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  • about
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  • current issue
    • read Issue 26
    • letter from the editor
    • looking glass spring 2023
    • interview with Raina J. Leon
    • interview with Sarah Fawn Montgomery
  • submit
    • submission guidelines
  • looking glass
    • through the looking glass
  • editorial content
    • book reviews
    • opinion
    • interviews
  • flash glass
    • flash glass 2023
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    • flash glass 2021
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    • flash glass 2017
    • flash glass 2016
    • flash glass 2015
  • media
    • art
    • audio
    • video
  • archive
    • award nominees
    • read and order back issues
  • Master of Arts in Writing program
    • about Writing Arts at Rowan University
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Glassworks

Esperanto: A Humble Lingua Franca

6/1/2021

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​by Aleksandr Chebotarev
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Because of my background in linguistics, people have often told me how great it would be if the whole world spoke one language, if everyone could understand each other without the blockage of language barriers. They say it as if they came up with the idea. I smile and nod, letting them believe they are the egalitarian genius they see themselves as. This idea is nothing new, and it’s been attempted before. Humanity just doesn’t want it. We’re too overpowered by our sense of “us vs. them.”

When people from around the world have tried to speak a unifying language that could end all language barriers, it was attacked time and time again until it was subdued by the language of business.    ​

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Feel-Good Ink: A Defense of Standards

8/1/2019

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by Mark Krupinski
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“Anything and everything can be art!” is, I feel, a deceptively sinister phrase. You could substitute the rather generic “art” in this situation with your medium of choice, be it poetry, film, literature, or what have you, and the situation remains unchanged. It seems innocuous at first, even encouraging. Anything can be art; no matter how lost you may feel, no matter what vision you lack, your expression has merit. You exist and you are valid. As someone who has spent more time than perhaps he’d like to admit pacing fretfully to and fro, hyperventilating into a McDonald’s bag because the words don’t sound the way they’re supposed to, I understand. Writing is a painful, clumsy, often fruitless task, so positive affirmation is as valuable as it is rare. But there’s a danger in creating that sense of comfort, tossing standards by the wayside in favor of blind positivity and confidence. The idea that everything, every single careless, thoughtless, witless, messy, wishy-washy, meandering, pointless thing is art gives me pause.


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The Unconventionality of American English Conventions

4/1/2019

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White Vernacular English: The Boss of Student Writing

6/1/2018

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PicturePhoto: 12news
I’ve taught freshman composition courses for almost two years now, expecting my diverse body of students from multicultural backgrounds to all coalesce and perform to one standard above all others: White Vernacular English (WVE) or White American Vernacular English (WAVE). As writers, we pride ourselves on being open-minded yet authentic, and we hope our students do the same—as long as they adhere to what we consider valid style of writing. Why have the rigid, outdated principles the foundation of college composition was built on not shifted to accept other vernaculars?


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Preventing the Hatred of Writing

4/1/2018

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by Ashley Haden

Spending time on a college campus as finals near always leads to hearing familiar complaints in the air. These are complaints about the workload, upcoming exams, and, of course, writing papers. “I hate writing” is one of the most common complaints that I’ve noticed at a wide variety of grade levels. Students will often actively try to avoid writing if possible. Why is this?

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