Continuity and Its Conundrums

A great joy came to me yesterday: copies of Volume 7 of Contrariwise arrived in the mail! That this philosophy journal, which I founded with my students at Columbia Secondary School in 2013, still thrives almost a decade later, would be astounding in itself; but even more wondrous is the Contrariwise spirit coursing through it, a combination of probing, humor, beauty, challenge, and whimsy.

I left Columbia Secondary School in June 2016 to write my second book; at the time I had no idea that I would be coming to Hungary a little over a year later. Leaving did not mean breaking all ties; I have stayed in contact regarding Contrariwise, the Orwell project, and more, and have kept in touch (more or less) with certain individuals. What I didn’t know was that going away would actually make for a new connection with the school. Nine of my students at the Varga Katalin Gimnázium have pieces in this issue; the Orwell project, for its part, brought students from both schools together for joint online classes. In other words, a break can allow for an unexpected continuity.

Continuity, on the whole, seems more responsible, more honorable than breaks, but a person needs both (and maybe the situations do too). I have been wondering lately why I feel busier than in past years, even though the past five years have been intensely busy. The reason is that responsibilities and projects accumulate. There’s teaching, and along with it, Folyosó and the Shakespeare festival; there are the synagogue responsibilities; there’s a large translation project; there’s my writing and music; there are associations such as the ALSCW; and then there’s life itself, which deserves a bit more than an afterthought. All of these have been with me for a while, but not necessarily all at once. Last year at this time, I was focused on putting the Pilinszky event together, and after that, on preparing all the details for the trip to the U.S. in October for the conference on “Setting Poetry to Music.” I was so focused on these that the daily preparations seemed like nothing. But they also took over for a while; once they were over, I had some catching up to do in other areas.

Once in a while a person has to drop something: not abruptly, if that can be avoided, but with advance notice and planning. This might disappoint, but there’s no point in living to please others. There is honor in bringing joy to others, fulfilling responsibilities toward others, or best of all, making it possible for them to do something they couldn’t otherwise have done. But pleasing others can lead to the opposite of honor; you become merely an instrument of something others want.

Behind every project, there is a person with thoughts, hopes, health, sickness, dreams, disappointments, meals, travels, sleep. No one knows what lies beneath a seemingly ordinary life; no one knows, either, when this same life will rear up. Everyone has muffled rhythms, ineffable proportions; no one can know another’s, let alone judge them.

Folyosó, Contrariwise, and Whimsy

In the Second Anniversary Issue of Folyosó, which came out yesterday, there is a section of short pieces inspired by Richard Brautigan’s Trout Fishing in America (an excerpt of which the students read in class). That is, the pieces use the phrase “trout fishing in America” in any way they please: to refer to an object, an action, a place, a person, a concept, or something indeterminate. It’s one of the most peculiar assignments I have given, but the results are delightful. The students understood the possibilities and took them in all sorts of directions.

Here is Hédi Szabó’s “A Good Feeling” in full:

The sunshine was lighting up the whole coffee shop. Delightful weather like this brings an awesome mood to everyone. This morning, our coffee shop was completely full of people who just wanted to enjoy what a lovely time we were having. Everyone was sitting outside the cafe bar. We had a busy morning. Just brew and brew the dark caffeine-full drink, we haven’t got a calm three minutes. But of course this is what we love the most. For a minute I just thought about how I’m living the life that I’ve always imagined for myself. I was deep in my thoughts when suddenly I realized somebody had come up to the counter. For a moment I felt a bit embarrassed, because I didn’t know how long she had been waiting for me. With a smile, I asked what she wanted to drink. She told me she wanted to order a drink which was suitable for “trout fishing in America.” At first, I thought I had heard it incorrectly. But she repeated it. I started to panic a little because I started to overthink it. Is this a phrase that I don’t know? Is she kidding me? Is she just bad at English? Everyone could have easily said about me that I was really confused. So fortunately, she quickly explained it to me. Trout fishing in America is a feeling you get when you are happy for no reason. Nothing special has happened to you, you just have the feeling your life is good the way it is. You can literally smile because you are satisfied with things around you at the moment you are in. After that guest, my life changed, to put it bluntly. Every time I feel unreasonably happy, I say I’m feeling “trout fishing in America.” I wish for everyone to feel “trout fishing in America” more often.

I think back on Contrariwise and its beginnings. Eight years ago we celebrated the first issue with a whimsical event at Word Up Community Books in Washington Heights, NYC; the celebration included readings, “empirical Shakespearean experiments,” spontaneous jokes, surprises, moments of solemnity, a song, and even a cake with the image of the journal on its surface.

Perhaps there’s a common thread here. I think most people would call me a serious person, but I never saw a contradiction between seriousness and playfulness. Or rather, I think they need each other. One of the reasons that I didn’t go into academia was that in academic settings, playfulness, when it did occur, was so contained, cautious, and tame (with just a few exceptions). People weren’t willing to risk their professional image by being wholeheartedly silly. But silliness requires full spirit. It loses life when reduced to a limp chuckle. Now, I am not silly most of the time, nor is Folyosó. But Folyosó makes room for silliness, and I hope it always will. The same goes for Contrariwise.

Silliness of a certain kind can make room for a greater seriousness. Letting yourself play with possibilities, you sometimes hit upon something nontrivial.

There is so much unstated pressure, not only in academia but elsewhere, to be one thing or another: silly or serious, academic or non-academic, happy or sad, progressive or conservative, etc. I have never fit, or wanted to fit, such limiting classifications, and I challenge them without even thinking about it. It’s important to know that you don’t have to be or do just one thing.

As so often happens in the morning, I suddenly have to hurry, so that will be all.

CONTRARIWISE Continues!

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Way back in the spring of 2014, the first boxes of CONTRARIWISE arrived at Columbia Secondary School. I was on alert for the shipment–but when it came, I would not open a box; I wanted to wait until the editors in chief were available, so that they could do the honors. I remember standing nearby as they cut the box open (with a key, I think, or maybe with scissors) and took out a volume–elegant, crisp, and colorful. All the work that had gone into this journal was now in their hands. The rest of the day was filled with signings, distribution of gift copies, sales, congratulations, exclamations.

Soon they received their first review: “NYC Techie Kids Buck Trend, Take On Humanities,” by Cynthia Haven. In May 2014, we had our first CONTRARIWISE celebration, at Word Up Books in Washington Heights. I have a short video of the part where I sang the “Contrariwise song“–based on the Major General’s Song–which I had written just for the event. (Thanks to Mr. Gerald Pape, who shot the video.) After the song, the editors in chief close out the ceremony, and a member of the audience–then in sixth grade–reminds them, “You were supposed to answer my question about time.”

That audience member is now in twelfth grade and—for the second consecutive year–one of the editors-in-chief of CONTRARIWISE. I just received a message from him that the sixth volume is at the printer–to be released very soon–and that the contest and writing prompts for Volume 7 are now available. I will copy the prompts below in just a moment. Right now I am contemplating what it took, from many people, to keep the journal going and lively all this time. I initiated it and was the faculty advisor for its first three years. Then Kim Terranova advised it for two years, and then John Beletsky stepped into the role. There have been four pairs of editors in chief: Ron Gunczler and Nicholas Pape, Kelly Clevenson and Alan Rice, Zosia Caes and Melany Garcia, and the current editors, Amogh Dimri and Theo Frye Yanos. In addition, CONTRARIWISE has had an editorial board throughout its history–students who read, discuss, and select submissions, judge the contests, help with sales, and plan events. Beyond that, CONTRARIWISE has been enlivened by its readers–people who buy copies, read them, enjoy them, and maybe even submit an Infrequently Asked Question or two (or five or ten).

Here are the new prompts and submission information, courtesy of the editors-in-chief. Everything except for the first one (the National Contest) is open to high school students around the world. Submissions must be in English. The new deadline is January 20. The information will soon be up on the CONTRARIWISE website (which will be restructured as well as updated, according to my sources).

National Writing Contest (select one) — for students in the U.S.

  • How should crimes be punished in the ideal society, and should they be at all? What is the purpose of “punishment” — an act of enforcing individual justice, or of maintaining the cohesion of the broader society? You may relate your argument to history or current legal systems as well if you would like. (Below is a scenario that might inspire you along this line of thinking.)

    • You have been accused of a high-profile crime, but you have no memory whatsoever of the time you supposedly committed it. Moreover, none of your friends or family believe it is possible that you could have done it because they know you to be a very good person. Supposing that you did actually do the crime, should your punishment be any less?

  • Write about an idea that is impossible for humans to understand or a problem that is impossible for us to solve.

International Writing Contest (select one) — for students outside the US

  • Why do we laugh? Can all the causes of laughter, varying from dark humor, to simple gags, to tickling, all be explained by one theory? In whatever sense you take it, what is the purpose of laughter?

  • Can violence be justified to achieve political ends? If so, why, and to what extent can it be used?

Writing Open Call — for all students

  • Write whatever you want!

Remember, your submissions for the writing contests or open call can be in whatever form you want: reflection, short story, poem, dialogue, letter, or whatever else you can think of! Feel free to take the prompts in whatever way you are inspired to!

Art Contest — for all students

  • Many artists use abstract or surreal art forms in order to express philosophical ideas, purposefully subverting the confines of the real. Make a piece of art that does this. (Below are two ideas that might inspire you on the ideas of surrealism and abstraction.)

    • Surrealism — French writer André Breton: “The purpose of surrealism is to resolve the previously contradictory conditions of dream and reality into an absolute reality, or super-reality.”

    • Abstraction — Vietnamese monk Thích Nhất Hạnh: “The secret of Buddhism is to remove all ideas, all concepts, in order for the truth to have a chance to penetrate, to reveal itself.”

Art Open Call — for all students

  • Make whatever you want!

Cover Contest — for all students

  • For this year’s cover contest, draw two abstract representations of non-mammal animals. Other than this guideline, be as creative as you want. Preferred width-to-height ratio is 2 : 3.

All submissions are due on January 20, 2020.

  • For writing, please share a Google Doc with editors@columbiasecondary.org. Do not forget to put a title and write out your full name as you want it to appear (or say that you would like it to be published anonymously).

  • For art, if it is digital please send an email with the file to editors@columbiasecondary.org, or for CSS students you can also give physical art to Prof. Beletsky, Theo Frye Yanos, or Amogh Dimri in person, or put it in Prof. Beletsky’s mailbox.

Don’t forget to credit any inspirations or inclusions of other works in your submission! (That is, cite sources and quotes, and credit any works that inspired or contributed to your own work.) An added comment from Diana Senechal: Borrowed/adapted art and photographs can lead to tricky copyright problems (and, in some cases, hefty fees). It’s better if your art is entirely original–that is, created from scratch, not a digital adaptation or direct copy of someone else’s work. But if you do adapt someone else’s work in some way, please provide the source, so that the editors can look into the copyright issues. As for writing, cite your sources accurately and thoroughly.

I hope many students in Hungary–and Turkey and around the world–submit their work!

eb meeting october 2015

Image credits: The photo at the top was taken by Shirley Reynozo at the inaugural CONTRARIWISE celebration on May 18, 2014. The video was recorded at the same celebration by Gerald Pape. I took the second photo at a CONTRARIWISE editorial board meeting (in October 2015).

Celebrating CONTRARIWISE from Afar

Vol 5 CoverIn honor of today’s CONTRARIWISE celebration at Book Culture in New York City, I thought I’d post a partial review of the fifth issue–partial in the double sense of “biased” and “fragmentary.” It’s biased because I served as faculty advisor for the first three issues; fragmentary because I will comment on only a fraction of it. What a beautiful, playful, inquisitive volume, and what a joy to see CONTRARIWISE continuing onward!

It has many traditional CONTRARIWISE features and touches: the cover art, a Cast and Crew section, the Infrequently Asked Questions, the contests, certain topics and forms, and the Index of Essentials, and others; each of these comes across in a fresh way. The pieces make you laugh, pause, read slowly, think, and return.

Jeanyna Garcia’s “Cooking à la Buber” relates cooking to Martin Buber’s idea of the I-Thou relation. “As weird as it may sound,” she writes, “if there isn’t a special attachment between you and the food, or if there isn’t diligence while you are preparing the food, then you might as well be cooking something inedible.”

In “The Story of Envy,” a dialogue that takes place over the years, Theo Frye Yanos (who has contributed to every issue of CONTRARIWISE) takes up tensions between parent and child, longing and limitation, consolation and truth. The piece begins, “Once there was a child. The child was named Envy, and all they wanted was to have a big, colorful house with lots of flowers.” Growing older, more mature (or immature?), and more stubborn, Envy longs to be understood rather than wished away.

Natalie Schmit’s “From Folly” not only made me roar but captured something of the texts in question. She wrote the piece for an assignment: students had to imagine a conversation between characters in writings they had read in philosophy class that year. The resulting epistolary exchange (between Desiderius Erasmus’s Folly and a character from Nikolai Gogol’s “The Nose”) includes this letter:

Dear Folly,

I asked you not to write to me again. But your thoughts are too serious to ignore. First, how dare you speak of my daughter like that!? She will have a proper marriage to a nice bureaucrat with a nose! I surely have no idea what this “joking” business is. I only have joked one singular time in my life. I do not have any more time for this nonsense. I have more important things to do. Additionally, I have come to suspect this may be sedition? I don’t know, but I want nothing to do with it!

Goodbye forever (for real this time),
Madam Alexandra Grigoryevna
P.S. Do NOT refer to me as Alex!

Speaking of Russian literature, another of my favorites is Melany Garcia’s essay “The Underground Man: Philosopher or Angry Middle-Aged Man?” She argues that Dostoevsky’s Underground Man is not a philosopher; unable to “move forward in understanding his opinions,” he “simply rants and rambles on about them.” That seems believable on the face–but what makes this piece stand out is its keenness. The author examines some of the passages where the Underground Man verges most closely on philosophy–and shows how he stops short or veers off.

I almost forgot! Another favorite is Mario Pereira’s “Logos at Thanatos,” where Aristotle enters a classroom in the Underworld and finds Socrates giving a lesson to a corpse. It begins:

Socrates: And so, only philosophers have the knowledge to divine the forms.

Corpse: Of course.

This reminds me of the old days of CONTRARIWISE, except that it’s different. Of course a corpse says “of course”–but no corpse has done so before, at least not here. There’s a verbal justice to it; the right thing gets said by the right character (to the right character–what do you say to Socrates but “of course”?) at the right time.

Speaking of justice, this year’s international contest, which involved imagining justice as a building, brought in a wealth of pieces. I have previously mentioned the winnersBarnabás Paksi, Hakan Urgancıoğlu, and Gábor Medvegy–but the editors chose to publish additional entries, and with good reason. They are fascinating and different from each other.

The journal takes immense work: planning the issue, announcing contests, inviting and collecting submissions (including art), reviewing them, choosing them, contacting the authors, editing the selected pieces, putting them in layout, designing the cover, proofreading, proofreading again, proofreading still again, sending everything off, waiting, receiving the copies, selling them, planning events, holding them, planning for the next year, and, in addition to all of this, sending out announcements, maintaining the website, updating the Facebook page, handling the finances, finding ways to sell more copies and raise money, updating the documentation, and, alongside everything, delving into topics and texts, thinking about the philosophical ideas themselves.  It “speaks volumes” (five, in fact!) that those now in charge of the journal have given it so much care and thought.

As I promised, I have covered just a fraction of the fifth issue. You can read the rest on your own; that’s better than reading about it! To all those involved in today’s event–which begins in about 20 minutes–I wish you a joyous occasion. Here are a few photos from CONTRARIWISE events of yore.

 

 

 

“Lights, lights, lights”

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The Shakespeare event took place yesterday: beautiful performances, a full house, a feeling of excitement and pride. I am still gathering my thoughts–and hope to gather some more photos and videos, since I was too focused on the performance to take very many, and most of the ones I did take were from the back of the room.

Just minutes before the performance, we faced a big technical problem: whoever had shut down the Technika Háza earlier in the day had also shut off all the lights. To turn the lights on, you need not only access to a special room but knowledge of its location. This, apparently, is a carefully guarded secret. At last one student–the one who had helped me ask the drama teacher for additional props–managed not only to get on the phone with someone who had the information, but to persuade this person to disclose the information to him. Ten minutes before our show, we had lights, and everything went gloriously from there. Fittingly, the last words of the performance were “Lights, lights, lights” (from Hamlet).

Congratulations and thanks to everyone–including the audience–who made this a gracious and moving occasion. I will say more later.

Speaking of events, this Sunday in New York City there will be a CONTRARIWISE celebration at Book Culture! If there were any way for me to attend, I would, but given that I teach on Monday, it’s too far away. It will be in my thoughts, and I will take part of that day to write and post a little review of the fifth issue.

Update: I added a video and two photos to this piece after posting it.

Birches and Books

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William Blake got something right in his ruminative “Auguries of Innocence“:

The Princes Robes & Beggars Rags
Are Toadstools on the Misers Bags
A Truth thats told with bad intent
Beats all the Lies you can invent
It is right it should be so
Man was made for Joy & Woe
And when this we rightly know<
Thro the World we safely go

What a strange and persistent poem; it seems like a long procession of lanterns. I think of it in light of the sad international news of the past few weeks, the joys in my life, the mixture of meanings everywhere.

Today many students were out of the classroom, attending a special event, so I took my eleventh-grade classes to the park, where we went in different directions, looked at something for five minutes, and then converged again to show each other what we had seen. In one session I found roses blooming upward; in another, a weeping birch in the wind.

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During this time, things have been coming along with the book, which now has a jacket design:

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To top it all off, or to lift it up from the foundation, the CONTRARIWISE copies arrived here in Szolnok today! A copy goes to each of the contest winners from my school, another one to the school, and one to me. CONTRARIWISE prevails. I will say more soon.

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Happy Volume 5, CONTRARIWISE!

VOL 5

Last Thursday I received word that the fifth issue of CONTRARIWISE had just arrived at Columbia Secondary School! Soon we will receive copies here in Szolnok. At that point I will have more to say; for now, congratulations to the writers, editors, faculty advisor, and everyone who brought this about. The journal thrives.

As many readers know, Barnabás Paksi  (Varga Katalin Gimnázium, Szolnok, Hungary) won first place in this year’s CONTRARIWISE International Contest; Gábor Medvegy (also from Varga Katalin) shares the second place with Hakan Urgancıoğlu (Sainte Pulchérie Lisesi, Istanbul, Turkey). Their pieces appear in this issue.

There will be a CONTRARIWISE event at Book Culture (536 112th St., New York City) on Sunday, June 3, at 3 p.m. If you are in the vicinity, go! It’s an incomparable experience. Here are photos from the 2014, 2015, and 2016 events (at Word Up, Bowery Poetry, and Book Culture).

Springtime in the Mind

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When you’re surrounded with a language that you’re learning, there comes a “springtime” when it starts opening up all over the place–where everything around you starts to make sense in greenings and unfurlings. So  yesterday, at the store, when the grocer asked me “még valamit?” I didn’t just figure out his meaning from context, as I have done so many times; I understood the words themselves. (“Anything else?–or, more literally, “More something?”) This is happening not just once in a while, but all over the place, throughout the day; while I still understand less than half of what I hear (maybe a fifth to a fourth), the amount increases by the minute.

Spring is here in more ways than one. Over the past two days I have seen kids kayaking on the Zagyva (alongside a coach in a quiet motorboat).

Also, spring can lead to springs. One challenge in a new country is figuring out where to get specific things you need, such as nails, which I needed to mount my Chas. Fischer Spring Co. hat rack on the wall. But in springtime, you find yourself ambling around instead of just heading straight home; and so, biking this way and that, I found a little gardening store with hardware supplies. Delighted, I bought some nails. Here is the hat rack (with one of the springs showing).

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And Pesach is just two days away… I will get to celebrate it at Szim Salom in Budapest–such a happy and profound holiday, and such a great way to celebrate it here.

Speaking of the near future, the forthcoming issue of CONTRARIWISE will come forth in four weeks or so; according to inklings and industry rumors, it will be gorgeous. More about it when it appears.

But back to springtime in the mind–there are times when one finds oneself in intense mental activity, thinking about all kinds of things, working on big and small projects, and listening to music, literature, and everyday speech.  This is usually true for me, but lately especially so. I like this way of life, especially when I can also take off on the bike. But the mind needs its other seasons too; each one brings something that the others cannot.

I thought the phrase “the mind has its seasons” might be a cliché; but then I couldn’t remember hearing it before. Looking it up, I found few occurrences: one in an interesting passage in Sarah Ellis’s Temper and Temperament (1846). I won’t quote it here; the quote would need to be too long.

But why would such an expression not be a cliché? People think in terms of moods, it seems, but not mental seasons; there’s little acceptance of the idea that the mind might need something other than constant, untrammeled growth and productivity. The thoughts grow even when they do not–but growth is not the only good of life. If all we could do was grow, we would become impossible monsters–where even our little toe would crush our best-laid plans. No, the mind needs not only growth; it needs “that other fall we name the fall.” It needs, moreover, something beyond its needs.

 

Ellenkezőleg

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Life here in Szolnok gives me lots to ponder. For example, I pass by the word gépkölcsönző and ask myself, what could that mean? I look it up and find out that it means “tool rental shop”–a place to remember, as I might need a drill one day.

I learned today that a possible Hungarian word for “contrariwise” (congratulations again to the international contest winners!) is ellenkezőleg. This came from a visit to the bookstore, where I found and purchased a Hungarian translation of Through the Looking-Glass. This means a translation not only of “contrariwise,” but of “Jabberwocky“!

Nézsonra járt, nyalkás brigyók,
Turboltak, purrtak a zepén,
Nyamlongott mind a pirityók,
Bröftyent a mamsi plény….

I started reading and could not resist skipping ahead to Tweedledum and Tweedledee (Subidam és Subidu), the White Knight (a Fehér Huszár), and other favorite characters and parts. I look forward to reading it in and out of sequence.

I started writing an quasi-absurdist mini-play in faltering Hungarian (something to do when you don’t know much of the language), but haven’t gotten too far yet, since I have so much else to do. Here’s the opening dialogue. The characters’ names,  inspired by various travels, are Vasútállomás and Pályaudvar (Train Station and Railway Station).

Vasútállomás: Tovább?
Pályaudvar: Tovább.
Vasútállomás: Kártya van?
Pályaudvar: Van.
Vasútállomás: Egy ember azt mondta, hogy…
Pályaudvar: Mit?
Vasútállomás: Valami csengő. Nem tudok semmit.
Pályaudvar: Győződjön meg arról.

Vasútállomás: Természetesen. De nincs időm.
Pályaudvar: Vár a buszra?
Vasútállomás: A busz gyakran megáll itt. De ez nem bizonyít semmit.
Pályaudvar: Miért ne?
Vasútállomás: A bizonytalanság kissé boldoggá tesz.
Pályaudvar: A boldogság néha kissé boldoggá tesz.
Vasútállomás: Az igaz. Viszontlátásra!
Pályaudvar: Miért viszlát?
Vasútállomás: Nem tudok annyit magyarul folytatni ezen a ponton.
Pályaudvar: Ó, már értem. Viszontlátásra.
Vasútállomás: Úgy beszélsz, mint egy igazi pályaudvar.
Folytatjuk.

 

CONTRARIWISE Congratulations

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The CONTRARIWISE editors-in-chief have announced the results of the 2017–2018 international and national contests! The winning pieces will be published in the fifth issue of CONTRARIWISE, to be released this spring. Congratulations to all.

International Contest

First Place: Barnabás Paksi (Varga Katalin Gimnázium, Szolnok, Hungary), Bug in the System

Second Place (tied): Hakan Urgancıoğlu (Sainte Pulchérie Lisesi, Istanbul, Turkey), White on the Outside; and Gábor Medvegy (Varga Katalin Gimnázium, Szolnok, Hungary), My Journey in the Justice Institute

National Contest

First Place: Amogh Dimri (Columbia Secondary School, New York, United States), The Trial of Sibling Envy

  • “Setting Poetry to Music,” 2022 ALSCW Conference, Yale University

  • Always Different

  • ABOUT THE AUTHOR

     

    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In April 2022, Deep Vellum published her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.

  • INTERVIEWS AND TALKS

    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.
     

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.

  • ABOUT THIS BLOG

    All blog contents are copyright © Diana Senechal. Anything on this blog may be quoted with proper attribution. Comments are welcome.

    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

    When I revise a piece substantially after posting it, I note this at the end. Minor corrections (e.g., of punctuation and spelling) may go unannounced.

    Speaking of imperfection, my other blog, Megfogalmazások, abounds with imperfect Hungarian.

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