john howe iii essay and poster contest

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Children are naturally curious—they want to know "how" and "why. In this minilesson, students organize the information they have compiled through the research process by using sentence strips. Students first walk through the process using information on Beluga whales as a model. Students match facts written on sentence strips to one of four categories: appearance, behavior, habitat, and food. Sentence strips are color-coded to match each category. The sequence of notes sentence strips under each category are case studies page in an indented outline form, and regrouped so that similar facts are placed together.

John howe iii essay and poster contest product evaluation essay ideas

John howe iii essay and poster contest

In her youth, Howe studied painting, and she is a visual as well as a verbal artist of the page. The page, not the line, is her unit. Howe and I met three times this past winter and early spring in New York City for long conversations; she was living in New York for several months leaving her home base of Guilford, Connecticut. We met in my office at NYU, a space not terribly conducive to reverie or rambunctious exchange. Yet Howe put up with the charmless environs and more than rose to the occasion, following up each session with e-mailed further thoughts and clarifications.

Her many books were on my desk; we never opened them. She has a darting wit. Howe is in person both delicate and formidable; so, too, her work. Early in the seventies. He mapped the places I was familiar with—Gloucester, Boston Harbor. Olson showed me what I already knew by instinct, through being half-Irish—that spirit traces in local landscapes resound in particular words on paper. I wanted to explore the cultural history of Western Massachusetts as a neces- sary part of her voice.

My father and his sister Helen had both recently died. The chapter she was anxious for me to mark was on the New England Dickinsons and their heritage—Puritan character traits she recognized in herself. There she was, dying in Manhattan in a comfortable Upper East Side apartment, and she wanted to go home by a trail Dickinson provided.

I inherited her copy of the book. I felt torn between them—in the sense of allegiance to the word. Yes, a Dubliner through and through. Mary Manning. I was born when she was thirty-two. Yeats directed her in a play as a young girl, and Sara Allgood was her acting teacher at the Abbey.

She gave up her acting career when she came to Boston on a visit to her aunt and met and rather suddenly married my father, Mark DeWolfe Howe. That was in During most of my youth he was a professor at Harvard Law School, where he was known for lecturing in perfect sentences without using notes. He believed in the American Constitution the way others believe in the Bible. Just after their marriage he visited Dublin, but that was that.

They were voracious readers and both loved reading aloud. Perry Miller—the Harvard professor and historian of Puritanism—dedicated Errand into the Wilderness to them both. As for my mother, she and I read with and to each other, aloud. But he was definitely hard on himself, self-controlled, in a Puritan sense.

After graduating from law school, he was a secretary for the then-ancient Supreme Court justice Oliver Wendell Holmes and later became his official biographer, a task that in the long run hung like an albatross around his neck and probably contributed to his early death. Because of his work on the Holmes archive he was of course much involved in manuscripts. When I was young, Holmes seemed to be a stultifying figure.

All these authors and their friends who mean so much to me now. Then my parents had cocktails in the study and we gathered with them there before supper. Two of the walls were completely lined with bookcases. On one were classics and sets, histories, and reference books—sets of histories by Parkman, and British classics like Dickens—they both loved Dickens— Trollope, George Eliot, that sort of thing. Nothing was ever alphabetically arranged.

It was helter-skelter. They were almost all Irish. Poetry and plays. In my imagination the divided bookshelves were separate worlds. These two are … one and the same. Marx and Rimbaud, Trotsky and Proust, the rigors of politics and the spirited sense of possibility in literature—these were increasingly seen as separate fields of intellectual activity.

This was, in particular, true of the Partisan Review critics. American liberalism could seem a prudent compromise after the Great Depression and the rise of authoritarian politics in Europe and the Soviet Union. A symposium in asked a group of PR critics how they related to American culture. Howe was not asked to participate in the symposium.

His essay, however, was not only a dissent. The New York Radical , suggested one editor. The Better Republic , offered another. The More Partisan Review, pondered a third. But all were shot down for being too positive, for suggesting too much. We are breaking from ideology, explained one editor, not founding a new one. How about No? The room leaned forward with interest. A vote was held.

This, too, was pronounced to be too affirmative. Dissent was, in fact, often criticized—fairly and unfairly—for its censorious tone, its tendency toward negation, its stylized sense of political isolation. A young Nathan Glazer, reviewing its first issue in Commentary , observed that the young magazine marked a considerable blow for the Left.

But there was also a radical exuberance—a vision of democratic socialism—that cut through it all. The first several issues opened with a set of salvos aimed at the growing consensus around liberal realism. Wright Mills dashed off a pair of brilliant examinations of postwar American political culture: one on the concentration of power, the other on the growing tendency toward conservatism.

But Howe did appear at times to enforce a certain didactic orthodoxy. He also frequently tussled with the New Left. While he cultivated a set of younger intellectuals who came of political age during the late s and s—critics like Michael Walzer and Marshall Berman who were sympathetic to the New Left—he also misread the more substantive nature of New Left activism, insisting that its visions of participatory democracy were more style than substance, posture than position.

Howe and the first generation of Dissent niks really missed a set of opportunities to engage with new expressions of radical politics and culture. Black radicalism, second-wave feminism, the New Left, the antiwar movement—there was a lot that was wrong about much of their politics but also a lot that this new generation got right and a lot that Howe—falling upon older, more sectarian habits—just flat out missed.

Thesis 1 was absolutely right. For the next few years, Dissent seemed to care more about somebody flying a Vietcong flag at a mass antiwar demonstration than about what American guns and bombs were actually doing to Vietnam. In principle, yes; in practice, not so easily. The first was a kind of hybrid of political and literary criticism, in which the rough-handed interrogations of the polemicist were twinned with the ear and throat of literature.

None of his contemporaries, perhaps with the exception of Mary McCarthy, could write with as much vim as seriousness. Howe was a master memoirist—not just of himself but also of his generation. For Howe, this gave his generation of critics its cosmopolitan and guardedly highbrow style. This sense of belatedness took on a particularly twilight hue after all of the political violence and disappointment of the late s.

It was not so much that Howe was confessing sins but taking stock—of himself, of his commitments, and of his comrades. But time had thickened his complaints, has slowed the drama, had rendered a generational portrait into something more and something less than a biography of his contemporaries. Upon such renewals does American experience thrive. Howe dedicated much of his later life to this Jewish past—secular Jewish culture, one should note, but Jewish culture nonetheless.

For a hardened political critic so suspicious of even the faintest whiffs of sentimentality, it appeared that in his later years he had softened. Considering the expansiveness and seriousness of his work on Yiddish culture this seems more than a little unfair. He tackled the world of his fathers and some of our grandfathers with care and skill, bringing to a subject that often was romanticized the seriousness of his political criticism.

He also saved much of Yiddish literature the brilliantly sinful stories of I. Peretz, for example from languishing in obscurity—or, at least, in a language fast being forgotten. But the truth is, he did on this topic, as was true with his other political work, occasionally waver. There was a faint odor of must that came with his turn toward Jewish culture in the s.

It also revealed a considerable unfairness of judgment. While Howe frequently decried the particularisms of other movements—of radical feminism, of the black power and anti-imperialist movements—he eventually picked up his own, that of immigrant Jewish culture. This was not entirely outside of the times; politics had shrunken by the late s and s. Lines of solidarity had become more local and more rooted to communities than movements. There was a general retreat from radical activism and from the heightened sense of political urgency that electrified the s.

Once in Chelm, the mythical village of the East European Jews, a man was appointed to sit at the village gate and wait for the coming of the Messiah.

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