Don’t Forget The Academic Underclass on Independence Day

A friend at one large university told me he’s been watching the eerie spread of administrators at his school: they’ve been taking over office space and even parking spaces like something out of a horror movie. Meanwhile, just like most other colleges and universities around the country, his school spends less money every year on tenure-track faculty, hiring adjuncts who do the same work at much less than half the pay.

More than 50% of the faculty at many schools are adjuncts. At some, it’s closer to two thirds, and without them, colleges and universities wouldn’t function. As NPR has reported, “to get a full course load, many adjuncts have to teach on multiple campuses, miles apart. Like academic nomads, their cars are their offices, and their backpacks are their filing cabinets.”

These “contingent” faculty form a vast underclass. Without real offices, many end up having to meet their students in lounges or cafeterias. Not only do they have piss-poor working conditions and health insurance, but they lack respect. That might seem low on the list, but it’s actually very important. Tenured faculty and department chairs often treat them like servants–or worse.

One adjunct I know was rudely dismissed from a one-on-one meeting with the department chair as if she was a Victorian-era maid who had begged her haughty mistress for an extra day off to take care of her sick mother. Her sin? She’d inquired about teaching a certain course she was actually over-qualified for.

Another reported being lied to about being reassigned from upper level courses and finding out later that the real reason was resentment from tenure-track “colleagues.” The psychological atmosphere is consistently draining, but too many adjuncts can’t quit because they need the jobs and have to swallow the insults—and teaching is their passion.

Day to day, adjuncts don’t just deal with arrogant and inflexible administrators. Sometimes even support staff treat them badly, because they know they can, and not enough campuses have fixed-term faculty unions that will stand up for them. And when there are unions, if tenure-stream faculty aren’t unionized, those faculty can regard the adjuncts’ unions with contempt, and may even feel threatened.

Adjuncts can have just as many credentials and publications as their tenured colleagues—but that doesn’t matter. The magical word “tenure” bestows an exalted status that they lack and reduces them to second-class citizens or worse in the madly hierarchical academic world.

College and universities profit obscenely from this cheap labor source. The system is arbitrary, corrupt, and unjust, nestled in the heart of an institution which supposedly enshrines humanistic values.

Are you an adjunct?  Have you been mistreated or discriminated against?  Feel free to share your story in the comments section below.

Lev Raphael’s Nick Hoffman mysteries are set at the fictional State University of Michigan and have been praised by the New York Times Book Review and many other newspapers and magazines.  A veteran of university teaching, he now teaches creative writing online at writewithoutborders.com.  Registration for his memoir workshop closes very soon.

Going Back to Ghent: Notes From A Lover’s Diary

I’m heading back to Ghent this Fall but I feel as if I haven’t really been away.  Over a year and a half ago, I fell in love with the city I’d known almost nothing about, and fell hard. Here’s why.

First there are the people. As my favorite author Henry James would have put it, “the note” of the city is friendliness. I got that vibe everywhere, whether in sandwich or coffee shops, stores, restaurants, and even from strangers who helped me when I got slightly lost. Some of them walked a short distance with me to make sure I was headed in the right direction.

I seek comfort and quiet when I travel and the Carlton Hotel Gent was the epitome of those things. Family owned, boutique-style, it was smoothly run, ultra-quiet, close to the train station, served delicious breakfasts, and the owners were perfect guides to the city and its restaurants. The hip Café Parti was nearby and if I could’ve eaten every lunch and dinner there, I would have. It served Belgian specialties that I’d sampled before in Brussels and Bruges, but they were exceptional, especially the stoofvlees, a beef stew made with dark beer, and the onglet, hanger steak better than any I’d had in the U.S.

I liked the modern lines of the hotel and the Café Parti because Ghent has so much history in its architecture, from the Renaissance buildings along the canals, to the Romanesque St. Bavo Cathedral and the medieval Gravensteen fortress at the city center. Dipping in and out of these different periods was intensely enjoyable. And so was sampling my favorite Belgian chocolate, Neuhaus, and a Ghent specialty, neuzekes, candies filled with raspberry syrup that look like little pointed hats and are partly made with gum Arabic. They may sound odd but they’re sensational.

Bikes are king in Ghent and it apparently has the largest bike-friendly zone in Europe. Ghent was the first city to designate a street as a “cycle street”—meaning that cars have to stay behind bikes. They’re everywhere, weaving through traffic and around the trams which snake along the sinuous streets which seem unlike any other street plan I’m familiar with from my previous years of visiting Western Europe. There was something very calming about riding a tram or just watching one.

For a city that’s the third largest port in Belgium and has 250,000 residents, Ghent never felt overwhelming. It welcomed and fascinated me, and unlike the more famous Bruges half an hour away which has twice as many tourists, it didn’t feel like a museum despite the amazing architecture from so many different periods.  No wonder it’s called Europe’s “hidden gem.”

Lev Raphael is the author of the memoir/travelogue My Germany and 24 other books in many genres. He speaks French, German, and some Dutch. You can study creative writing with him online at writewithoutborders.com.

Harlan Ellison Got Dissed By His Writing Professor In College

Harlan Ellison, who just died at 84, was one of our most prolific and influential science fiction writers. He published 1700 short stories and over 50 books, writing scripts for Outer Limits and Star Trek among other shows.  His work influenced James Cameron when he filmed Terminator, and that’s just a start when it comes to his cultural impact.

But when Ellison attended Ohio State University, a professor passed judgment and said he had no talent for writing. Irascible even as an undergraduate, Ellison punched his professor and was expelled.

You’d think a professor wouldn’t feel the need to be so harsh and unequivocal–but you’d be wrong.

I’ve known creative writing professors who treat students like dirt. One was notorious for humiliating students by telling them their work was shit. He could make students cry or tremble with fear.  Another would only let favorite students read aloud, clearly sending the same ugly message to everyone else in her class. These professors are not anomalies: I know from sources across the country that dissing student writing is a commonplace in creative writing workshops at the undergraduate and graduate level.  A good friend was told she would never publish because she apparently hadn’t suffered enough.  Soon afterwards, she had a story accepted at a fine literary magazine.

I faced deeply disparaging criticism in my MFA program. A story that I thought was a breakthrough was demolished by my workshop, and the professor delivered the coup de grâce. He said it was nothing new and the kind of thing I could write in my sleep.  I felt bludgeoned.

But a few weeks later it won first prize in the program’s writing contest which was judged by a famous editor. When I shared the brickbats from my workshop, she growled, “Don’t change a goddamned word!”  I then sold it for a lot of money to Redbook, which at the time had 4.5 million readers, and the story launched my career as an author.  My professor’s comment at the next workshop?  “It’s still shit, but now it’s shit with a prize.”

Taking writing workshops to develop and hone your craft is a good idea, but not everyone commenting on your work comes from a pace of creative nurturing and encouragement–or even neutrality.  Too many of them want to tear you down for whatever twisted reasons of their own. You don’t have to punch out your professor or anyone who disparages your work, but it’s wise to listen to all criticism with your shields up, as if you were in Star Trek.  Remember what Kirk says to Sulu: “Steady as she goes.”

Lev Raphael is the author of 25 books in many genres, including the guide for writers, Writer’s Block is Bunk.  You can take writing workshops with him online at writewithoutborders.com.“Studying creative writing with Lev Raphael was like seeing Blade Runner for the first time: simply incredible.”—Kyle Roberts, MSU Class of 2016

Publishing Is A Wild Roller Coaster Ride!

It started out as a fantasy.

An editor at an esteemed publishing house contacted me and asked if I had a book for him. He admired my previous work and wanted me on their list.  I was flattered and thrilled.  The timing was perfect because I did have a book, so I was soon signing a contract that gave me an advance big enough to pay for my upcoming wedding.

And then things went south.  The editing process was fine until the day before I left for a book tour in Germany and the editor told me the book was being moved up a season because the publisher loved it.  Ordinarily that would have been great news, since in-house excitement is crucial to launching a book.  But he asked me to correct the edited manuscript and get it back to him (via email) in the next two weeks.

I explained that I was leaving for a tightly-scheduled book tour, doing daily events and would be in transit when I wasn’t speaking and reading. Moreover, tours were exhausting and I didn’t feel I’d have the focus required for reviewing the book. I also worked on a PC and didn’t have a laptop, which would mean going to internet cafes.

He insisted.  I thought, okay, I have to try.  But when I got to Germany I discovered that even if I tried to squeeze in some time at an internet cafe every day, there was no way I could work on German keyboards because they were laid out differently and very confusing.  My emails home were garbled and I didn’t want to risk any errors creeping into the book.

I explained all that and he said fine, he would get it taken care of.

To my dismay, when I got the book back in page proofs, there was one passage that was repeated.  I deleted the repetition while making other minor corrections. But when I got back home after the tour, the publisher himself called to tell me that it would be too expensive to re-do the book since it had gone too far in the publishing process.  He refused to fix the problem.

While I loved the book’s cover, I was mortified that it was being published with a glaring flaw.  And then a reviewer blamed me for letting the book appear with a repetition.

I felt burned, but luckily fans enjoyed the book despite the screw-up.  That’s what publishing is like, filled with ups and downs, and nothing is predictable. As novelist and memoirist Deborah Levy says, “The writing life is mostly about stamina.”

Lev Raphael is the author of 25 books in many genres, including the guide for writers, Writer’s Block is Bunk.  You can take creative writing workshops with him online at writewithoutborders.com.“Studying creative writing with Lev Raphael was like seeing Blade Runner for the first time: simply incredible.”
—Kyle Roberts, MSU Class of 2016

Ten Things I Hate About “Jurassic World: Fallen Kingdom”

I enjoyed 2015’s Jurassic World for the thrills and the humor, though it wasn’t nearly as smart, surprising, and beautiful as Jurassic Park.  But even an extra bag of popcorn couldn’t keep me interested in Jurassic World: Fallen Kingdom.

Here are just ten aspects of this turkey that frustrated me–and yes, I know, it’ll be a gigantic hit despite being crap.

The set-up, in case you haven’t heard, is that Isla Nublar’s volcano is going to explode and wipe out the island’s dinosaurs.  Chris Pratt and Bryce Dallas Howard are there alongside scores of soldiers of war to help round up “eleven species” (why not a baker’s dozen?) and get them to a sanctuary.

Spoilers ahead.

1–After dinosaurs have killed so many people, how believable is a movement organized to protect them?

2–What’s supposed to be Chris Pratt and Bryce Howard’s witty repartee about their breakup sounds juvenile.

3–The bad guy mercenary leading the effort to capture the dinosaurs looks eerily like Mel Brooks.

4–The movie keeps telegraphing what’s coming. Example: the camera focuses on a pillow so the audience knows someone will be suffocated in bed.

5–Several floors including a huge lab and gigantic cages got constructed deep beneath a rich man’s mansion and he has no idea it happened.

6–One vicious dinosaur is stopped by a simple wooden wall when a smaller dinosaur’s just broken through brick.

7–A kid being chased by a dinosaur who’s seen its destructive power hides in her bed, not even under it.

8–Sale prices in the dinosaur auction seem way too low given their rarity.

9–Dinosaurs aren’t invulnerable, so what would be the point of turning them into battlefield weapons?

10–Jeff Bloom’s closing, pompous testimony to Congress about living with the dinosaurs comes off as stoner wisdom.

I read reviews after seeing it, and the Boston Globe pegs it by noting the movie lacks “character, mystery, wonder, danger.”

Lev Raphael is the author of Writer’s Block is Bunk and teaches creative writing on line at http://writewithoutborders.com.

Publishing Can Sometimes Work Your Last Nerve

Back when I was trying to get my first book published, a novelist friend warned me: “The only thing worse than not being published is being published.”

He wasn’t joking, and it sounded like something wise and mysterious Yoda might say if he taught a writing workshop. I wasn’t sure what it meant. But I soon discovered.

Bringing a book out is filled with hazards and opens you up to a whole new set of disappointments and frustrations.  You might hate the book cover the publisher comes up with.  There’s the possibility of bad reviews.  Really bad reviews.  The kind that lodge like a splinter in your brain.

You could be plagued by miserable turnout at readings and signings.  Someone else could publish a similar book that gets way more press attention than yours.  And of course, there’s the quicksand of weak sales.

But before the book even gets published, you enter the strange world of production.  When the book comes back to you from a copy editor, it’s been transformed into something very different, almost alien.  Your labor of love is now just a product.  As you work through the corrections and suggestions page by page, the book feels very much less than the sum of its parts.

Your baby is reduced to markups relating to spacing and capitalization, and what can seem like an endless series of queries.  Sometimes the copy editor isn’t tuned in to your material.  In one book I mentioned the Temple in Jerusalem.  The query was: “What’s the name of that temple?”

I resisted the temptation to get snarky, but when I had one copy editor completely rewrite the style of my first person memoir, I said No way.

Of course, a good copy editor will catch repetition, a mistaken quote, imprecise or awkward phrasing, and other problems that would embarrass you when the book came out.  But whether you agree or disagree with suggested changes, seeing it marked up with countless notes, you can feel like Gulliver tied down by the Lilliputians.  And you can’t tell anymore if the book is what you wanted it to be or not.

Next you get the page proofs, by which point the book you thought you loved can feel like an albatross and you just want to be rid of it.  Especially if you’ve moved on to writing or researching something else.

Obviously, it’s better to have these problems than not have them, but if you haven’t been published yet, be prepared!

Lev Raphael is the author of Writer’s Block is Bunk and 24 other books in genres from memoir to mystery.  He teaches creative writing online at www.writewithoutborders.com.

Remembering My Father’s Times In The Kitchen

Even though Father’s Day is about six months off from Hannukah, it always makes me think of my father’s rare times in the kitchen making potato pancakes.

Fried in a large, battered cast iron pan, these latkes were always perfect: crisp outside, juicy inside, delicious whether served with sour cream, sugar, apple sauce–or just plain. My brother and I tried them every way.

I loved to watch my father cook.  He was as patient as a scientist, as skilled as a musician playing a piece he’s performed more times than he can remember. Sometimes he even made what he called a potato babka: pouring the batter into a large loaf pan and baking it. The word itself still makes my mouth water decades later, though my own kitchen will never be filled with that aroma.

I’ve used all kinds of pans, potatoes, and onions over the years, but have never been able to duplicate his latkes, not even with his advice. I’m not just being nostalgic and romanticizing the past. Back then, my mother said her latkes were never as good as his, and she was a gifted cook.

Did he consult a cookbook or was he remembering a recipe he had learned at home in eastern Czechoslovakia before the Holocaust? No, he just worked instinctively with the onions and potatoes, the flour, eggs, salt and pepper.

Years later, in a college course where we read Castiglione’s The Book of the Courtier, I learned a wonderful Italian word: sprezzatura. It was the art that concealed all art, the ability to do things flawlessly without betraying any effort. While my father was no Renaissance man — I don’t remember him ever cooking much of anything else — perhaps sprezzatura was a secret ingredient of those latkes.

And perhaps I tried too hard to equal him, longed too deeply to recreate a moment in time that looked like magic and felt like a feast. These days, I don’t worry about equaling what he did, I just enjoy the memory of the love and dedication, the patience, and the sights and smells of my taciturn father loving his sons without words.

Lev Raphael is the prize-winning author of The Vampyre of Gotham and 24 other books in genres from memoir to mystery. You can study creative writing with him on line at writewithoutborders.com

Why Authors Believe in Ghosts

It’s because all of us writers are haunted.

Not just by reviews that sting or that never even happened. Not by interviews that went sideways. Not just by book tours that flopped or by books whose sales figures were disappointing.

No, many of the specters hovering around our desks, laptops, and tablets are the books we started and gave up on. They’re in our dreams, and their presence lingers no matter what we complete and publish.

We have unfinished chapters, abandoned proposals, piles of research we’ve boxed, notes we scribbled and filed and can barely decipher any more. Even shelves’ worth of reference books we’re gathered together, read or skimmed or never got to. There are also characters we fell in love with but we couldn’t get around to giving them life.

And then there the ghosts that are more insidious. These are the ghosts inside the books we’ve written: the plot twists we changed and regretted after the book came out, the scenes we axed for one reason or another, the narrative threads we cut for expediency or coherence but later wished we hadn’t. And sometimes a book is haunted by what you wanted it to be, and what you couldn’t accomplish for any number of reasons: a deadline, mischance, falling ill, or just not being ready.

One of my ghosts resides in a file cabinet drawer crammed with material for a novel that never grew past a first chapter I’m crazy about. But every time I’ve gone back to it, I’ve thought the research involved would take too long, plus I’ve doubted the book’s marketability. It’s a novel about a murdered American artist and I’ve got all sorts of juicy research about him and his family, including a rare book of poetry published by the killer.

For all the time I spent living and dreaming that book, it’s stuck in the land of What Might Have Been. The further away I get from it, the less inviting the whole project becomes.  And I’m not alone: I know we’re all ghost writers of one kind or another.

Lev Raphael is the prize-winning author of The Vampyre of Gotham and 24 other books in genres from memoir to mystery. You can study creative writing with him on line at writewithoutborders.com

I Went From Archival Research To Having My Work Archived

Years ago when I was visiting a friend who taught at the University of Texas at Austin, she and I went to the Harry Ransom Center, a museum and Humanities library whose holdings include collections of many famous authors.  My friend wanted to see something connected to the Brontes, and I was curious to see anything of Edith Wharton’s.

I had published a book about her life and fiction, as well as The Edith Wharton Murders, a comic mystery that got me my first New York Times review.  Going through the index, I randomly picked a letter from Wharton to Jean Cocteau.  “This should be fascinating,” I told my friend.

When the letter came in its plastic cover, it turned out to just be a note inviting him to lunch.

Years later, writing Rosedale in Love, a revisioning of Wharton’s classic The House of Mirth, I did some research at Cornell about a famous chef who was going to make an appearance in this Gilded Age novel.  I was surprised that the archivist gave me a box with clippings, menus, letters haphazardly piled inside.

That made me decide that if I ever sold my own literary papers, I’d at least supply the library with information about exactly what was in each box I gave them.  And that’s what I ended up doing, starting in 1999 when Special Collections at Michigan State University bought my current and future papers, and carted off 93 boxes of materials.

So what was in those boxes?  Writing diaries; travel/book tour journals; correspondence with other authors; domestic and foreign tour memorabilia; fan mail; corrected galley proofs; drafts and clippings of the hundreds of reviews I’ve published in the Washington Post and other newspapers; CDs from my radio show interviews with authors like Salman Rushdie and Erica Jong; research materials for all of my books; interviews in print and on tape, CD and DVD; editorial correspondence; reviews of my books from around the world; articles, conference papers and book chapters written about my fiction; copies of all my published books, essays, and stories in all languages; unpublished manuscripts; poetry; “association copies” (books inscribed from other authors); awards; original cover art and posters; and “ephemera” including gifts from fans ranging over thirty years of his career as a published author.

I watched all that go with a tremendous sense of relief. I was happy that future researchers would have access a collection that was so complete–and that I’d sold them at the price an editor of mine said would be fair.  And glad to feel that in a way I had wiped the slate clean and was starting a new phase of my career as an author.  More than that, I’d made it easier for the archivists to create an index of my work to guide future scholars and researchers.

Lev Raphael is the author of Rosedale in Love and 24 other books in genres from memoir to mystery.  He teaches creative writing online at http://writewithoutborders.com

Why I’m Teaching Creative Writing Online

I come from a family of teachers. My mother’s father taught economics in Poland. My mother taught language and literature in Belgium. And in New York, my brother taught special education.

I picked my undergraduate college, the Lincoln Center branch of Fordham University, specifically because of one creative writing teacher I’d heard about as inspirational.  It was a great choice. I ended up taking all her classes and didn’t just learn the subject matter, but also how to teach, how to orchestrate a class, and how to have fun doing it.

In senior year, she took me on as an unofficial apprentice because I told her my twin goals in life were to write and to teach.  I watched what she did in classrooms as an observer, and she even showed me how she graded papers.  When I started teaching, her model was always in my head.  She was in my head.

Recently I’ve been teaching at Michigan State University.  Like many colleges and universities, the powers-that-be have no idea what a good learning environment is for teaching literature or creative writing.  They overcrowd the creative writing workshops, which means students can’t get the attention they need in class or out of it.  That’s grossly unfair to the students, many of whom work more than one job to help pay their tuition.

Typically I’ve had twenty-five students in writing workshops, though once it was thirty.  Yes, thirty.  These class sizes not only make it harder for me to give students all the attention and feedback they need, the overcrowding makes it harder for students to get to know each other and feel comfortable sharing their work.  But administrators don’t seem to care.

Luckily I’ve also been able to teach independent study students and supervise their senior theses, where individual attention is the critical foundation.

Now I’m applying what I’ve learned in many years of classroom teaching to offer online creative writing workshops.  I’ll get to coach and mentor writers at all stages and offer the kind of individualized attention that learning to write requires.  No matter where you are in your development as a writer, sharing your work with someone requires trust and an atmosphere of safety.  That’s what I saw my college mentor create over and over. Teaching online, I’ll be sharing what I learned from her, and carrying on a family tradition in an exciting new way.

Lev Raphael is the prize-winning author of twenty-five books in a dozen different genres, including the historical novel Rosedale in Love set in New York’s dazzling Gilded Age.  You can find his creative writing workshops at http://writewithoutborders.com.