately conservative aestheticwhat better way toillustrate that the values o true conservatism, devoted more to preservingthe balance o power than advocating or the en vogue movement-o-the-minute?

Te maniestos author,New York imes Book Review Editor Sam anen-haus 77, recently came to campus as part o the Writers@Grinnell program,

run by Carolyn Jacobson, English. More than just an average book tour stop,anenhausa membero the Grinnell class o1977was returning toa place he knows well.He is a delightul andrare anomalya Grinnellgraduate and member othat most elitist o all lib-eral media institutions, heis also a nationally knownconservative advocate. Yethe never oozes the kindo pretentious corporatecapitalist sleaze associ-

ated with your stereotypi-cal modern Republican.Instead, as he demon-strated this past Monday,he is aable, approachableand all other genres o adjectives that suggest the kind o good nature onehopes to see in the alumni o ones school.

And, unsurprisingly enough, hes smart and a good writer. No matteryour political belies, he presents a convincing, easy-to-ollow argument,ree rom overwhelming wonkiness and insider reerences that so otendrag down political writing.

Engaging the reader, he orces you to reconsider traditionally heldopinions. You might not nish the book ready to go out and radicallychange your lietheres not a huge chance that you will switch your partyafliationbut you will have a greater appreciation or the intersection o

politics, history and personalities. Te American political system is not all

Overseeing a Crisis

(in Journalism andConservatism)

Rebecca PaRk

about ideology; it is the push-and-shove between leaders and movemethe elected and the electing.

anenhaus proposes that the contemporary practice o conservatis ar rom what the philosophys oundersthinkers like Edmund Buand Benjamin Disraelioriginally conceived. Te current inceptionthe American Republican Party is more about movement politics andagainst-them argumentation than truly preserving the social order andpower relations that maintain it.

Once upon a time, conservative argumentsspoke to the deepest isso culture and society, anhaus writes. Now, in-ghdominates, with exhortatirom the Right to the Righuphold basics and principto stand tall against libalseven i it means evadthe most pressing issuesthe movement. And witha well-unctioning right-wparty, were let without pductive political opposition

Avoiding passing jument and orcing value

the reader, he explains convinces why the validityAmerican conservatism isthe wane and why, ultimathis decline is not a good th

or the country.In a September 2008 interview with the writer, anenhaus discus

how his twin passionspolitics and literary criticismconverge at Book Review.

We review books more directly that have to do with politics, he sexplaining how the Review has evolved since his editorship there bein 2004. We are more likely to nd a reviewer who may actually qua

with the book rather than simply state whats in it and whether it woor not. We try to sound the ull ideological range.

Practicing what he preaches, the values that he espouses as truly c

servativelike actually being air and balancedare on view whether

8/14/2019 Magazine 1002


Sam anenhaus 77 addresses the audience during his Writers@Grinnell presentation September 28.lawrence sumulo

8/14/2019 Magazine 1002


A beautyChapter OneAt 3 a.m. one Wednesday, Renee Anderson heard something bumping

across the ceiling directly above her head. Its a child, she thought wildly,a child moving on hands and knees through the crawlspace above my

bedroom ceiling. She lurched out o bed, bleary, and stumbled downstairsto the kitchen to grab a broom.

Back upstairs again, she stood quiet in the bleak dark strangeness oher bedroom, eyes closed, listening. A ew moments o silence passed,then she heard it, to her let above the armoire: thumpthumpthumpdrag.A pause. A creak o oorboards above as the thing shited its weight.

In a spasm o horror, Renee struck out at the spot with the brush-endo the broom. Te creature, taken by surprise, began to run in circles aboveRenees head. thumpthumpthumpthump thumpthumpthumpthumpthump. Renee heard hersel make a choking noise. She dropped thebroom and raced downstairs to the living room soa where she curled intoa ball and cried.

Tree hours later, Renee called animal control.Tis is Renee Anderson, 333 Pine ree Lane. Something has gotten

into my roo and I need it taken away immediately, she said.

Could you give us more inormation as to the type o critter you need

specically taken care o today, maam? said the voice on the other endwas a backwoods voice, a voice like a rusty hinge.

I dont know what it is. I dont care what it is. I need it gone. NowAll right, maam, dont you panic, whatever it is we can take car

it or you. Can you give us some estimation as to the size o the critteIts big. Huge. I can hear it walking around up there.We have a lot o clients on your end o town having squirrel troub

Do you think it could be squirrels, maam?No, its not squirrels. Its much bigger than a squirrel. It sounds lik

weighs at least seventy pounds.All right, maam. Well send one o our boys around in a ew houI cant wait a ew hours. I have to work. I wont be home in a

hours.Well just send someone out to have a look at the roo. We can d

all externally.Tank you. Oh, thank you.Renee walked to work at the elementary school three blocks rom

house. As she approached the school, she saw Janice Flinn, the lunch lgetting out o her car. Janice handed out the kickballs at recess, and had a habit o cupping two balls against her chest, one in each arm, so they resembled huge red rubber breasts. Te children would shriek wlaughter, to which Janice remained oblivious. Renee started walking asand pretended not to see Janice. Janices vulnerability, Renee thought,

Nora FrazinArtwork by Mike Kleine

8/14/2019 Magazine 1002


detestable.Te classroom where Renee taught was not technically a classroom,

but rather the multipurpose room, so she had to arrive at the schoolat least orty-ve minutes beore her rst class to create the properatmosphere. Renee was a rm believer in the proper atmosphere. Sheset up two sets o low risers along the wall or her students to stand on,and hung up her Mozart and Chopin posters on the blackboard. Tejanitorial sta had asked her not to leave the posters up overnight, asthey interered with cleaning. Due to budget cuts, Renee had to make dowith a portable keyboard in lieu o a real piano. She pulled it out rom thecloset and plugged it into the wall. As a nishing touch, she went backinto the closet and retrieved her six ukuleles, which she arranged just-so

along the top o the bookshelves. When she nished, she sat down on herpiano stool and rubbed her eyes. Her head ached rom lack o sleep, andthe thought o the thinganimalcritterwhatever it wasslinkingaround, inside her home, brought bile to her throat.

Renees house consisted o a living room, dining room and kitchendownstairs and two bedrooms upstairs. Randy had needed one o thebedrooms or his ofce, but when they moved in Renee had assumed thatthey could add a dormer, maybe, i they ever needed more room. Teyhad been living in the house or six weeks when Renee mentioned thisthought to Randy.

Just in case we ever, you know, wanted more space i we were tohave a--

Renee, Randy said, Im leaving.Silence.I love you, he went on, please believe I love you. But I love you like

a sister. Every time I touch you it eels like incest.Randy moved out the same week. Te ourth-graders arrived at the multipurpose room a little ater

eight-thirty. Tis was Renees most difcult class; by the age o nineor ten, Renee had ound, children ceased to be cute, which made theirepisodes o naughtiness much less bearable.

Te children lined up along the risers, and Renee took attendance, atask she dreaded, principally because o Marta Abram. On the rst dayo school that year, Renee had said to the class, Now, I know usuallywhen your teachers call attendance, you have to answer with here orpresent. But I dont see why we cant have a little un when we take roll.As ar as I m concerned, you can say whatever you want as long as you saysomething.

Congratulating hersel inwardly at her ability to oster creativity inher pupils at all times, Renee had called the rst name on her list. Marta

Abram?Something. Te rest o the class tittered.Marta, thats not what I meant. I want you to say what you want to

say. I dont care how you answer me. You just have to say something. Nowlets try again. Marta Abram?

Something. Marta, skinny and mouse-haired, stared at her rom theback riser. Renee noted with displeasure that Marta had a line o crustedsnot running up the sleeve o her Mickey Mouse sweatshirt.

Every day since that rst day, Marta had indicated her presence bycalling out the word something. It had begun to catch on with some othe naughtier boys, now, too. What bothered Renee wasnt the insurrectionitsel, but the humorlessness with which Marta delivered the line. Herace showed no spark o mischie, just willul incomprehension.

Ater attendance and vocal warm-ups, Renee called Angela Tornburyto the ront o the room to practice her solo, which she would perorm at

the spring recital on Friday. As Angela sang out in the round tones o awind-chime, Marta began to cough, a dry hacking that resonated throughRenees brain, mirroring the throbs o her headache.

Tat was lovely, Angela, Renee said when the girl had nishedsinging, although she had heard almost none o it. Marta, see me aterclass.

At the lessons conclusion, Marta stayed in her place on the back riseras the other children led out o the multipurpose room.

Marta, why did you disrupt Angelas solo?I didnt do anything.Now, Marta, you know as well as I do that you coughed all the way

through Angelas solo today.I have whooping cough.Renee paused. Marta, I wont tolerate you lying to me.I have whooping cough.

o go to school here you have to get a shot that keeps you rom

getting whooping cough. No one gets whooping cough anymore. Tisnt the Oregon rail, dear. Renee prided hersel on being able to reto her students in terms they would understand.

Im allergic to pertussis.Renee did not ollow. She gritted her teeth. I cant see how th

relevant. Sweetheart. Now tell me why you wouldnt be quiet or Angto sing her solo. Are you jealous o her?

I. Have. Whooping. Cough.Renee sighed. Go to Principal Ellis ofce.Over her lunch hour, Renee called animal control. Te raspy voice,

voice o the hills, answered on the second ring.Tis is Renee Anderson. I called this morning about the anima

my roo.Sure, sure, 333 Pine ree. We sent our boy out this morning.And?Looks like youve got yoursel a raccoon in your roo. Happens all

time around this time o year. Seems the little guy got in through a hby the an youve got up there.

Did you get it out?We put a cage up there by the hole. We like to wait or a critte

come out in his own time. When he does, the cage door closes, and wgot him. Now a raccoon, he sleeps all day, so hell probably come ounight or some grub. Youre gonna hear a slamming sound. Tats the t

You call us, and we take him away. How does that sound?Tat sounds beautiul.Renee woke up early the next morning and went outside in

pajamas to check the trap. She had some difculty getting a clear an

o sight on the cage rom the ground. She circled the house several timHer pajama bottoms dragged on the ground, and wet began to seepthe pant legs. Eventually, she clambered onto the roo o her car, wh

was parked in the driveway. Sure enough, she could make out a gray shinside the cage.

Te animal control guy came about an hour later, a young guy, not owner o the voice on the phone.

First stop o the day, the boss insisted, he said. He took a ladder o his truck and climbed up to the roo. When he came back down he the cage in his hands. Renee took several steps back as he passed her, timmediately elt silly. Te raccoon was much smaller than it had soun

when it walked above her. It hurled itsel rom side to side in the cage,the man carried it to the back o the pickup with ease. When he setcage down, the raccoon sat up and stuck its hands out between the bas i in supplication.

Shes a beauty! said the animal control guy.Im just glad that this nightmare is over, said Renee.Oh, I wouldnt say that, the man said. Shes a emale. My gues

she was keeping some little ones up there.What?Just keep an ear out. Teyll let you know theyre up there s

enough.

Chapter Two: In thWoods

Renee lay in bed, listening. Te animal control guy had said that raccoon hed taken out o her ceiling that morning was probably a motand that she should expect to hear the babies chattering. Renee didnt han attic; the raccoon had taken up residence in the low-ceilinged crawlspbetween the second oor and the roo.

Tey should be too young to move out o the nest, the man had sso I need you to listen careully and gure where the noise is coming r

Tat way well be able to get them out o your hair right away.Renee looked over at her bedside clock. It was 10:30. She had alw

considered hersel a night person, but ever since Randy let a year beshe had been going to bed earlier and earlier.

Te image o the mother raccoon stuck in her head, how its hareached through the gaps in the wire cage toward her. Tey were haRenee thought, not paws.

By now the mother raccoon had surely been released in the orest pserve. She must be rantic, Renee thought. She began to wonder how lo

8/14/2019 Magazine 1002


it would be beore the mother made her way back to claim her children. Butno, raccoons arent like dogs, surely. Surely she wont be able to scent herway back. Te owner o the animal control business, the nice man with thebeautiul phone voice, will bring her children to her. Surely, surely animalcontrol wasnt in the business o breaking up amilies.

Renee was in the woods, now, her black hands clinging to the thinbranches like whips, thin branches bending under her weight, small bloodred berries just within reach

She was shocked awake by a heckling noise. It was shrill. It soundedlike a bat, like a cruel child. ears rose to her eyes like shed been slapped.

Te sound came rom above the right side o the bed, Randys side.Renee got up. She wouldnt be able to sleep with the babies so close above

her. She went downstairs and lay down on the couch.Renee woke, disoriented, the sun in her eyes. She sat up abruptly. Heralarm was upstairs. She was downstairs. She looked at the clock on thestereo across the room. 8:15. Her rst class started in 15 minutes.

Renee rushed into the multipurpose room where she taught music at8:32 a.m. Her class o ourth-graders had already arrived. Renee hadntbeen there to set up the risers where they normally sat, so most o themwere standing in circles. Some o the boys were running around, playing tag.

Everyone sit down! Renee ordered, trying to keep the note o plead-ing out o her voice.

But theres nowhere to sit! cried Angela Tornbury.Just sit on the oor. Well all have to stand in a moment anyway, to

practice or the recital tonight.As the children sat, Renee noticed something written low along the

blackboard at the ront o the room.

I have lockjaw I cant sing tonight, it said.Renee turned to ace the class. Who wrote this? she asked.It was Marta, said Angela.Marta. O course, Renee thought. Marta, knock-kneed, sallow, sunken-

eyed, the perpetual thorn in Renees side.Marta, Renee said to the girl staring up at her rom oor. On Wednes-

day it was whooping cough, today its lockjaw? Whats it going to be next?Marta didnt respond.Well?Marta glowered at Renee or a moment, then very deliberately walked

past her up to the board and wrote a second line.I cant talk I cant open mymouth I have LOCKJAW. She underlined the last word. Te other childrengiggled, shocked.

Youve interrupted my class enough. You willbe singing tonight, butrst you willbe going to the principals ofce.

Renee barely recalled the rest o class; it seemed like no time at alluntil she ound hersel saying Seven p.m., remember. Well meet in hereor vocal warm-ups. Send your parents along to the gym and make sureto wear a white shirt and black pants. See you tonight!

Renee usually responded to the high stress o recital days by planningevery detail. oday, though, she elt reckless, even like she was losing hermind. She ound hersel telling her sixth-graders, Now, I think Ive beengood to you over the years. I your y was unzipped, I would pull you tothe side and tell you. I always let you take bathroom breaks, and sometimesI bring in movies on Fridays. So, or me, please, please try to stay on beattonight. Tis is your one chance this year to make our school proud. Bythe end o the speech, she was nearly in tears.

Te scratchy-voiced owner o the pest control service had explained,when Renee called him over her lunch hour, that the removal o a babyraccoon is a delicate operation.

Now, a grown-up critter we can catch with a trap on the roo, as yousaw, he drawled. A little guy, though, hes not gonna come out on hisown. And we dont want him starving to death up there, or youll have anasty mess on your hands. So what were gonna do is come around yourhouse tonight and see what we can do about getting that little sucker outo there. Te owner said he would take care o the removal personally.

When he showed up at the house, around our, Renee was a little dis-appointed in his appearance. From how hed sounded on the phone, shedexpected a thin, wiry man, with a ull black beard, maybe, and ice blueeyes. Instead, he was a little pudgy, with thinning brown hair and a squarejaw. When he introduced himsel as Rod ucker, though, his syrup-thickvoice gave Renee chills. Te man is magnicent, she thought. His voiceis a thing o beauty. When he told Renee that he would be cutting a holein her bedroom ceiling and pulling the baby raccoon out through it, shedidnt think to protest.

Tis means Im going to have to carry the little guy out through the

inside o your house. Are you comortable with that, maam?You can do whatever you like, Renee said.She stayed downstairs while he was working. Quiet on the liv

room couch, she could hear him dragging the bed out o the way, then screech o the saw cutting through the plaster ceiling into the crawlspShe pictured the baby raccoon, watching the blade coming up throughoor. It would look like a sharks n, she thought.

Ater about hal an hour, Rod came down the stairs holding the smwire cage under one arm. Te animal inside it lacked its mothers mIt looked more like a rat than a raccoon. It didnt move much, but staup at Renee blackly.

Suddenly Renee stood up, blocking Rods path to the door. She t

two quick steps toward him and made as i to grab his ree hand. He bacup, conused. Maam?Mr. ucker, I need to ask you a question.He smiled, uncertain. Well, re away, I guess.You know a lot about mothers and children. About creatures. Sm

things.Well, yes, I suppose thats true.Im an educator, Mr. ucker, and I have a problem. Teres a child

my class. A terrible child. Shes disruptive. Every day she claims to hanew disease. Shes just trying to get under my skin. And now she says

wont sing in the spring recital!Rod held the cage in ront o him like a shield. Im not sure w

youre asking me, maam.What should I do?He paused. He cleared his throat. Well, it seems to me--

A knock on the screen door. Renee?She turned. A man was standing on the porch.Randy?Renee, baby, he said. We need to talk.Renee looked over her shoulder at Rod, who was still holding the

coon cage in both hands.Its kind o a bad time, she said.

Te screen door shaded Randys ace dark. I made a mistake. Plelet me come inside.

Rod cleared his throat. Maam, he said. I can just take this criout to the truck now. Ill send you the bill in the mail.

Tis would not do. Renee needed an answer. Please stay, she triedtell Rod with her eyes. She turned back to the door.

Randy. Get o o my porch beore I call the police. She closed heavy wood door in his ace.

Mr. ucker, she said. Te girl. What do I do about the girl?He shited the cage in his arms. Well, maam, he said. I think I wojust let the kid sit this one out. What does it matter, in the end?

Renee stared at him. He was right: what did it matter? What anything matter?

Rod stepped toward her. He motioned with his head toward the dCan I take this little guy out to the truck now?

Renee nodded, but she didnt move out o the way. Willwill release him in the same spot as his mother?

What exactly do you mean, maam?In the woods. When you let him go, will he be able to nd his mothRod winced. We cant release these animals into the wild. Tat wo

be in violation o state law.What do youwhere do you put them?Well, maam, we have to put them down. Its the law, maam.

He started to walk past her, and she moved numbly to the side. watched out the window as Rod nodded to Randy, who was still standon the sidewalk outside, and put the cage with the baby in it into the bo his truck. He drove away.

Renee walked upstairs to her bedroom. Te hole in the ceiling wsquare-shaped. Rod had covered it with a piece o plywood. Te bed still pushed up against the opposite wall, and there was plaster dustover the oor.

She looked out the window. Randy was still outside. For a momshe considered going down to let him in, but in the end she decided couldnt be bothered. She was supposed to be back at the school at siget ready or the spring recital, but she didnt end up doing that, either. spent the evening looking at real estate ads on the Internet.

When the parents and children showed up at the school or the recthey were met with a sign posted on the ront door: RECIAL CA

CELLED. MS. ANDERSON HAS LOCKJAW.

8/14/2019 Magazine 1002


When I was asked to write a short essay about my understanding o a liberal arts education, I was not sure i I was the most qualied person to about it. I did not attend a liberal arts college. I barely knew o its existence. Yet here I am at Grinnell College, teaching and working with the mexceptional students that I have ever had. But I have an idea on what it might be, so heres my best shot.

Te liberal arts involve skills learned to ree the mind, lit up society and embrace the ethical and moral responsibilities o a citizen o the woTese are skills that orm the oundation o an active, inormed and engaged citizenryin short, practices o reedom.

When I was oered the opportunity to join the aculty at Grinnell College, a close activist riend and community organizer privately criticime because he believed that I was selling out. Despite my anger at his accusation, I ound mysel contemplating what it would mean or me to in the middle o Iowa, teach at an institution o vast wealth and work with intellectually elite students. My riend and I had both graduated rom Francisco State University, a school that is known or the Tird World Student Strikes in the late 1960s that led to the establishment o the natirst College o Ethnic Studies. We believed that ater graduating we would work or the betterment o our communities in San Francisco. But wI went on to become a proessional academic, I was seen as abandoning the young men and women o the community who could have beneted rmy skills, knowledge and access to resources. What would an exceptionally bright and intelligent student body at a nationally ranked college with

astronomical endowment do with a teacher-scholar-activist like me?My doubts about coming to Grinnell subsided, however, when I learned more about the Colleges values o social responsibility and action, and

strong tradition o sel-governance and personal responsibility. I was encouraged by the Sociology Departments commitment to social justice as was their recognition o the importance o community building. My understanding o a liberal arts education expanded to involve more than the macquisition o learned skills. I now understand a liberal arts education as deeply interlinked with practices o emancipation, justice and democracy.goals o a liberal arts education are empty rhetoric i they do not conront privilege, luxury and apathy head on.

I immediately recalled the words my mentor said to me over twenty years ago, when I was an undergraduate student: You need to step up. Simput, its taking what you learn to the next level. Te easiest part o a liberal arts education is learningit is harder to practice your values, and hardo all to challenge oppression in its many orms. On a campus as idyllic as Grinnell College, there is always a need to step up. I admire the A-JGrinnell and No Limits Project as two examples o stepping up, o taking ones education to the next level. More importantly, these political projeand many others like it, have produced a vibrant discussion about the very essence o emancipation, justice and democracy. Tey asked, What dagency look like at this campus community?, How do we practice reedom? and, nally, How do we urther enhance the possibilities or reedoTese are vital questions that can be asked at any college with a liberal arts curriculum in this nation.

But there is only one reason why anyone would want to raise and attempt to answer these questions at Grinnell College, and that is the shagenuine desire to learn, live and practice reedom. Anything short o that and I dont think you are stepping up.

Joe hilleR

maxwell leung

Thoughts: Two DifferentIdeas on the Liberal Arts

By our own choice, we are all submerged in the liberal artsthey surround and permeate every aspect o our small college experience, rom academic courses to our activist engagements to our artistic pursuits. Tey are inescapable and ever presenteven our residential environmendesigned with the liberal arts in mind. However, despite their overarching supremacy on campus, the liberal arts are precisely what is most liberatabout our Grinnell education.

Te liberal arts are the truest road to what Brazilian educator Paulo Freire calls education as the practice o reedom. It is no coincidence tliberal and liberty share the same etymological root. Indeed, the pedagogy o the liberal arts is a pedagogy o reedomthe reedom to orgunique path through academic disciplines and extracurricular activities, the reedom to continue eisty intellectual discourse late into the night overwith your riend rom down the hall, the reedom to plan activist events with one o your proessors to demand action rom college administrators a

perhaps most importantly, the reedom to dene and give shape to your own particular reedom. Such an educationsuch reedomhas no limMoreover, a meaningully realized liberal arts education is humanizing, enranchising and enormously invigorating. It stands in direct oppositto dogmatic indoctrination and stiing rote memorization, those oppressive educations which limit discourse and critical thought, education tdraws stark lines between teacher, the holder o unquestionable truths, and student, the empty vessel to be lled with the teachers ideas.

Instead, a liberal arts education brings all community members into constructive dialogue and recognizes that all people have something to teand something to learn in the shared, hopeul pursuit o knowledge. Te liberal arts are anti-hierarchical and prioritize no one viewpoint or acadespecialty over anotherthey are empowering and enlightening, marked by open-eyed questioning, rie with intellectual curiosity and interdisciplincreativity. Teir emancipating eects transcend the classroom, lasting long ater the our or more years o undergraduate schooling have ended. Tvalue cannot be overstated.

A liberal arts education is not available to allit remains a privilege o the ew. For this reason, and or the undeniable existence o severe sodisparity and global injustice, the liberal arts cannot be relegated to the hedonistic pursuit o intellectual or social pleasures. It must also emphasinormed action and consciousness, continual reection upon that action to transorm the oppressive reality that conronts us today and to creatbetter world, a world in which all people can realize their ull humanity.

It is the duty o those o us privileged by a liberal arts education to recognize our privilege and to use it or the betterment o ourselves and oworld. Te precise orm that this betterment should take is undetermined. But what better way to understand it and give it shape than through

liberal arts?

8/14/2019 Magazine 1002

20/20

Magazine 1002

Documents

Transcript of Magazine 1002