How to write the perfect beginning and end
The dyslexia literature places an inordinate amount of focus on dyslexia as a deficit. Where discussions of dyslexia as a ‘difference’ do emerge, we find there is an emphasis on ‘talent’ or ‘success’ as an effect of ‘coping’ and ‘avoidance’. The purpose of this article was for two dyslexic writers, Naomi Folb (NF) and Aby Watson (AW), to present an alternative to this discourse. Their exchange uses four self-defined obstructions agreed prior to the writing process. These introduce the dominant subjective position and, allow them to discuss how it subjugates and silences the dyslexic. The Introduction was written to music. This is followed by a critique of the others Introductions. The third part is constructed of questions one author posed the other, whilst the fourth section is made of the answers in dialogue to the others’ questions. The authors’ conclusions, the end of the article, surface within a catechism, in which the authors forbade one another from editing or using spellcheck. Hence, the discussion appears to lack closure. This reflects the authors concerns with the conventions of ‘linear’ academic papers, in the way it presents a prioritization of knowledge, and exploration of ideas and subjectivity, over ‘acceptance’. In this way, addressing the authors lack of ‘belonging’ becomes the subject, rather than the purpose of the article. The result reveals the deep and hitherto unexamined bias towards dyslexics.
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Document Type: Research Article
Publication date: 2012-11-20
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- The Journal of Writing in Creative Practice is the official organ of the Writing Purposefully in Art and Design (Writing PAD) network. It offers art and design institutions an arena in which to explore and develop the notion of thinking through writing as a parallel to visual discourse in art and design practice. The journal aims to extend the debates to all national and international higher educational art and design institutions.
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