Oftentimes, we as academics celebrate the successes of a completed work, but there is so much more that goes into a novel, film, or theatrical piece that deserves recognition and discussion throughout the entire creative process. The idea behind this new event stemmed from this notion, that we should be able to acknowledge and engage with the development, experimentation, and challenges that occur along the way, not just the polished final product.

The inaugural event was centered around Dr. Justin O. Johnston’s work in progress, Helio Fictions. The work focused on three theoretical structures: solar punk, solidarity, and declinism. According to Professor Johnston himself, the analysis of each was “part literary criticism” and “part speculative framework.”

He shaped each of the aforementioned literary frameworks as similar genres, each with a different primary focus. The discussion investigated how solidarity explored the energy break as we move on to cleaner forms of energy. Instead of mentioning or focusing on the clean energy revolution, tying those ideas to the incredibly artistic genre of solar punk. Johnston then dug further into Solairty’s socio-economic relevance, mentioning how “imagining the end of the world is easier than planning a better world.”

The feasibility of a better world remained a constant in the discussion, especially when discussing the third and final theme, declinism. Professor Johnston asked the audience how fictions of societal collapse feel far more feasible than ones of progress and how a “medium future” seems like a far more possible future than a happy one. 

The talk ended with an examination of these three themes and their effects on future societal views of utopia, especially with the rising threat of climate change. Professor Johnston’s exploration of these themes and ideas reminds the audience to engage with these utopian and dystopian ideas and analyze them as they parallel our future.

Happiness Gym in Boca Beach: Good News

Professor Ken Wietzman’s “The Theatre of Well-Being” engages with the formation of the Positive Psychology movement to transform decades of research into an experimental, participatory, theatrical event called the Happiness Gym. Its main goal is to foster connection, gratitude, and kindness based on scientific research that promotes and maintains happiness and well-being. After winning the HISB Fellowship award in 2023, Professor Weitzman created a trial run of his event with Stony Brook students, and later had its first professional production in Florida called “Happiness Gym in Boca Beach.” 

Professor Weitzman’s journey to create the Happiness Gym started when he began researching positive psychology and encountered many practices with scientific backing that promote happiness. After attempting to follow them, however, Professor Weitzman encountered a roadblock with these exercises as they started to feel like a burdening to-do list. Upon further research and hypothesizing, Professor Weitzman read that having a prosocial, communal exercise where you practice twice a week, will effectively promote and maintain lasting happiness. This led to his belief that a theatrical event that featured these prosocial aspects would be efficacious. As a result, the Happiness Gym was founded.

Piloted as part of a Stony Brook class in Spring ‘22, the Gym took over three Staller theatres that each had a distinct theme: Good News, Gratitude, and Connection. The first room, the Good News room, involved participants reading a kind story from a piece of paper, and retelling it to other students. This fostered an easy and fear-less social connection because participants would tell stories not about themselves but other people. The Gratitude room contained different stations that all had a unique prompt that participants would answer (e.g. What are three qualities you possess for which you’re grateful?). Students would additionally write a letter

Happiness Gym in Boca Beach: Connection

to someone expressing gratitude. Scientific research states that reading the letter out loud to the recipient would produce the most effective results, but Professor Weitzman set up a more theatrical way to present the letter ‘as if’ to the person (i.e., to an empty chair, to one of the facilitators, in a phone booth, etc.). Finally, the Connection room had pairs of students go back and forth asking and answering thirty questions that got progressively deeper. By the time the exercises were over, Professor Weitzman found that the students didn’t want to leave the room, they just wanted to keep talking with one another. 

The overwhelmingly positive feedback inspired Professor Weitzman to look into professionalizing the Happiness Gym, which eventually led to the world premiere of Happiness Gym in Boca Beach at Theatre Lab, a professional theatre in residence at Florida Atlantic University on April 12. The theatre was set up as if you were walking into a bonfire on the beach, with a propped bonfire center stage, the MC playing the ukulele throughout the exercises and other beach-like props scattered around the stage. 

Hearing Professor Weitzman talk about the Happiness Gym was incredible, and I think necessary in today’s climate. We so often get caught up in the frantic activities of our daily lives that we frequently fail to appreciate the joys of community and connection; even on a college

Happiness Gym in Boca Beach

campus. I would love to participate in a Happiness Gym, and I think the Stony Brook community would greatly benefit from having our own rendition of Professor Weitzman’s Theatre of Well-Being. 

Esmé Warmuth and Vincent van Gogh’s “Starry Night”

Esmé Warmuth is a senior English Honors major currently developing a thesis centered around Dark Academia in literature. With a passion for feminism, queer studies, and the work of Donna Tartt, Esmé’s time at Stony Brook has given her the insight to pursue her research wholeheartedly. 

Talk to me about your honors thesis. 

My honors thesis evolved from me really loving Dark Academia and [that subgenre of] books when I was in high school, especially in the pandemic. As I got older, I still loved the stories, but I began to question the representations of women [within them] specifically. I started to wonder why these books are often so structured with women as objects. My idea evolved from there into a consideration of the genre of literature that falls under the term “Dark Academia” which has become very popular online. I’m considering, first of all, Dark Academia as a subculture, and I’m arguing that Dark Academia is larger than just these works of fiction. Within the Dark Academia aesthetic, there’s a very specific literary subgenre which I am calling, “Tarttian Campus Fiction” after Donna Tartt. I’m further arguing that these books fundamentally involve and center queerness in their narratives. I think part of why they’re so popular and feel so comforting to people is because they are stories about murder and worshipping antiquity, but they’re also stories about spaces in which you could exist as a queer person. The love triangles that exist in all of these stories are examples of mimetic desire (desire of something because it belongs to someone you admire) with the woman being the object that is desired because another man desires it. This is something the theorist René Girard came up with, subject-model-object erotic triangles. What I’m arguing is that in dark academia, Girard’s traditional idea of the love triangle is subverted by the existence of a murder which takes these characters outside of traditional society and allows the subject and model to pursue each other directly, which cuts out the object, the woman, and that creates misogyny in the narratives.

What advice would you give to students who are about to begin their thesis writing processes? 

Definitely make an outline and a timetable. It might not feel necessary, but it definitely is. Secondarily, I would say, if you have an idea about what you want to say, try not to be discouraged or overwhelmed and try in whatever way you can to execute your idea. There are many factors that could lead to you thinking it might be the path of least resistance to compromise or modify your original plan, but if it’s what you think will be best for the thesis, then you should do your best to execute it in that way.

How has being an English major changed your approach to writing? 

I think being an English major has allowed me to understand there is not necessarily a correct answer in this major, at any point. It’s not about the pursuit of a correct answer, but rather, since writing is so inherently driven by emotion, [it] requires a degree of trusting yourself and making [your] point based on what you feel when you read. I feel that the new generation of scholars has to be able to contradict the old generation by realizing that there’s not necessarily one right answer to strive toward.

What advice, maybe from a professor or mentor, has stuck with you throughout your academic career? 

Dr. Tondre and Dr. Scheckel have both at different points [told] me that I should advocate for myself when it comes to my ideas, even if they’re contradicted. When I’ve spoken to them about people disagreeing with ideas I have about literature or scholarship, they have both emphasized to me that if it’s something  I’m writing, that I should continue to advocate for my point. [That advice] has helped me not think of myself so much as a student, even though I am a student, but rather somebody who’s contributing to the field with my research.

Lastly, what are you reading at the moment? 

I just finished the new Hunger Games book (Sunrise on the Reaping). I actually just started re-reading Donna Tartt’s The Secret History. It’s part of my thesis, but it’s something I return to very frequently. Donna Tartt has a quote in The Secret History where she says, “it’s better to know one book intimately than a hundred superficially”, and I do re-read The Secret History a lot. Every time I re-read it, I find something new that I never noticed about it before. It’s amazing, there are so many different lenses you can look at it through. I don’t think I’ll ever catch everything that Donna Tartt is trying to tell me. It never gets old, it’s so good.

On Earth Day, April 22nd, the English Department held a Book Reading for Professor Michael Tondre’s newest work, Oil. Published last year, Oil is an addition to the Bloomsbury Publishing “Object Lessons” series, which aims to delve into, “the hidden lives of ordinary things.” Professor Tondre’s professorship at Stony Brook has incorporated his study of petro-culture and informed students of oil’s omnipresent nature in literature and society.

Professor Michael Rubenstein gave the introduction, noting that he and Tondre not only share a name, but a similar area of study as well. He spoke on his involvement in the first stages of Oil’s production, the two’s subsequent study of the energy regime, eco-criticism, and the overwhelming lens of petro-culture. Oil is a significant departure from Tondre’s first work published in 2018, The Physics of Possibility, which discusses the beginnings of mathematical physics in the Victorian age. However, Tondre has been a petro-scholar for a significant period, having written on the subject for several academic journals as well as focusing on literary ecocriticism as a professor at Stony Brook. Tondre began with speaking on the nature of oil itself, stating it is, “the most important thing in the modern world.”

As an energy source and the most significant contributor to climate change, oil, “created and destroys the world” — however, Tondre’s initial research revealed a significant chasm in petro-scholarship, the study of oil’s cultural impact. Referencing the 1969 film Easy Rider as well as the works of Virginia Woolf, Tondre discussed the near-constant representation of oil in art and literature. Regarding Oil’s cover, Tondre stated his appreciation for the clear imagery of, “hiding in plain sight” as that is analogous to his discussions of petro-culture throughout the text. Tondre went on to discuss Oil’s formatting and his intention to structure the book around the creation, production, and overuse of oil in modernity. He followed this overview by reading from the introduction, with striking lines such as, “oil appears as the raw substance of plurality itself.” He then read from the last chapter, acknowledging the conflicting relationship human beings have with petrol, citing it as an, “unusual love affair.” Despite our collective awareness of oil’s detrimental impact, we cling to it, not only as a resource, but a representation of cultural solace as well. The event ended with a Q&A where Tondre addressed corporate greenwashing, oil’s life cycle being represented in media, petro-capitalism, and his initial source of inspiration, Upton Sinclair’s 1927 novel, Oil! Having the opportunity to attend such an informative and fascinating event, with distinct relevance to Earth Day, was an absolute privilege. Professor Tondre’s attentive work as a writer and professor will always be a source of inspiration to petro-students and readers of Oil alike.

Evelyn Dong is a sophomore at Stony Brook University, majoring in Biology and minoring in English, with an anticipated graduation in Spring 2027. She is especially interested in exploring the intersection of STEM and the humanities, with a focus on bioethics.

What made you choose English as your minor, and what got you interested in the subject, even if it’s not your primary study area?

I first decided to minor in English because I came from an early college high school, so I had some credits that could transfer from the classes I took there. I decided to continue taking English classes at Stony Brook because my high school focused a lot on the humanities, and I thought it could be interesting to continue that trajectory in college. With the credits I already had and the ones I was gaining from taking more courses, it made sense to declare a minor. 

How do you think your English minor connects to your major? Have you noticed any ways that the two work well together or help you understand things better?

There are a lot of ways that Biology and English connect, especially since one of the English classes I’m taking right now is related to the conversation about bioethics and disease in terms of English literature. Both biology and English focus on interdisciplinary studies. It’s exciting to connect STEM with humanities which leads to very interesting conversations.

What’s been the most enjoyable or meaningful part of studying English so far, whether it’s a class, project, or just something you’ve learned along the way?

I think it kind of goes back to what I mentioned earlier; I feel like it gave me sort of a different perspective of looking into a lot of STEM subjects, conversations, especially those about bioethics. I am looking at the conversation from a different perspective and can analyze things I usually learned in a STEM-related area in a more holistic way which is pretty interesting.

Do you have a career in mind for after you graduate? Will your English minor help you, maybe through your writing, communication, or thinking skills?

I’m currently a pre-med student. I’m considering working in health-related fields in the future. I feel like having an English major is definitely helpful in terms of medical school applications. I have learned a lot about writing more personalized statements and have grown in terms of interacting with other people. Having an English minor or just an education in humanity would be helpful in a career as a doctor or in healthcare fields in general.

And finally, what advice would you give someone thinking about adding English as a minor but isn’t sure yet? What do you think they should know before deciding?

Before they decide, I would talk with advisors in the Department of English. All of them are really friendly and willing to help you if you express your interest in minoring in English or even taking some classes. And if you’re not sure, I suggest you take a course you find interesting and then, if you are interested, continue taking more classes.

On April 16th in the Poetry Center, the English Department held a Poetry Reading from Professor Eric Wertheimer’s works Mylar (2012) and Regulus (2018). Though Wertheimer’s scholarship in early and nineteenth century American literature is at the forefront of his work in the academic field, his poetry is an endeavor of artistic and personal expression while taking inspiration from his expertise. With topics ranging from fatherhood, the influence of language, nostalgia, the nuance of consciousness, and our presence on the planet, both Mylar and Regulus have the linguistic and emotional capacity to speak to all readers. 

The event began with an introduction from the Director of the English Department, Professor Benedict Robinson. Quoting Wertheimer’s poem, “Trench”, Robinson referenced the etymology and literary use of the word “planked”, specifically in the work of Seamus Heaney. Robinson introduced the theme of intersections between academic scholarship and poetry within Wertheimer’s works, stating he, “resists the heavy language of the past”, rethinking the legacy of empire and colonialism.

Before beginning to read his work, Wertheimer spoke of the refuge he found within Stony Brook’s English Department as a faculty member and his ability to flourish both professionally and creatively. He began by reading from Mylar with the poem, “The World”, which reminisces on a childhood friend of his who suffered from a tumor. Speaking on nostalgia as well as the brutality that can be present in medicine, Wertheimer’s first reading was enthralling and poignant. The following poems from Mylar focused on Wertheimer’s experience as a father, his children’s first experiences with language and how they added nuance to his understanding of it. Additionally, many of Wertheimer’s poems intersperse imagery referencing all facets of the natural world, bridging the audience’s imagination of the planet with interpersonal relationships.

Wertheimer read interchangeably from both Mylar and Regulus with the spontaneity only a poet could possess. Regulus continues to touch on the themes explored in Mylar in addition to an emphasis on early Western history. Another poem, “Ideology of Sky”, was inspired by the painting “Regulus” by J. M. W. Turner, displayed on the cover and offering the book’s namesake. “Ideology of Sky” references the past and the uncertainty of connection, using natural imagery to do so; this is most clearly laid out with the lines, “At the 15th ecliptic constellation of Babylonia, // where horizons sprout horizons, // the gems ambiguate Carthage; // they guide me to heliacal rising of the // morning, and the slunk storm of your brow”.

The event closed off with a time for questions, where Wertheimer discussed his journey with the act of writing poetry and the events that shifted his perspective on language and history. In response to Professor Robinson’s introduction, Wertheimer spoke on his work within academia as well as poetry, saying both fields allow for completely different methods of expression. I highly recommend reading Professor Wertheimer’s poetry, but in all honesty, nothing will beat hearing it from the man himself.

Dr. Benedict Robinson, Professor of English and Departments of English and Theatre Arts Chair. Dr. Robinson started at Stony Brook University in Fall 2021. His primary specializations are in early modern literature, with interests that include the history of emotion, the history of literary theory, the history of science, and topics related to race and religion.  

Where did you attend undergrad and grad school? What do you think prepared you most to be a professor and, ultimately, the chair of the Department of English?

My undergraduate studies were at the University of Chicago, which I applied to because the train from my hometown went past it. It maybe wasn’t the best reason, but it turned out to be a great place to be an undergrad. Chicago has a reputation for being tough and cultivating a kind of love of misery, but I really enjoyed my time there. I then went to Columbia for grad school, which is when I first came to the New York area, and I’ve stayed here ever since.

As for what prepared me, a lot of things prepared me for becoming a professor. Ultimately, a professor spends most of their life around schools, so kind of everything is training you for that. But becoming a chair—nothing really prepares you for that. You become the chair, and then you try to figure it out. It’s been an interesting experience. As a professor, much of the work is solitary, aside from the time in the classroom; but as chair, you’re involved in meetings and administration. Above all there’s a real sense of responsibility: the things you do, or fail to do, can have an immediate impact on peoples’ lives.

What drew you to your current occupation?

As an undergrad, I was an English major and knew I wanted to be an English major from high school. I thought about other careers, but none appealed to me. Going to law school seemed interesting, but I couldn’t see myself actually being a lawyer. I initially thought I would focus on late-20th-century fiction. But I took a required class on literature between 1500 and 1700, which focused on Renaissance poetry, and I found it weird but compelling. The professor was inspiring–Douglas Bruster, now at UT Austin–and that led me to keep exploring. In grad school, I became more focused on Shakespeare and drama, because that was the emphasis in that department. Ultimately, a fascination with the subject and the joy of engaging with it drove me.

What classes have you taught at Stony Brook? Do you have any favorites?

I’ve taught a wide range of classes at Stony Brook, primarily in my area of specialization, but I’ve also taught other classes, including a 100-level film class that I now teach with some regularity. Film is a significant interest, and I’ve studied it in different contexts. It’s interesting to me as an entirely different medium from literature that nevertheless you can approach in the same basic way as, say, poetry or drama: the starting-point for me is always thinking about what the medium makes possible, what the tools are that it gives anybody working within it. At Stony Brook, there’s a fair amount of freedom to teach what you want, and I enjoy learning things both within and outside my specialty. I think as a teacher you have to keep learning, too. I wouldn’t say I have a clear favorite, but at the undergraduate level, I’ve been focusing on 100- and 200-level classes in recent years, like the one you took with me (EGL 205). Many students are not English majors, so you have to teach a little differently. It means engaging a wider audience. I take the work of refining core courses as a challenge: I never teach these classes the same way from year to year; I’m always trying to think about what I can or should do differently, whether that means changing the readings, changing the assignments, changing how I present material, and so on. I don’t think I’ve gotten it absolutely right yet, but I’m working on it.

Many New York residents view Stony Brook as strictly a STEM school. Do you think the English department is making enough strides to change that perception?

We’re aware of that perception and trying to change it. The administration is also very conscious of the need for all fields to be supported, including the humanities. There’s a desire to ensure that all students are supported in their academic pursuits. But there’s probably more we as a department can do to shift that perception. Our department, and the humanities in general, could benefit from increased visibility.

Do you hope to see any specific changes at the university level that will help change people’s perceptions of Stony Brook?

One big change recently is the arrival of Alyssa Bergman, who focuses on communications, programming, and outreach for the department. She’s been instrumental in several initiatives that will make a big difference in terms of our visibility. We’ve been doing good work in the department, in terms of teaching, research, and creative activity, but haven’t always been great at  communicating it. Alyssa’s efforts will help make what we do more visible to the university and the community.

We’re also currently doing a comprehensive review of all our programs, evaluating both undergraduate and graduate offerings. Professor Scheckel is leading a committee that’s looking at the undergraduate BA and the minors; Professor Cabat is leading another committee that’s reviewing the English Education program; and with the help of the Graduate School, we’ve hired a consultant (Katina Rogers) who is reviewing our graduate programs, both the MA and the PhD. We’re striving to ensure that our students receive the best education possible and that we’re preparing them for the world as it is now, not as it was when I was an undergrad, a million years ago. All of that is really exciting, and I hope the changes we’re making will lead to a stronger future for the department.

Film Screenings Amplifying Authentic Immigrant Experiences via Drama come at a time when the immigrant voices have been ruthlessly silenced. The Humanities Institute at Stony Brook alongside Department of English Assistant Professor Neisha Terry Young are working to amplify those silenced voices, trying to dissolve social and political barriers. The discussion pushed for the idea that by fighting this anti-immigrant rhetoric, we create a safer environment for not only immigrants but also Americans.

The experience was held on April 8th in the Humanities Institute. It featured experts from several fields of study, bringing graduate and undergraduate students together. The event showcased Voice, a 2023 film that described and portrayed several immigrant stories from around the U.S., showcasing the difficulties of immigrant life through immigrants themselves. The presenters emphasized the importance of immigrant perspectives rather than someone else simply detailing those points of view.

After the film, each speaker opened the floor up for questions, many of which highlighted the dangerousness of the current rhetoric and view toward immigration as a whole. All of them, however, stressed the importance of not losing hope despite the harsh circumstances the country is facing.

Though times may seem bleak, hope is our most important resource in these trying times. Protesting, signing petitions, and demonstrating allyship toward immigrant communities are more important now than ever. By connecting with those diverse communities, we can better understand the immigrant experience, allowing nonimmigrants to further their stories and aid with the issues affecting their communities.

Nadine Jamora

Nadine Jamora is only a freshman here at Stony Brook, but the connections she’s making have already had lasting impacts on her academic and professional journey. As the President and Founder of Journal at Stony and an intern for the Humanities Institute, Nadine plans to use what she’s learned through her experiences on campus to someday teach at a college level, inspiring future generations of English students. 

What made you pursue English as a major? What’s the most fulfilling part of your major?

I don’t know when exactly I realized what books can do, and how far a reader can travel into herself and outside of herself. But ever since I was young, I’ve always gravitated towards books. My parents have been very supportive. My mom used to bring me to the bookstore every Sunday after church and it’s a hobby I’ve kept and enjoy doing. . English was also my favorite school subject growing up, but I chose to pursue English as a major for a reason more than my love of books and literature. . There is a quote that my EGL204 Professor, Katherine Johnston, said that really stuck with me; she said that there is creative reading as well as creative writing, and I think I’m a creative reader. I love analyzing books. Once I read a book and get into the analysis, my world opens up. Everything in my life gets more textured and I start connecting things together. The English major  makes my life more meaningful and allows me to be intellectually curious and ambitious.

What is the biggest difference you’ve seen from your time in high school and being in college?

I get to focus a lot more on my interests now that I’m in college versus when I was in high school, but the things I learned in high school undoubtedly shaped my understanding of what I know now. It truly set the foundation for my academic journey. I had an amazing high school experience, actually. It’s a part of the reason why I decided to study English. I’ve always had great English teachers. 

Are you involved in any extracurriculars/jobs/internships at SBU? 

I am a member of the English Department’s Advisory Council and President and Founder of Journal at Stony, a club dedicated to providing access to wellness journaling. We’ve built a community of students who are passionate about journaling, scrapbooking, and letter-writing. I’m also an intern for the Humanities Institute at Stony Brook (HISB) with Dr. Scheckel and Adrienne Unger. I conduct marketing and interviews with visiting scholars and artists. I recently interviewed a Professor from Columbia two weeks ago, and I really enjoyed it. 

What has been your favorite class that you’ve taken so far? 

I would say EGL204 with Professor Katherine Johnston. I learned the foundations of literary analysis and she’s really inspired me to teach at a college level someday. I also took British Literature, EGL205, with Professor Robinson which is one of my favorite courses. I like that I was able to take it in my first semester at Stony Brook because it was a great transition from highschool to college. His whole class told a story in a way because the literature was all interconnected with one another. It made me realize that I chose the right major.

What’s been the most interesting thing you’ve learned either from any of your classes or your time as an English major?

Right now I am taking EGL311, Literary or Critical History, with Professor Koski, and we’re learning a lot about posthumanism, postcolonialism, and post-structuralism. It’s helping me a lot with my other classes as well. I’m able to make connections by using what I’ve learned in this class to concepts outside of English.

Alyssa Pascocello

Alyssa Pascocello is an honors student, Assistant Copy Chief for The Statesman, and a student teacher preparing to graduate in May. Months after finishing the thesis writing process, she is just as passionate about uplifting feminist literature as well as her students.

What were the most challenging and most fulfilling aspects of writing an undergraduate thesis? 

If I had to choose two words that best reflected what the thesis writing process was like, I would say both laborious and rewarding. I constantly found myself struggling with time management as well as re-organizing the ideas that were frequently popping up in my head. Nonetheless, I would say that it was equally, if not more gratifying because I was able to bridge my research interests in feminist and literary theories with my career aspirations. The crux of my thesis concerns the intersections between critical consciousness pedagogy and new historicism, which is a literary theory that examines how the cultural forces at work during a text’s literary production influences its overall content. In addressing how new criticism, which is the de facto norm for literary approaches and interpretation in the secondary classroom, has contrasting attributes compared to new historicism, I championed a critical pedagogy in the 11th grade English classroom that allows students to develop and practice critical consciousness skills while consuming early modern literature.

How did your thesis topic change over time, and why? 

I would say that the largest change I made was in regards to the texts that I chose to work with. Originally, I was planning on comparatively analyzing two proto-feminist tracks written by early modern writers Moderata Fonte and Lucrezia Marinella of the Italian Renaissance. However, midway through the thesis writing process, I ultimately chose to swap Marinella’s tract with William Shakespeare’s Twelfth Night. I felt compelled to make the change because of how cemented and dominant Shakespeare continues to be in 21st century curricula. Critical consciousness can allow students to develop the necessary cognitive skills to “read the world” and more importantly, see themselves reflected back in the literature they consume. In considering how students, especially today, will encounter assimilationist paradigms and fail to connect with the literature that they are exposed to, especially some works of classical literature, I was concerned with how reading early modern literature through a critical new historicist lens can positively benefit students who struggle to see the benefits of reading Shakespeare and other foundational authors.

What drew you to become an English teacher? 

Originally, I never wanted to be an English teacher. It was not something I felt a genuine passion for until much later in life. However, I have always loved being a student and I have always really connected with and felt like I benefited from being a lifelong learner, both in and outside of the classroom.  I could say that my interest in pursuing a career as an English teacher can be traced back to my first time watching the 1989 film Dead Poets Society. Even though I already knew I loved English as a subject and reading diverse perspectives, I knew then and there it was important for me to establish a classroom that was both academically rigorous and rewarding. Watching how the brilliant Robin Williams connected with each of his students academically and personally, I felt compelled to do the same, but in my own fashion. I immediately felt driven to pursue this as a career and make a positive difference in the lives of kids who need a presence like his to encourage and challenge them on the day-to-day.

How has student teaching been so far? 

I honestly feel very fortunate to have had a wonderful experience thus far and I’m not even a full two months into the student teaching practicum. My cooperating teacher is accommodating, resourceful, and beyond understanding and the kids are an absolute delight to work with. I’ve known student teachers in the past that had cooperating teachers who ran a tight ship and allowed for very little input or modifications on their lesson plans, so I feel incredibly lucky to have an amazing mentor. It’s infinitely better than I could’ve ever imagined and it is so liberating to be doing meaningful work while forming personalized connections with my students. I will miss them so much when graduation rolls around in May.

Lastly, what are you reading at the moment? 

On a classroom level, we recently completed a mini-unit on J. K. Rowling’s Harry Potter and the Sorcerer’s Stone. They also did a comparative analysis assignment which put the book and the film into conversation with each other. On a leisurely note, I recently started reading Joseph Campbell’s Goddesses: Mysteries of the Feminine Divine. I was already familiar with Campbell’s past works, namely The Hero with a Thousand Faces and The Power of Myth, so I’m excited to see the journey he takes me on.