I like
the idea of finding families of information, chunked together. I am doing preliminary research, applying for
grants. No, you can’t just work on one
all the time. I previously learned to
multi-think and have lots of folders. When
my mentor began telling her latest several thoughts, I thought, “I have to go
and label all this in files with names on them, and look up more on the Web.” I
noticed, however, in talking with her about the grant process that she rather
would prefer that I bring them all to a point and allow themes and patterns to
emerge. At least I thought that was what
she meant. When I explained that I was
studying qualitative inquiry, and correlated that with our own paradigm, I
suspected that we came to be speaking the same language. It didn’t really have words, and didn’t need
to. It was fun. “Yes, Yes, Yes,” she said.
When I
got to the part of our reading that spoke of “dismantling a dichotomy” and
“examining silences”, I actually felt that I wanted to devote my life to this
author (Martin, 1990, p. 355). It
reminded me of the painterly practice of examining the negative spaces that are
found between objects. He went on to explore “limits of what is conceivable or
permissible.” The whole thing made my
day. Creswell was right when he said we
would have fun. The data analysis spiral
made the whole business come to life. I
could imagine myself in there, back and forth, around and around. It is the opposite of linear, and it is a
hard and fast process that can remain fluid and flexible. Talking about the
architecture of a study. And
deconstructing the narrative. My, oh,
my.
I thought
the computer systems could all be extremely useful. The data reminds me of an unopened Christmas
present in its mystery. I had a similar
feeling when I high-fired porcelain ceramics and did hypotheses in quantitative
statistics. If one pot exploded, that
was the lot. Almost always, they were
more surprising and beautiful than we could possibly take credit for.
Since I
am a writing teacher by trade, I was so pleased to see Creswell mention the
themes that might arise from the story.
I developed a series of lesson plans for my sixth grade writing classes
using autobiographical recall to bring to the fore vivid memories of childhood
that I hypothesized would improve narrative writing in students. Probably the least part of the research was
improved writing techniques and (dreaded) No Child Left Behind test
scores. The techniques of writing were improved
dramatically and the test scores soared anyway.
More importantly and unexpectedly, there arose a wellspring of exquisite
emotional reveal, and, what was more surprising, improved psycho-emotional
response to classwork and to each other. I would love to know more about his
three-dimensional model. But a theme
that stood out for me was that here we were not looking for anything
specific. We allowed the natural flow of
events to arise. Of course we had
ideas. We had core elements. But we refused to assign ANYONE a tedious
topic, or subject, or format, or rubric, or had the slightest thought aside
from bringing out the art, bringing out the human.
They will
not feel marginalized. We will see to
it.