This book presents nuanced small-scale studies and reflective essays, and is about voices of contemporary grandparents and grandchildren living in the State of Hawai'i which is rapidly going through economic, social, educational, and cultural transformation ushered in by forces of globalization and McDonaldization of society.
Hawai‘i is generally known as a great tourist destination that is no less than an imagined paradise. Hawai‘i is more than solely a site for tourism; it has a culturally and socially diverse population, and has a contested social history. In this context, in a deeper sense, the book gives the reader glimpses of family members at the level of intimacy among themselves in their place based situated interactions in today’s Hawai‘i. In its real essence, this book is an authentic collection of research papers, short stories, anecdotes, memories and reminiscences; of
aloha (love, compassion, kindness) and
mahalo (thanks, respect, and praise); of longing and search for legacy by diasporic elders, immigrants, settlers, American citizens, hyphenated Americans, Native Hawaiians and Pacific Islanders; by grandparents and grandchildren of diverse and multiple ethnicities, cultures, and races who have struggled hard through many decades to make Hawai‘i their permanent and beloved home and place, or long-term residence to live and raise their families.
The set of self-narratives in this book may have significant implications for understanding the process of aging in the State of Hawai'i; for social aging is both an individual and a social process in the sense that an individual’s biography is intimately related to her/his society’s biography. For “doing” roles such as being grandparents and grandchildren are heavily defined and structured by prevailing social and cultural processes.
The book may be useful for educators and students who are working and studying in areas such as education, sociology of family, social work, local and global social change, indigenous cultures and societies, alternative modernities and indigenizing social movements, race and ethnic relations, settler societies, social justice, health care, social gerontology, diaspora and immigration studies, and those working with youth in communities.
The Daddies is a love letter to masculinity, a kaleidoscope of its pleasures and horrors. The question “Who’s your Daddy?” started showing up in mainstream cultural references during the 1990s. Those words can be spoken as a question, or a challenge, as a flirtation, a joke, or a threat. It’s all about inflection, intention, and who’s asking. Apparently, we have so much shared cultural meaning about “Daddy” the speakers and listeners can simply intuit meaning and proceed to laugh at the joke, or experience the shame, as appropriate. But who is Daddy in American culture? The Daddies aims to find out more than who – but how the process of knowing Daddy can prompt readers to know themselves and their society. This allegory about patriarchy unfolds as a kinky lesbian Daddy/girl love story. Daddy-ness is situated in all people, after all, and we each share responsibility for creating a fairer world.
The Daddies can be used as a springboard for discussion in courses in sociology, gender and women's studies, cultural studies, sexuality studies and communication. As a work of fiction,
The Daddies can also be enjoyed by general audiences.
A rich array of social and cultural theories constitutes a solid foundation that affords unique insights into teaching and learning science and learning to teach science. The approach moves beyond studies in which emotion, cognition, and context are often regarded as independent. Collaborative studies advance theory and resolve practical problems, such as enhancing learning by managing excess emotions and successfully regulating negative emotions. Multilevel studies address a range of timely issues, including emotional energy, discrete emotions, emotion regulation, and a host of issues that arose, such as managing negative emotions like frustration and anxiety, dealing with disruptive students, and regulating negative emotions such as frustration, embarrassment, disgust, shame, and anger. A significant outcome is that teachers can play an important role in supporting students to successfully regulate negative emotions and support learning.
The book contains a wealth of cutting edge methodologies and methods that will be useful to researchers and the issues addressed are central to teaching and learning in a global context. A unifying methodology is the use of classroom events as the unit for analysis in research that connects to the interests of teacher educators, teachers, and researchers who can adapt what we have done and learned, and apply it in their local contexts. Event-oriented inquiry highlights the transformative potential of research and provides catchy narratives and contextually rich events that have salience to the everyday practices of teachers, teacher educators, and researchers. Methods used in the research include emotion diaries in which students keep a log of their emotions, clickers to measure in-the-moment emotional climate, and uses of cogenerative dialogue, which caters to diverse voices of students and teachers.
ReView is an anthology of plays committed to social justice and grounded in socially-based research. These plays-as-research aim to provide a space for readers to imaginatively engage with multi-layered social issues in cultural, political and historical contexts; or to re-view personal and social assumptions in these contexts. The characters within the anthology’s pages struggle through complex relationships and differing needs related to ageing, sexuality, homophobia, race, gender, class, bullying, discrimination, as well as hope, joy and humour. This unique anthology assembles strong cross-disciplinary projects moving beyond the attempt to explore complex social issues from the standpoint of a single discipline. Collaborators range from education, equity studies, theatre and performance studies, public health, nursing, sociology, recreation therapy, and health studies, as well as being both academics and practicing artists. Each play includes an academic introduction and each artist-researcher team poses thoughtful, open-ended discussion questions to help guide readers and support reflection. This collection can be read purely for pleasure, or used in courses that address education, sociology, women and gender studies, equity studies, cultural studies, communication studies, performance and theatre studies, language and literature studies, disability studies and health studies.
2017 Le Prix Patrick O'Neill Award through the Canadian Association for Theatre Research
If the Truth Be Told: Accounts in Literary Forms plays with the sense of truth. It is composed of six chapters, “Childhood Dangers,” “Relational Logics,” “Jesus Chronicles,” “Criminal Tales,” “Aging, Illness, and Death Lessons,” and “Telling Truths.” Each chapter includes fictional and nonfictional accounts, including poems, stories, monologues, short dramas, essays, creative nonfiction, and mixed genres, to address each chapter’s subject. Pieces are based on the author’s personal experiences, newspapers accounts, and purely fictional accounts (all revealed in an appendix at the end of the book).
Moving through the book from beginning to end, readers may or may not know whether they are reading a nonfictional or fictional text. Pelias intentionally subverts assumptions readers may have in reading the different pieces in order to blur the boundaries of what counts as evidence, what might be accepted as truth, what might be of use in everyday lives. In this vein, Pelias invites readers to consider what they value and why. As an engaging compilation of literary works, this book can be read by anyone simply for pleasure.
If Truth Be Told can also be used in any number of college courses in communication, creative writing, cultural studies, ethics, narrative inquiry, philosophy, psychology, sociology and qualitative inquiry. The book includes an extensive appendix with general and chapter-by-chapter discussion questions.
Winner!Emerging Artist Award (Literature) from the 2015 Cleveland Arts Prize (May 2015)
Blackeyed is a collection of plays and monologues. The topics covered in the book include housing and foreclosure, suicide, assault, mental health, the Black male experience, and more. The book intersects with critical race theory because the majority of this work positions race at the center of the experiences of the fictional or fictionalized characters. Embedded in these chapters are the interweaving of personal and ancestral stories, news reports, informal conversations, observations, interviews, and online research expressed in language unapologetically Black, critical, reflexive, and proud.
Blackeyed can be used as a class text in theatre, education, creative writing, communication, women’s studies, sociology, and African American studies undergraduate and graduate courses. It can also be used by theatre practitioners, including actors and directors, working in community, regional and national theatre settings. Individuals including qualitative researchers interested in exploring more affective possibilities or arts-based researchers can also read this collection as an example of methodological exemplar. Finally, anyone interested in the Black experience as well as the specific topics covered in this book can read this collection of plays as one might read a collection of short stories.
Weems’ resonant poetic voice shines through the characters in bursts of dialect and nuance. Human conflict, racial undertones and the struggle for civil and human rights reverberate. If one were to attempt to connect with a glimpse of the lives of African Americans in this country absent from classroom history books and the limited cinematic mainstream depictions, Blackeyed is perfect starting point. In all of its admitted “messiness”, it provides context, perspective, form and substance. Through it all, the spirit of cultural authenticity is woven through the fabric of these narratives, perhaps unbeknownst to its author, connecting the DNA of the ancestors who planted the seeds of exposition in a griot long before her awareness of their existence. In the Now, they are undoubtedly marveling at the flower that blooms much to the delight of those exposed to its hauntingly tragic beauty." - Vince Robinson
Dr. Mary Weems exhibits her best writing through monologic and poetic forms in this intriguing collection of short dramatic works about African American experiences. Multiple voices showcase their characters’ struggles, humor, and triumphs through realistic and expressionistic modes. You don’t just “read” her dialogue; you hear it on the page. Weems’ writing styles are fluid, haunting, angry, poignant, and arresting. This is exciting theatrical work by one of qualitative inquiry’s most notable and important voices.” – Johnny Saldaña,
Professor Emeritus, Arizona State University, Author of
Ethnotheatre: Research from Page to Stage “
Mary Weems exemplifies literary arts-based inquiry practice in her new collection of plays, monologues and poems on the Black experience. She mines memory, history and auto/ethnography to craft pieces that are equal parts affective and effective. Affective in terms of their emotional impact and as acts of deep empathy. Effective in the ongoing struggle for social justice, equality and freedom. Weems shows us what risk-taking looks like in creative analytic practice: herwork embodies what Jonathan Lear calls “radical hope” as she insistson an ethical and caring stance in the face of cultural devastation. Read and learn.” – Monica Prendergast,
University of Victoria, Co-Editor,
Poetic Inquiry: Vibrant Voices in the Social Sciences “
In this rare and precious work, Mary Weems takes the reader into the lives of myriad human, abstract and material others, who capture our attention and imagination, pulling us into their personal-political worlds. We feel their breath and their blood, their passions and their longings; we know their disappointments, their anger, their love. Weems’s writing does this for us. Tackling urgent social and political issues through/with finely-wrought characters, Weems’ book, in its power and its craft, leaves us changed. Something shifts.” – Jonathan Wyatt,
The University of Edinburgh, Author of
Always in thresholds, Departures in Critical Qualitative Research, 3, 1, 8-17
It was fantastic, powerful, and intellectually rich. I love the way it connected disciplines; humanities, social sciences. It was a very liberal arts performance with a multidisciplinary perspective.” -
Denison University President Adam Weinberg, on Dr Mary Weems' performance of "Black Notes" at the DU campus on Martin Luther King Day 2016. ("Black Notes" is Dr Weems' one-woman play, which features several excerpts from her book
“Read it and use it with your students! … Sleeter has provided another breakthrough for critical multicultural research with pedagogical novel … Sleeter provides a synthetic representation that drives at pedagogical insights from the most up-to-date White teacher identity research, sometimes called second-wave White teacher identity studies. Teaching the novel to preservice and in-service teachers provides teacher educators with the opportunity to engage their students in the most recent pedagogical insights from White teacher identity studies.”—
Multicultural Perspectives 2016 In
White Bread, readers accompany Jessica on a journey into her family’s past, into herself, and into the bicultural community she teaches but does not understand. Jessica, a fictional White fifth-grade teacher, is prompted to explore her family history by the unexpected discovery of a hundred-year-old letter. Simultaneously, she begins to grapple with culture and racism, principally through discussions with a Mexican American teacher.
White Bread pulls readers into a tumultuous six months of Jessica’s life as she confronts many issues that turn out to be interrelated, such as why she knows so little about her family’s past, why she craves community as she feels increasingly isolated, why the Latino teachers want the curriculum to be more Latino, and whether she can become the kind of teacher who sparks student learning.
The storyline alternates between past and present, acquainting readers with German American communities in the Midwest during the late 1800s and early 1900s, portraits based on detailed historic excavation. What happened to these communities gives Jessica the key to unlock answers to questions that plague her.
White Bread can be read simply for pleasure. It can also be used in teacher education, ethnic studies, and sociology courses. Beginning teachers may see their own struggles reflected in Jessica’s classroom. People of European descent might see themselves within, rather than outside, multicultural studies.
White Bread can also be used in conjunction with family history research.
This book is a memoir in poetry about family stories, mother-daughter relationships, women’s work, mothering, writing, family secrets, and patterns of communication in close relationships. Faulkner knits connections between a DIY (do-it-yourself) value, economics, and family culture through the use of poems and images, which present four generations of women in her family and trouble “women’s work” of mothering, cooking and crafting. Family stories anchor family culture and provide insight into relational and family life. This work may be used as a teaching tool to get us to think about the stories that we tell and don’t tell in families and the importance of how family is created, maintained, and altered in our stories. The poetry voices the themes of economic and collective family self-reliance and speaks to cultural discourses of feminist resistance and resilience, relational and personal identities. This book can be read for pleasure as a collection of poetry or used as a springboard for reflection and discussion in courses such as family communication, sociology of gender and the family, psychology of women, relational communication, and women’s studies.
Nominated:National Communication Association Ethnography Division—Best Book 2015 Nominated:OSCLG Creative Expression Award 2015 Nominated:2016 International Association of Relationship Research Book Award Nominated:2016 ICQI (International Congress of Qualitative Inquiry) Qualitative Book Award
If you are a teacher, there is much you can draw on.
Heartland itself can be used in classrooms from high school on up. It is fairly short, and reads easily… I believe this is a piece of U. S. history that all of us should know. To me, it demonstrates that none of us is safe from xenophobia, but also that our collective memory of imprisoning U. S. citizens continues to be eradicated, even when it’s part of our own family stories. Perhaps if we knew our history better, we would be less likely to repeat it.”—
Christine Sleeter, Professor Emerita, California State University Monterey
(See the full review at
http: //christinesleeter. org/german-american-internment-in-the-u-s-heartland/)
During World War II, the US government confined thousands of Japanese-, German- and Italian-Americans to isolated, fenced and guarded relocation centers known as internment camps. At the same time, it shipped foreign Prisoners of War captured overseas to the US for imprisonment.
Heartland reflects on the intersection between these two historic events through the story of a German-born widow and her family who take in two German Prisoners of War to work their family farm. But the German-American family and the POWs bond too well for the townspeople to accept, and the widow is arrested, interned and eventually suffers a breakdown, which tears her family apart.
Based on true stories, Heartland illustrates what can happen when fear and prejudice pit neighbor against neighbor in times of war. A dramatic tale that grants insights into American history,
Heartland is a winner of the Dayton Playhouse FutureFest and a runner-up for the Kennedy Center American College Theatre Festival David Mark Cohen National Playwriting Award.
“The story is shocking; for me it was revelatory,” wrote theatre critic Pat Launer. “Deporting our own citizens? Who knew? But the play, while conveying historical information, is not in the slightest didactic. It’s a family story, a tale of survival and acquiescence, of racism, of neighbor against neighbor. Not a pretty picture ….”
While it may be read for pleasure,
Heartland also is a useful tool for exposing students to important lessons in history, politics, economics, sociology, psychology, women’s studies and other academic disciplines.
NOMINATED: 2015 Book Award - Midwest Popular Culture Association/Midwest American Culture Association
En route to a conference, a physician from Jakarta boards a plane to the US. He does not know he is the index patient for the next global influenza pandemic. From this catalyst, thousands of people will get sick, hundreds of people will die.
October Birds follows the healthcare and emergency management responders in the town of Dalton, Texas as they cope with the unfolding pandemic. Dr. Eliza Gordon, Chief Epidemiologist for the city struggles to control the outbreak and be a mother. Infectious disease specialist Dr. Ben Cromwell tries to maintain control of the increasing numbers of patients at Memorial Hospital, while Memorial’s infection control specialist fights to limit the spread of the disease to the healthcare workers and the other patients. Dalton’s emergency manager copes with an ever increasing logistical nightmare, and the incident commander tries to hold everything together. Meanwhile a
currendera in the town searches for a cure.
October Birds is grounded in real-life public health practice, sociological research, and emergency management. It is ‘a/r/tographical research,’sociological inquiry within the science/art intersection.
October Birds is more than a story—it is also a sociological theory of community-level response to health threats.
This novel can be read as a supplementary text in a number of disciplines, including sociology, nursing, public health, health studies, emergency management, and psychology, and can be used in qualitative research methods courses as an example of arts-based research. It can also be read simply for pleasure, and instill the question: ‘What if?’ What if a devastating pandemic does emerge? How will we respond?
“October Birds is a narrative that will have any student, health care practitioner, or person who reads enthralled with the true possibilities of what might be transpiring inside the walls of their local county health department.”—as reviewed on
The Sociological Imagination