Epistemic Justice, Mindfulness, and the Environmental Humanities explores how contemplative pedagogies and mindfulness can be used in the classroom to address epistemic and environmental injustice. In recent years, there has been a groundswell of interest in contemplative pedagogies in higher education, with increasing attention from the environmental sciences, environmental humanities, and sustainability studies. Teachers and writers have demonstrated how mindfulness practices can be a key to anti-oppression and anti-racist efforts, both in and out of the classroom. Not all forms of contemplative pedagogy are suited for this anti-colonial and anti-oppressive resistance, however. Simply adopting mindfulness practices in the classroom is not enough to dislodge and dismantle white supremacy in higher education. Epistemic Justice, Mindfulness, and the Environmental Humanities advocates for mindfulness practices that affirm multiple epistemologies and cultural traditions. Written for educators in the environmental humanities and other related disciplines, the chapters interrogate the western uptake of mindfulness practices and suggest anti-colonial and anti-oppressive methods for bringing mindfulness into the classroom. The chapters also discuss what mindfulness practices have to offer to the pursuit of a culturally relevant pedagogy. This highly applied and practical text will be an insightful read for educators in the environmental humanities and across the liberal arts disciplines.

Epistemic Justice, Mindfulness, and the Environmental Humanities explores how contemplative pedagogies and mindfulness can be used in the classroom to address epistemic and environmental injustice. In recent years, there has been a groundswell of interest in contemplative pedagogies in higher education, with increasing attention from the environmental sciences, environmental humanities, and sustainability studies. Teachers and writers have demonstrated how mindfulness practices can be a key to anti-oppression and anti-racist efforts, both in and out of the classroom. Not all forms of contemplative pedagogy are suited for this anti-colonial and anti-oppressive resistance, however. Simply adopting mindfulness practices in the classroom is not enough to dislodge and dismantle white supremacy in higher education. Epistemic Justice, Mindfulness, and the Environmental Humanities advocates for mindfulness practices that affirm multiple epistemologies and cultural traditions. Written for educators in the environmental humanities and other related disciplines, the chapters interrogate the western uptake of mindfulness practices and suggest anti-colonial and anti-oppressive methods for bringing mindfulness into the classroom. The chapters also discuss what mindfulness practices have to offer to the pursuit of a culturally relevant pedagogy. This highly applied and practical text will be an insightful read for educators in the environmental humanities and across the liberal arts disciplines.

Is it okay to write about people of other genders, races and identities? And how do I do this responsibly? Whether you are working in fiction, poetry, drama or creative non-fiction, becoming conscious of how you represent people of different social identities is one of the most important responsibilities you have as a writer. This is the first practical guide to thinking and writing reflectively about these issues. Organised in an easy-to-use A to Z format for practicing writers, teachers and students, Writing Intersectional Identities covers such key terms as: Appropriation Authenticity Body Class Counternarrative Disability Essentialism Gender Indigenous Power Privilege Representation The book is meant for writers of fiction, poetry, screenplays and creative non-fiction who are seeking to develop a writing practice that is attentive to the world. The book is supported by a companion website at www.criticalcreativewriting.org.

The creative writing workshop has existed since the early part of the 20th century, but does it adequately serve the students who come to it today? While the workshop is often thought of as a form of student-centered pedagogy, it turns out that workshop conversations serve to marginalize a range of aesthetic orientations and the cultural histories to which they belong. Given the shifting demographics of higher education, it is time to re-evaluate the creative writing curriculum and move literary writing pedagogy toward a more inclusive, equitable model. Toward an Inclusive Creative Writing makes the argument that creative writing stands upon problematic assumptions about what counts as valid artistic production, and these implicit beliefs result in exclusionary pedagogical practices. To counter this tendency of creative writing, this book proposes a revised curriculum that rests upon 12 threshold concepts that can serve to transform the teaching of literary writing craft. The book also has a companion website www.criticalcreativewriting.org offering supplemental materials such as lesson plans and course materials.

Bringing together 25 essential works of creative writing criticism in a single volume, this is a comprehensive introduction to the key debates in creative writing today, from the ethics of appropriation to the politics of literary evaluation. Critical Creative Writing covers such topics as: * Craft & Politics * Language & Community * Identity & Authorship * Representation & Counternarrative * Appropriation & Intertextuality * Evaluation & Genre The book anthologizes critical essays written by international literary writers. Each essay is contextualized with an introduction as well as sample questions, writing prompts and suggested readings. The book also has a companion website (www.criticalcreativewriting.org) offering supplemental materials such as lesson plans and course materials. Includes writings by: Ayana Mathis, Leslie Marmon Silko, Craig Santos Perez, Natasha Saje, Porochista Khakpour, Taiye Selasi, Michael Nardone, Conchitina Cruz, Benjamin Paloff, Dorothy Wang, and many more.

Is it okay to write about people of other genders, races and identities? And how do I do this responsibly? Whether you are working in fiction, poetry, drama or creative non-fiction, becoming conscious of how you represent people of different social identities is one of the most important responsibilities you have as a writer. This is the first practical guide to thinking and writing reflectively about these issues. Organised in an easy-to-use A to Z format for practicing writers, teachers and students, Writing Intersectional Identities covers such key terms as: Appropriation Authenticity Body Class Counternarrative Disability Essentialism Gender Indigenous Power Privilege Representation The book is meant for writers of fiction, poetry, screenplays and creative non-fiction who are seeking to develop a writing practice that is attentive to the world. The book is supported by a companion website at www.criticalcreativewriting.org.

Bringing together 25 essential works of creative writing criticism in a single volume, this is a comprehensive introduction to the key debates in creative writing today, from the ethics of appropriation to the politics of literary evaluation. Critical Creative Writing covers such topics as: * Craft & Politics * Language & Community * Identity & Authorship * Representation & Counternarrative * Appropriation & Intertextuality * Evaluation & Genre The book anthologizes critical essays written by international literary writers. Each essay is contextualized with an introduction as well as sample questions, writing prompts and suggested readings. The book also has a companion website (www.criticalcreativewriting.org) offering supplemental materials such as lesson plans and course materials. Includes writings by: Ayana Mathis, Leslie Marmon Silko, Craig Santos Perez, Natasha Saje, Porochista Khakpour, Taiye Selasi, Michael Nardone, Conchitina Cruz, Benjamin Paloff, Dorothy Wang, and many more.

The creative writing workshop has existed since the early part of the 20th century, but does it adequately serve the students who come to it today? While the workshop is often thought of as a form of student-centered pedagogy, it turns out that workshop conversations serve to marginalize a range of aesthetic orientations and the cultural histories to which they belong. Given the shifting demographics of higher education, it is time to re-evaluate the creative writing curriculum and move literary writing pedagogy toward a more inclusive, equitable model. Toward an Inclusive Creative Writing makes the argument that creative writing stands upon problematic assumptions about what counts as valid artistic production, and these implicit beliefs result in exclusionary pedagogical practices. To counter this tendency of creative writing, this book proposes a revised curriculum that rests upon 12 threshold concepts that can serve to transform the teaching of literary writing craft. The book also has a companion website www.criticalcreativewriting.org offering supplemental materials such as lesson plans and course materials.