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Linh Dinh was born in Saigon, Vietnam in 1963, came to the US in1975, and has also lived in Italy and England. He is the author of twocollections of stories, (SevenStories Press 2000) and (SevenStories Press 2004), and three books of poems, (Tinfish 2003) and (Chax 2004) and Borderless Bodies(Factory School 2006). His work has been anthologized in (Scribner 2000), (Scribner 2004) and (Scribner 2003), among other places. He is also the editor of theanthologies (Seven Stories Press 1996) and (Tinfish 2001) and translator of (Tupelo 2006). waschosen by the as one of thebest books of 2004. He has been invited to read poems all over the US,and in London, Cambridge and Berlin, and his poems and stories have beentranslated into Italian, Spanish, Arabic and Japanese. As founder andeditor of , a Philadelphialiterary journal, he published the work of poets and artists as well asanonymous "found" literature in the form of letters and journals. He ison the Philadelphia Art in City Hall Advisory Committee and is activewithin the community of Philadelphia's alternative galleries,cooperatives, and non-profit arts organizations. In addition to hiswriting and visual arts activities, Mr. Dinh acted as was Guest Curatorof the exhibit "Toys and Incense" at the Levy Gallery at Moore Collegeof Art and Design in which the role of improvisation and the play incontemporary visual art was explored.

African American Voters Have an Understandable Reason to Support Al Jazeera

Consider: Not all readers are writers.

To consciously evaluate your writing you must become more conscious of reading behaviors. Finally, throughout our education and employment we are expected to be able to read far more complicated texts than we are expected to write.

Critical reading refers to a careful, active, reflective, analytic reading.

She has delivered academic papers at the New York University Soul:Black Power, Politics and Pleasure Conference, The HemisphericConference in Lima, Peru, The Langston Hughes Centenary Conference atYale University, Poetry and the Public Sphere at Rutgers University andthe African-American Poetry Conference for the Poetry Society ofAmerica.

But all writers must be readers! You cannot write without reading as you write.

What misunderstandings must be prevented?

Only when we understand how ideas are expressed can we begin to do the same ourselves. What is the structure of James Baldwin's sentence:

If we--and now I mean the relatively conscious whites and the relatively conscious blacks, who must, like lovers, insist on, or create, the consciousness of the others--do not falter in our duty now, we may be able, handful that we are, to end the racial nightmare, and achieve our country, and change the history of the world.

To write better, you must learn to read better.

We need to solve problems, build roads, write legislation, or design an advertising campaign. We must evaluate what we have read and integrate that understanding with our prior understanding of the world. We must decide what to accept as true and useful. As readers, we want to accept as fact only that which is actually true. To evaluate a conclusion, we must evaluate the evidence upon which that conclusion is based. We do not want just any information; we want reliable information. To assess the validity of remarks within a text, we must go outside a text and bring to bear outside knowledge and standards.

Once again, reading is primary.

The discussion throughout focuses on nonfiction texts, simply because the bulk of reading in school, business, and the world involves nonfiction texts.

More about Goldsmith can be found at:

The approach here is concerned with helping you to realize what you already know about the language as a speaker of the language, and with enabling you to consciously apply that knowledge to reading and writing. The result is a more active, reflective, problem-solving approach to reading, and a more resourceful approach to writing.

Readers and writers already speak the language.

Hendrickson has degrees in English from St. Louis University and PennState. He is married and has two grown sons (both working in media) andlives with his wife, Cecilia, outside Philadelphia. He has entered theterror, the "long joyful sickness"--as John Updike once called it--ofthe next book project. It has to do with Frank Lloyd Wright and is beingsupported at its outset by a second National Endowment for the Artsliterature fellowship.