Writers often create content to uncover the truth, clarify confusing topics, correct misconceptions, and share compelling narratives.
–Lynn Z Bloom, “Living to Tell the Tale:
The Complicated Ethics of Creative Nonfiction”
As a mother of a beautiful 3-month-old, I face the challenge of my son refusing to nap during the day unless held, leaving both my husband, Robbie, and me exhausted While he can fall asleep in our arms or during a dance with Robbie, he wakes up as soon as we try to lay him down Balancing household responsibilities, caring for our son, nurturing my marriage, and working on my thesis has become overwhelming This thesis, which I began over a year before meeting Robbie, has turned into what feels like an endless project.
Elliot, our son, is a joyful and healthy baby, but he suffers from a condition known as "silent reflux," which causes discomfort without the typical symptoms of spitting up This condition, characterized by stomach acid moving up and down his esophagus, causes him pain, and while we are fortunate to have received a diagnosis, it’s challenging for us as parents Robbie tries to comfort him, but the situation is difficult to manage while I focus on my thesis, making it hard for me to concentrate and write effectively.
With tear-filled eyes, Elliot finds a moment of calm as the reflux eases I seize this opportunity to share my progress with Robbie.
I explain to him that I’m working on the history section of my paper and that I fee; unsure whether my sentences made any sense
My writing was convoluted and messy, leaving me feeling embarrassed When I asked for feedback, Robbie suggested that I should start with the historical context and provided a sample sentence to guide me It was a simple yet effective idea that I wished I had thought of sooner!
To comprehend the significance of memoir in composition pedagogy, it is essential to explore the historical context of academic discourse and the integration of personal narratives into scholarly language and teaching practices.
I read it aloud to him
“Sounds good, but shouldn’t you take out ‘we’?” Robbie asks as he repositions Elliot in his arms
My first thought is, but this thesis is about the personal I look at the sentence again
“No,” I say, “I’m speaking with my audience Besides,” I add, “this thesis is about the personal, I should be able to use ‘we,’ don’t you think?”
Elliot starts to cry again, prompting Robbie to join him as they walk down the hall This movement around the house serves as a distraction for Elliot, helping to ease his pain and provide some comfort Meanwhile, I take a moment to gather my thoughts and begin writing.
As a student influenced by traditional educators, I often instinctively write in the first person; however, I've learned that using first-person perspective in academic essays is generally discouraged This approach is believed to render my writing subjective, which can diminish its credibility and the impact of my voice on the audience.
Many students naturally express themselves through first-person writing, which can pose challenges in academic settings Therefore, educators must guide these students in transitioning to a more objective writing style Interestingly, some of these students later become writing instructors, who, with sincere intent, emphasize the importance of moving away from personal narratives in essays This shift is crucial for preparing students for the demands of academic writing in college, where understanding the conventions of academic discourse is essential for effective communication with an academic audience.
In my thesis, the most significant academic paper I've ever written, I opened with a personal story to address the importance of personal narratives in academic writing This moment prompted me to recognize how deeply ingrained it is for both Robbie and me to exclude ourselves from our writing, particularly in high-stakes academic contexts Robbie, a fellow teacher and skilled writer, attempted to assist me by suggesting I eliminate the inclusive "we" from my work, advocating for a more detached writing style we were taught in school.
In exploring the role of memoir in composition pedagogy, it's essential to acknowledge the evolution of academic discourse and its integration of personal narratives While a more objective approach may seem appropriate, it often lacks the personal touch that fosters connection between the writer and the reader My name is Melissa Lee, and I aim to create an engaging experience through my thesis, inviting you to share in my academic journey By incorporating personal stories, I hope to establish a meaningful connection, allowing you to carry a piece of my narrative with you as you delve into this work.
Humans are inherently drawn to storytelling, as highlighted by Gian S Pagnucci in *Living the Narrative Life*, where he states that personal narratives help us connect our knowledge to our understanding, giving meaning and significance to our experiences These narratives create a space for scholarly engagement, allowing us to contextualize our thoughts and share them with our audience By doing so, we reclaim our agency, presenting our knowledge in a relatable manner that resonates with both ourselves and our audience.
This thesis explores the integration of memoir within the composition courses of three writing instructors, highlighting that their inclusion of personal narratives is influenced by the broader curriculum of the composition program Despite this mandate, each instructor values memoir differently and employs unique methods to teach it, reflecting their individual pedagogical choices The chapter provides an overview of the historical context and ongoing debates surrounding personal narratives in composition, emphasizing the growing significance of memoir in educational practices and curriculum development.
To grasp the significance of memoir in composition curriculum and pedagogy, it's essential to explore the historical context of academic discourse and assess the integration of personal narratives into composition scholarship and teaching practices.
In the mid-1800s, American scholars, influenced by Reason and the Enlightenment, embraced the academic discourse style prevalent among German scholars Candace Spigelman, in her article “Argument and Evidence in the Case of the Personal,” highlights the significance of adopting this established writing style during that era.
I even heard the other day as I walked down the hall, “I just don’t understand why we have them write memoir.”
The inclusion of memoir and personal narrative in composition curricula elicits mixed reactions among scholars and instructors While Patricia A Sulivan embraces the value of this expressive form, Gary A Olson criticizes it as a misuse of valuable class time In contrast, Wendy Bishop argues that memoir's creative nonfiction offers a unique and reflective foundation that enhances the composition course experience Consequently, the perceived contribution of memoir to composition pedagogy varies significantly based on individual perspectives.
This chapter delves into the pedagogy surrounding personal narratives and the role of memoir in composition studies It aims to integrate scholarly viewpoints on personal writing and memoir as forms of creative nonfiction This synthesis sets the stage for Chapter 4, which will examine the teaching methods and justifications of three University of Central Florida instructors in their Composition 1 courses focused on memoir.
As a graduate teaching assistant for Composition 1, I learned that our curriculum mandated the teaching of four essential essay types: memoir, commentary, review, and argument While I understood the relevance of commentary, review, and argument, I struggled to see the significance of memoir in this context It appeared that the curriculum designers valued memoir for reasons I couldn't grasp, especially since I believed that students' future academic writing would primarily stem from textbooks and lectures rather than personal experiences.
My composition students were taken aback by the memoir writing assignment, despite having shared their life stories since kindergarten through storyboards and drawings They felt that memoir writing was a less serious task compared to the more academic aspects of writing they anticipated learning in class Many viewed my course as a mere introductory experience, believing that the real challenges would come in Composition 2, while some questioned my qualifications as a graduate teaching assistant Standing in a dilapidated portable classroom, I faced twenty-two skeptical students, unsure of how to effectively teach them about memoir writing.
At the time I understood that I was required to teach memoir, but I didn’t understand why
While I believed that teaching research and academic essay writing was more crucial, I focused on delivering my memoir lessons to the best of my ability, keeping my thoughts to myself My commitment was to teach all four types of essays effectively.
I used John Trimbur’s textbook, The Call to Write, to help shed light on the essay’s significance and nuances In his memoir chapter titled “Memoirs: Recalling Personal
Trimbur highlights that the motivation to write memoirs stems from a deep-seated desire to document personal histories and understand how individual lives connect with significant public events.
By revisiting past experiences and examining their importance, memoirists can recognize the consistencies and changes in their lives, acting as both participants and observers This process allows them to interpret these events, providing them with structure and meaning.
In memoir writing, characters, or "participants" as defined by Trimbur, serve a dual role as both subjects and the audience, uniquely engaging with the narrative They observe events as they unfold and actively interact with the themes being explored This reflective writing demands an analysis that is not only intimate but also meaningful, ensuring a deep connection between the writer and the subject matter.
I didn’t realize this at the time, but teaching memoir in composition gives students an
Many students are taught to write essays without truly engaging with the material, leading to uninspired work They are encouraged to think critically but often feel disconnected from their own writing, as if the essays do not belong to them This lack of personal investment results in a failure to connect with their audience, ultimately diminishing the impact of their essays To foster more meaningful writing, students should be encouraged to draw from their own experiences and insights, allowing them to take ownership of their work.
Wendy Bishop advocates for incorporating personal narratives into composition courses, arguing that this approach re-engages writers with their texts In her article “Suddenly Sexy: Creative Nonfiction Rear-Ends Composition,” she critiques the traditional focus on academic essays, noting that composition has increasingly narrowed its scope to teaching students how to write effective "school" and "research papers." Bishop highlights the reluctance to embrace personal narratives within this framework, emphasizing the need for a more inclusive approach to writing instruction.
In our educational approach, we focused primarily on exposition and argument, while narration and description were relegated to creative writing This shift led to the exclusion of essential forms like business writing, reporting, and technical writing, resulting in a diminished essay format Consequently, we ended up with a type of writing that was neither personal, due to its simplicity and risks, nor professional, because of its complexity, but rather an academic style limited to school assignments and research papers.
College curricula shape the expectations and trends for high school writing programs, guiding high school teachers in their efforts to prepare students for writing at the community college and university levels.
Teaching memoir in college composition presented a unique challenge for me, as I initially resisted the idea, viewing it as a radical approach Despite my theoretical objections, I recognized the necessity of incorporating memoir into my curriculum While I acknowledged its value for creative writing, I struggled with its relevance in a composition course, feeling that my students should focus on more traditional academic essays that addressed pressing issues.
My perspective on memoirs in creative writing—viewing them as reflective and expressive rather than as mere academic writing—clouded my understanding of their importance in teaching personal composition (Bishop 265) I struggled to justify the inclusion of memoir in the curriculum, especially when compared to traditional staples like research papers and argumentative essays, which typically receive more focus and energy.
I knew what I had to do I had to alter the assignment somehow Make the memoir assignment more relevant, which in my mind meant making it about more than just memoir
I developed an innovative idea that combined hands-on creation of visual rhetoric with the memoir writing process, which I shared with Dr Martha Marinara, the Director of our Composition Program Together, we refined this concept into the "Visual Memoir Project," where students proposed and created visual art representing key moments in their memoirs, wrote their memoirs, and analyzed their creative process This assignment was successfully implemented in our Composition 1 classes that semester.
Introduction to The Memoir Assignment
In 2005, the University of Central Florida (UCF) was a smaller institution, with its Composition Program serving thousands of undergraduate students each semester During the 2003-2004 academic year, UCF enrolled 7,636 freshmen, who boasted an average high school GPA of 3.68 These students achieved average SAT scores of 592 in critical reading and 609 in math, resulting in a combined total of 1201.
Although memoir is no longer a requirement in UCF's Composition Program, it was actively taught in all Composition 1 courses during my data collection for this thesis Composition 1 serves as the initial course aimed at developing essential writing skills for undergraduate students, preparing them for diverse writing tasks at the university level The program's emphasis on memoir and personal narrative creates a unique opportunity for in-depth study of this genre within the context of composition.
Composition Program is also a particularly interesting case because all of its composition instructors, in spite of their stances on memoir, were required to teach memoir in their
Composition 1 classes This meant that regardless of the instructors’ beliefs about memoir— from positive to negative and everywhere in between—they were all teaching memoir to their students
Below is the UCF Composition Program’s official memoir assignment used during the time I collected data for this study:
Learning objectives for this assignment include the ability to:
• Select and order events into a narrative
• Construct and convey the meaning of a clearly significant moment in your life
Assignment Write an essay in a personal voice that recreates a particular experience
Incorporate narrative techniques and sensory detail as well as dialogue, characterization, thought passages, and flashbacks
The assignment’s objectives provide a foundational framework for teaching memoir, focusing on key elements such as audience, voice, narrative, and meaning This straightforward approach enables instructors to design memoir assignments that align with both the program’s goals and their specific class needs Such flexibility is beneficial, particularly for educators who are passionate about memoir writing or possess the skills to implement it effectively in their teaching.
Composition 1 classes And this is where professional development comes in
If instructors do not recognize the value of memoir within the course curriculum, the assignment may be perceived as a simplistic icebreaker rather than a profound analytical exercise This lack of emphasis can lead to a disparity in grading, where students might earn "easy A's" for uncritical essays in some classes, while in others, they must work harder for high marks on critical analyses Ultimately, the effectiveness of memoir as a teaching tool hinges on the instructors' perspectives and approaches to the genre.
Regardless of how one views memoir, the rubric helps to maintain a certain level of writing on par with the other three core essays The following is a description of UCF’s
Composition Program’s official memoir essay grading rubric used during the time I collected data for this study:
According to the memoir’s rubric, the students must be mindful of four criteria:
An outstanding memoir is characterized by four key criteria: Content/Organization, Diction, Sentence Structure, and Grammar/Conventions While these criteria apply to other core essays, those typically include a research component A strong memoir demonstrates a well-defined topic, clear significance, and insightful idea development through effective narrative techniques Additionally, it maintains consistent focus and features graceful transitions throughout the text.
Effective diction involves compelling word choice and insightful figurative language Thoughtful sentence structure is essential, as it emphasizes rhythm and pace to engage readers Additionally, mastery of grammar and mechanics is crucial, resulting in compelling prose with minimal errors.
The focus of my study is to explore how instructors in a large composition program interpret and value memoir in their teaching, rather than analyzing their reception of the assignment and rubric This inquiry is particularly intriguing given the open and straightforward nature of the assignment and its objectives, which allows for diverse creativity and personal interpretations among instructors.
To explore the promises and problems in the implementation of memoir, I have interviewed three (3) UCF composition instructors who value teaching memoir in their
Composition 1 classes I chose instructors who were interested in memoir because that is what interested me
I chose to highlight three instructors—Jim, Laura, and Mike—who have dedicated significant effort to crafting effective memoir assignments and possess strong teaching methodologies in memoir and composition To maintain their anonymity, I have assigned each instructor a pseudonym.
Jim, a composition instructor at UCF for over five years, emphasizes the significance of Composition 1 and Composition 2 as potentially the only writing courses his students will encounter in their college journey He values the creative writing aspect of memoirs and motivates his students to take risks in crafting their memoir essays, which serve as their initial writing assignment.
Laura, a composition instructor at UCF for over five years, has a passion for teaching writing and a particular affinity for memoir She considers memoir to be the most challenging of the four core essays in her Composition 1 classes, which is why she often chooses to teach it last.
Mike, a composition instructor at UCF for over five years, emphasizes the importance of memoir in his courses He believes that teaching memoir is crucial for developing students' voice, understanding the value of personal experiences, fostering audience awareness, and honing revision skills This foundational approach prepares his students for more academic essays later in the curriculum.
I have transcribed and summarized interviews for this study, creating case studies that analyze how instructors value and interpret memoir and its objectives These case studies were utilized to investigate four key research questions.
• Why do these instructors teach memoir?
The official memoir assignment outlines memoir as a personal narrative crafted in an individual voice for a specific audience, aiming to convey the significance of a personal experience This framework serves as a guide for instructors, who must lead students in writing their memoir essays Based on discussions with educators, the approaches to teaching memoir differ; some instructors choose shortcuts, others create unique paths, while many adhere to established methods Each of these approaches offers students distinct learning opportunities in the memoir-writing process.
The article explores the motivations behind teaching memoir writing among instructors, questioning whether their reasons align or differ It seeks to uncover the overarching rationale for including memoir in curricula and investigates how variations in standard assignments reflect individual teaching philosophies and experiences Additionally, it examines how instructors adapt the memoir assignment to align with their personal beliefs and pedagogical practices.
• What can this tell us about memoir and the personal in composition?
To effectively analyze the pedagogical choices behind teaching this essay, it is essential to first comprehend the underlying reasons for its inclusion in the curriculum By exploring the motivations for its selection, I aim to gain deeper insights into the educational objectives and methodologies employed in the teaching process.
What are the instructors’ approaches to memoir?
In an exploration of the promises and challenges associated with memoir implementation, I interviewed three UCF composition instructors who incorporate memoir into their Composition 1 classes These instructors were selected for their appreciation of memoir as a valuable teaching tool.
In this chapter, I will discuss three instructors—Jim, Laura, and Mike—who have dedicated significant time to crafting their memoir assignments, utilizing established pedagogies and methodologies To maintain their anonymity, I have assigned each instructor a pseudonym.
Jim comes across in my interview as an easygoing kind of instructor He calls memoir his
Jim’s “anti-freak out essay” serves as a gentle introduction to college composition, catering primarily to freshmen with little writing experience He aims to create a safe environment where students can engage with progressively challenging writing tasks By incorporating memoirs as practical essays, Jim helps students ease into more complex writing scenarios His approach emphasizes collaborative learning, peer revision, and writing workshops, fostering a supportive atmosphere among classmates This peer-driven audience is perceived as more forgiving than traditional academic audiences, allowing students to take creative risks and explore their writing more freely.
Jim considers memoir writing to be a simpler task compared to commentary, review, and argument essays, as it allows students to explore a familiar subject: themselves To assist his students in crafting their memoir essays, he requires them to read a chapter from John Tribur’s *The Call to Write*, which includes four short memoir examples: Gary Soto’s “Black Hair,” Annie Dillard’s “Throwing Snowballs,” Tariq Ali’s “An Atheist Child,” and a selection from Harvey Pekar’s *American Splendor* Students then draft their essays, engage in workshops with Jim and their peers, and compile their work As Jim puts it, “Voila—there’s their memoir essay.”
Jim values memoir as a teaching tool in his course, despite his uncertainty about its initial inclusion in the UCF Composition Program's curriculum He recognizes that this ambiguity may contribute to his students' confusion regarding its relevance However, Jim has successfully integrated memoir into his curriculum, witnessing its positive impact on student engagement and confidence He believes that starting his course with argumentative writing, as some instructors suggest, could overwhelm his students, hindering their writing development at a crucial time By prioritizing memoir, Jim fosters a supportive environment that encourages students to build their confidence and improve their writing skills.
The instructor prioritizes teaching memoirs before other essay types to connect with students through a personal and relatable genre This approach encourages students to express themselves, gradually guiding them to write commentaries and reviews that challenge their comfort zones Ultimately, this method paves the way for them to tackle the academic essay with greater confidence.
In "Living the Narrative Life," Gian Pagnucci highlights a prevalent teaching approach where instructors, such as Jim, start composition courses with personal narrative essays and gradually progress to more argumentative writing This method emphasizes the importance of personal storytelling in developing students' writing skills.
Many introductory composition courses begin by having students write personal essays before progressing to more complex and significant research papers.
Jim understands the intentional design of his course, which starts with memoir writing and culminates in an argumentative research paper He explains that this structure facilitates a gradual integration into the discourse community, contrasting it with a more abrupt approach of beginning with an argumentative essay, which would be akin to throwing students into the deep end without preparation.
He emphasizes the importance of teaching students to master dialogue, description, and figurative language, as these skills enable them to challenge conventions in commentary, review, and argument writing By incorporating these techniques, students can invigorate their essays and avoid the common pitfalls of dull writing.
Teaching memoir as the initial essay in his course allows students to engage in a heavily-weighted assignment without the pressure, as the familiar reflective writing style disarms them This strategy minimizes resistance and fosters a comfortable learning environment, enabling students to transition from informal writing to more academically rigorous essays, such as commentary and argument Jim values this approach because it exposes students to the creative writing genre, which they may not have previously encountered, while also addressing their reluctance towards traditional college essays that require them to explore topics beyond their personal interests.
Memoir writing uniquely encourages self-reflection, which Jim believes captivates his students and boosts enrollment in his composition course Anne Ruggles Gere, in her essay “Revealing Silences: Rethinking Personal Writing,” highlights the allure of personal narratives, suggesting that both educators and students are drawn to the intimacy of sharing life experiences Jim notes that while his students often find memoir writing enjoyable, they also perceive it as less challenging compared to other assignments He aims for them to grasp the purpose of memoir writing, although he senses that many do not fully appreciate its significance Nevertheless, he believes that the narrative skills acquired through memoir can enhance their future writing across various contexts Ultimately, Jim feels that even if his students don't comprehend the educational rationale behind memoir in the curriculum, the valuable lessons they learn are what truly matter.
Jim highlights that many students enter his class with preconceived notions about college writing, often expecting to produce impersonal, complex essays They are typically surprised when their first assignment requires them to write about themselves He observes that these students believe effective academic writing must exclude personal voice and rely on overly sophisticated language, making it difficult for the audience to comprehend.
Jim encourages his college students to incorporate the first-person perspective in their argumentative writing, illustrating this with a personal example about parking issues at UCF He emphasizes the importance of sharing personal narratives to enhance the emotional appeal of their arguments Drawing from their memoir writing experiences, students become more skilled in articulating their stories Jim considers memoirs as superior tools for teaching composition, preferring them as the initial essay type over social commentary, reviews, or traditional arguments He guides his students to write essays that resemble narrative fiction, utilizing elements like scene, description, and dialogue to create authentic connections with their audience, ultimately making the writing about their real-life experiences.
In his exploration of self-writing, Jim highlights a key point from Philip Lopate's article, “Curiouser and Curiouser: The Practice of Nonfiction Today,” which discusses why students gravitate towards narrative nonfiction Lopate asserts that students are attracted to this genre not only due to their familiarity with storytelling but also because they write about their own experiences, allowing them to engage with their reality more confidently than with imaginary narratives This writing perspective is rooted in clarity and a strong belief in their understanding of the subjects they address Additionally, the similarity of the tools they use for sharing knowledge with those found in narrative fiction enhances their comfort and proficiency in this form of writing.
Initially, I believed my thesis on memoir and personal narrative in composition would be straightforward However, throughout my research and writing process, I discovered that memoir pedagogy is much more complex and intriguing than I had anticipated.
Through my interviews with instructors, I discovered three key insights about teaching memoir in a mandated curriculum First, many colleagues may lack interest in teaching memoir Second, even those who recognize its value in composition may have differing goals and often incorporate a personal sub-curriculum that influences their approach to memoir This suggests that memoir can serve as a means for instructors to engage with topics they are passionate about Lastly, I found that teaching memoir is inherently complex; to effectively incorporate it as both an intellectual and creative writing exercise, we must respect its intricacies and clearly communicate our pedagogical intentions to students.
Laura reflected on overhearing an instructor express confusion about the inclusion of memoir writing in the curriculum, stating, “I just don’t understand why we have them write memoir.” She recalled how, at a national conference, other educators dismissed the idea of memoir entirely, asserting, “Oh, we don’t even have memoir It’s not part of our curriculum.” This rejection of memoir writing deeply resonates with her and continues to trouble her.
Laura recognizes the immense value of memoir as a crucial component in teaching composition, while others, equally intelligent and dedicated to effective pedagogy, struggle to understand its inclusion in the mandated curriculum Some educators dismiss memoirs altogether, stating they wouldn’t consider incorporating them into their composition programs.
Laura seemed to have this rather uncomplicated way of viewing instructors with regard to how they viewed memoir Throughout her interview she tended to see instructors as either
While many instructors advocate for the inclusion of memoir in composition courses, their interpretations and approaches can vary significantly Just because an educator acknowledges the value of memoir does not guarantee a shared understanding of its potential or the best methods for teaching it Therefore, it’s essential to approach the teaching of memoir with a nuanced perspective, recognizing that some may not see its broader implications Even among those who appreciate memoir's role in composition, there may be complexities that are overlooked This highlights the need for a thoughtful examination of what it truly means to "get" memoir in an educational context.
The debate surrounding the use of memoir in composition classes reveals that instructors have diverse perspectives, making it clear that their support or opposition cannot be simplified to a matter of understanding The complexities of memoir pedagogy suggest that valuing or dismissing its role in composition involves nuanced considerations beyond mere comprehension.
Before my study, I resonated with Laura's perspective, recognizing that advocates for memoir in composition were few I believed those who valued memoir shared my view on its significance, and I was confident that my thesis would articulate the compelling reasons for integrating memoir into composition, allowing us to advocate passionately for its importance in the field.
My exploration revealed unexpected findings about the use of memoir in composition courses While each instructor shared a common understanding of memoir's value, they applied it differently for personal objectives Some of these approaches did not effectively support the argument for enhancing memoir's role in composition, leading to a messy and inconsistent application of this genre in teaching.
Despite all three instructors being required to teach memoir as part of the program's curriculum and expressing it as their favorite essay, only two were genuinely motivated to do so This discrepancy led me to question my assumption that a preference for teaching memoir indicated a strong commitment to its role in composition pedagogy This realization challenged my previously simplistic understanding of how memoir is perceived and taught by composition instructors.
The three instructors, while passionate about teaching memoir, did not prioritize helping their students consistently write exceptional memoirs Instead, they viewed memoir as a means to an end, using it to explore and teach other subjects.
The motivations for teaching memoir varied among the instructors Jim viewed memoir as a dual-purpose tool that fostered a writing community among students and enabled him to teach creative writing within a required course Laura, while seemingly focused on memoir, aimed to help students delve into social epistemic rhetoric and express their voices in significant essays Meanwhile, Mike utilized memoir as a foundational essay to emphasize the importance of voice, audience-awareness, and revision, preparing students for more challenging writing tasks later in the semester and beyond.
Despite their commitment to grading memoirs and supporting student success, the instructors found that the true value of memoir in composition lay not in students' polished writing, but in its versatility This adaptability allowed them to create a unique space for their teaching priorities while engaging with a deeply personal essay Memoir enabled these educators to focus on what they valued most in writing instruction This perspective explains Jim's ambivalence toward memoir as a genre despite it being his favorite essay to teach, Laura's enthusiasm for exploring personal and social rhetoric through memoir, and Mike's belief that memoir is the ideal starting point for his course.
Teaching memoir in composition is more complex than it initially seems, highlighting its multifaceted nature The unique qualities of memoir, which allow it to transcend traditional boundaries while maintaining its distinct identity, suggest that it deserves a more prominent role in the composition curriculum.
Promise of the Memoir Essay as Sub-Curricula in College Composition Pedagogy
Instructors often use memoir essays as a means to convey deeper lessons that resonate with their own experiences, rather than solely focusing on the traditional aspects of memoir writing found in composition courses While the conventional reasons for teaching memoir, such as commentary, review, and argument, are acknowledged, it becomes evident that an underlying sub-curriculum influences their pedagogical choices This additional layer significantly shapes how instructors approach their courses, suggesting that the teaching of memoir serves a more complex purpose beyond its surface-level objectives.
Jim enjoys teaching memoir in his composition classes, viewing it as a gateway to creative writing He believes memoir's significance lies in its ability to make elements like scene creation, narration, and dialogue relevant and engaging for his students He sees his course as a unique opportunity for students to write creatively, guided by a teacher, which may be their last chance to do so in their academic journey While students often perceive memoir as a simple personal essay and an icebreaker, Jim uses it to prepare them for more complex writing genres that will follow later in the semester.