An Unquiet Pedagogy argues for a new approach to teaching English in the high school and college classroom, one that reconceives the relationship of literacy and the learner. The title is taken from an essay by Paulo Freire in his book with Donaldo Macedo entitled Literacy: Reading the Word and the World. Like Freire, the authors believe that pedagogy must be critical -- that it must examine the assumptions that teachers and students bring to any educational enterprise, that it must take into account the contexts of learners' lives, and that it must question, rather than quietly accept, existing practices. Voices of beginning and experienced teachers are heard often in the book, exploring how such an unquiet pedagogy might come to be. The authors examine the experiences of these teachers, as well as their own, showing how the classroom can become a place of inquiry for both teachers and students and how theory and research that provide an integrated perspective on language, literacy, and culture must inform teaching practice. Their aim is to transform the English classroom into a place where the imagination becomes central and where learners construct knowledge in the development of real literacy.

Introduction The Emotions of Established Writers English Education, Linguistic Thought, and the Cognitive Model of Writing The Psychology of Emotion Operational Framework for the Inquiry The Research Program Study 1: College Writers Study 2: Advanced Expository Writers Study 3: Professional Writers Study 4: English Teachers Study 5: Student Poets Conclusion Bibliography Index

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(especially the reading of literature) has often been justified in the writing classroom because reading gives students something to imitate (see, for example, Miller's Composition and Decomposition and Comley and Scholes's Literature, Composition, and the Structure of English). The text, it is argued, provides a model of effective writing which students can copy, and the process of reading critically, practiced on literature, can become a model of how writers should behave in reading their own work. is thus seen as useful because it models both forms and processes for writers to imitate. But is this kind of imitation how writers really learn to write? Or does imitation in learning actually work some other way? In this article, I'll suggest an alternative understanding of imitation and reading in the writing classroom, and I'll exemplify this alternative using material from a semester-long participant-observation study of a freshman Composition and Reading course. The alternative runs as follows: when a student (or any writer) successfully learns something about writing by imitation, it is by imitating another person, and not a text or a process. Writers learn to write by imitating other writers, by trying to act like writers they respect. The forms, the processes, the texts

Why is it that students seem to improve their texts so often, and desire to improve them more, when they're given nondirective feedback? Why do teacherless writing groups (where the writer gets conflicting responses from readers instead of teacherly direction) lead to more writing? How can Donald Murray (Writer 173) claim to get effective revision from writers in conferences lasting only five minutes? Stereotype of a Donald Murray conference:

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