signed to teach composition, but few are trained to do it. Composition involves things like grammar, rhetoric, and logic, but often composition teachers have not formally studied those things. People applying for positions in composition programs sometimes submit transcripts listing English courses only in literature and literary criticism. If they are hired, they probably are very much at home, since often the people already teaching in those programs have similar backgrounds. Someone who has earned a degree in one of the programs created recently to train college English teachers, rather than to give traditional advanced degrees, is probably somewhat different. Those programs give some attention to composition teaching but often less than you might guess. Recently, there has been some resistance to the apparent excess of literature courses in the preparation of people who become composition teachers. Consequently, a real conflict between Lit and Comp has developed within the discipline of English. Because advocates of traditional literary training for all English teachers have long had command of the English profession, those in the relatively new resistance movement have had trouble

In Simple & Direct, Jacques Barzun, celebrated author and educator, distills from a lifetime of writing and teaching his thoughts about the craft of writing. In chapters on diction, syntax, tone, meaning, composition, and revision, Barzun describes and prescribes the techniques to correct even the most ponderous style. Exercises, model passages -- both literary and unorthodox -- and hundreds of often amusing examples of usage gone wrong demonstrate the process of making intelligent choices and guide us toward developing strong and distinctive prose.

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toward study of language as an autonomous system.1 As a consequence, many linguists make solution of problems within grammar prior to study of problems having to do with use of grammar (which are postponed indefinitely) [p. 40]. Hymes particularly takes Chomsky and transformational generative linguists to task for not recognizing the principle of heuristic priority of function over grammar (p. 45). To Hymes, grammar is a subordinate structure. Consequently, Hymes concludes that linguistics must look to disciplines such as rhetoric for heuristic help. In a little-noticed but important article entitled The Grammar of Coher-

I. Traditional Images of Women Image One: The Wife Little Woman, Sally Benson The Angel over the Right Shoulder, Elizabeth Stuart Phelps Cutting the Jewish Bride's Hair, Ruth Whitman The Bridal Veil, Alice Cary Aunt Rosanna's Rocker, Nicholosa Mohr Migration, Carol Gregory A Wife's Story, Bharati Mukherjee Secretive, Jane Augustine Driving to Oregon, Jean Thompson Facing the Music, Larry Brown Marks, Linda Pastan. Image Two: The Mother I Sing the Body Electric! Ray Bradbury On the First Night, Erica Jong Transition, Toi Derricotte The Mother, Gwendolyn Brooks Pressure for Pressure, Ellen Lesser Expensive Gifts, Sue Miller Daddy, Jan Clausen The Envelope, Maxine Kumin Between the Lines, Ruth Stone I Ask My Mother to Sing, Li-Young Lee Flower Feet, Ruth Fainlight Speculation, Gloria C Oden Girl, Jamaica Kincaid Cihuatlyotl, Woman Alone, Gloria E Anzaldua Dear Toni Instead of a Letter, Audre Lorde Souvenir, Jayne Anne Phillips Bridging, Max Apple Grace, Vicki Sears. Image Three: Woman on a Pedestal Susanna and the Elders, Adelaide Crapsey In an Artist's Studio, Christina Rossetti The Glamour Trap, George Lefferts Pretty, Alta The End of a Career, Jean Stafford Song, William Blake Baby, You Were Great! Kate Wilhelm La Belle Dame sans Merci, John Keats The Loreley, Heinrich Heine Erzulie Freida, Zora Neale Hurston Image Four: The Sex Object The Girls in Their Summer Dresses, Irwin Shaw Brooklyn, Paule Marshall One off the Short List, Doris Lessing The Patriarch, Colette Metonymy, Julie Fay From I Know Why the Caged Bird Sings, Maya Angelou With no immediate cause, Ntozake Shange From Incidents in the Life of a Slave Girl, Written by Herself, Linda Brent [Harriet Jacobs] From The Maimie Papers, Maimie Pinzer Poem about My Rights, June Jordan Image Five: Women without Men Miss Gee, W.H. Auden Bedquilt, Dorothy Canfield Fisher The Women Men Don't See, James Tiptree, Jr Silk-Workers, Agnes Smedley My Lover Is a Woman, Pat Parker Trespassing, Valerie Miner Home, Shirley Ann Grau The Story of an Hour, Kate Chopin The Widow's Lament in Springtime, William Carlos Williams Mourning to Do, May Sarton Old Things, Bobbie Ann Mason. II. Woman Becoming A Prison gets to be a friend, Emily Dickinson Tell Me a Riddle, Tillie Olsen Unlearning to Not Speak, Marge Piercy Seventeen Syllables, Hisaye Yamamoto Three Women, Charlotte Perkins Gilman A Allegory on Wimmen's Rights, Marietta Holley Miss Rosie, Lucille Clifton I Like to Think of Harriet Tubman, Susan Griffin From Work: A Story of Experience, Louisa May Alcott From Gifts of Power, Rebecca Jackson A Person as Well as a Female, Jade Snow Wong Spelling, Margaret Atwood Trifles, Susan Glaspell Diving into the Wreck, Adrienne Rich Hope, Nadya Aisenberg Homecoming, Martha Collins A Woman at the Window, Nellie Wong Present, Sonia Sanchez Beyond What, Alice Walker Three Dreams in the Desert under a Mimosa Tree, Olive Schreiner Woman, Alaide Foppa. Afterword: Writing Images/Images of Writing by Jean Ferguson Carr Suggestions for Further Reading Works Cited in Introductions Works Cited in Previous Editions Reference Works Periodicals Anthologies of Women's Writings Selected Recent Literary Criticism and Theory Acknowledgements Author/Title Index.

For anyone who has witnessed the success of many young men and women who were taught to fail, has watched them lay claim to their talents, meet their commitments and set out with a plan in their minds, the widespread pessimism about whether Open Admissions can work, as they put it, is baffling. Especially baffling is the fact that this pessimism was deep-rooted even before any of the new students had stepped on our campuses. By now, there is a literature of pessimism, a theology-more precisely, a social science-of despair that serves the purposes of those who have already rejected the social policy implicit in Open Admissions. Unfortunately, the debate about Open Admissions has been and is being carried on in the language of those who oppose it: in the alphabet of numbers, the syntax of print-outs, the transformations of graphs and tables, the language, in particular, of a prestigious group of social scientists who perceive through their language truths that even they seem, at times, unwilling to hear, much as scientists of another kind in another

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The goals of this course is to • help students to explore English grammar through a unique ’discovery ’ approach that encom-passes both critical thinking and text analysis • study English grammar from a theoretically/descriptively informed perspective? seek the right balance in our English grammar teaching between theory and practice • help (prospective) teachers to be able to apply this knowledge in various contexts. This course is ideal and useful for those interested in English education/language arts, English as a second language, and linguistics. The class will cover the basic grammar rules and major English constructions. After each chapter, students will have a writing assignment that tests the grammar rules covered in the chapter. Students who successfully finish this course will be able to apply their understanding of grammar structure to the EFL classroom. As usual, this class consists of two class hours as a unit. Students are required to read the main textbooks thoroughly and do exercises as homework. Main Textbook:

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