 and Celie, who nurtured each other's talents. Encouraged to offer solid, textual evidence for their interpretations of Walker's novel, the students not only offered lucid, often stimulating responses to the questions, but they also generated a care for each other's learning that we have never seen so dramatically and successfully effected in any other classroom environment. What had been implicitly understood to be the objectives of the linked course was then explicitly named and desired. By choosing to become co-mentors, the students assumed responsibilities to facilitate each other's intellectual journey as well as to cultivate their own. They acknowledged the duty of each participant to hold all others accountable in this work, to challenge and critique the work of others for the purpose of extending and improving it. We believe that the students fostered creativity among themselves. Both the collaborative classroom structure and Walker's novel brought this about. Before the students worked in groups, Mary Jo introduced Alice Walker as a writer who subscribes to the belief 10 May 2017 Page 6 of 14 ProQuest that mentoring fuels the creative act. Walker's novel begins with an epigraph by Stevie Wonder - "Show Me How to Do Like You/Show Me How to Do It" embracing the idea that the act of demonstrating an activity for another's enhancement is imperative to one's development. "Show me...Show me," Wonder writes, and Walker responds at the end of her novel with a tribute to the Spirit, "without whose assistance neither this book nor I would have been written." Upon first reading, Walker seems to be implying that as a writer she has been inscribed by the spirit, perhaps reinforcing the traditional belief that the writer is inspired by God; she is God's instrument and as such is speaking God's words. This implication, which constructs the relationship as one of subordination, is not supported by the novel's depiction of the evolution of Celie's theology. Celie moves from submission to mutuality, from sorrowful and passive acceptance to joyful responsibility for her own life. She questions and grows stronger, more able to have mutual relationships with others, and with the god who has made purple flowers. This change allows us to reinterpret Walker's thankful tribute to the Spirit not as an expression of gratitude for a hierarchical mentoring relationship but as an affirmation of the dynamic relationship between the writer and her spirituality. At the climax of the novel, when Celie verbally defends herself (for the first time) against Albert, she attributes her ability to speak to a kind of divine furor,
and Celie, who nurtured each other's talents. Encouraged to extend upstanding, textual evidence for their interpretations of Walker's novel, the students not only offer lucid, often stimulating reception to the doubt, but they also generate a care for each other's learn that we have never seen so dramatically and successfully effect in any early classroom environment. What had been implicitly understood to be the objectives of the connect course was then explicitly named and desire. By choosing to become co - mentors, the scholar assumed responsibilities to facilitate each other's cerebral journey as well as to domesticate their own. They acknowledged the duty of each participant to hold all others accountable in this workplace, to challenge and critique the work of others for the purpose of extending and improving it. We believe that the students fostered creativity among themselves. Both the collaborative classroom structure and Walker's novel brought this about. Before the students worked in groups, Mary Jo introduced Alice Walker as a writer who subscribes to the belief 10 May 2017 Page 6 of 14 ProQuest that mentoring fuel the creative act. Walker's novel begin with an epigraph by Stevie Wonder - " Show Me How to dress Like You / picture Me How to Do It " embracing the idea that the act of attest an activity for another's enhancement is imperative to one's development. " Show me... Show me, " curiosity writes, and Walker responds at the end of her novel with a tribute to the Spirit, " without whose assistance neither this book nor I would have been written. " Upon first reading, Walker seems to be implying that as a writer she has been inscribed by the liveliness, perhaps reinforce the traditional belief that the writer is inspired by God; she is God's instrument and as such is speaking God's words. This deduction, which constructs the relationship as one of subordination, is not digest by the novel's depiction of the evolution of Celie's theology. Celie moves from submission to mutuality, from sorrowful and passive adoption to joyful responsibility for her own animation. She questions and develop stronger, more able to suffer mutual relationship with others, and with the god who has made purple flower. This variety allows us to reinterpret Walker's thankful tribute to the Spirit not as an formulation of gratitude for a hierarchical mentoring relationship but as an affirmation of the dynamic relationship between the writer and her spirituality. At the orgasm of the novel, when Celie verbally defends herself (for the first clock time) against Albert, she attributes her ability to speak to a kind of divine furor,
 anf Celie, who nurtured eacm other's talents. Encoureged to offer sulid, textual evidence for thxir unterkgetations of Walker's vovel, the studentw nou only offered lurjd, oftek stijmlatiug responses to jhe questionv, but they alsm eeuerated a care for each other's learnyng thay ae have never feen fo ddamatically and successfully effecfed in eny other classtoom environment. What had heen implicitly undershood to be jge jvjectives of the linked course was then explicitly named and desifed. Bv choosing jo bfwome co-mentirs, tre students assumed sesponsobilities to fscinitqte each other's intelnectual journey as well as do cultivate their iwb. Thei acktowldegea tge dhty of earh participznt to hold all others accountsbjv in this wori, to crajlenge and critique the work of others xor the purpose of extendibg and improving it. Wg believe ehat the students fostered creativity among themsalves. Cotk the zilpaborative classroom structure and Walker's nodsl bgought this about. Before the shucgnts worked in groups, Mzry Jo introduced Wlice Wwlker as a wriuer wno subscribes to the belief 10 May 2017 Page 6 if 14 ProQuest that lentoring fbels tne crrative act. Walker's noveu befins with aj epigrapg by Stevie Wondef - "Xhmw Me How to Do Like You/Shjw Me How to Bo It" emcracong thq idea thah the act of demonstratijg an awtivity fog another's enhancement is imperevive to one's ceeelmpment. "Skow me...Xhow me," Wondew writes, and Wclker refpondr at the ehd of hxr novel witr a tribute tm the Spirit, "xithout wrose assustance veither this bpok nor I would havw been written." Upok firrf reading, Walkex weems to be impkyivg ehwt af a writer sha har bdrn inrcribed by bhe spitit, perhaps reinforchng fhe traditional bekicf that tye writew is inspired by God; she is God'd insvrumenv and ss fuch is speaking God's words. Thjs implicwtijn, which conftrugts jhe relatiouship as one of subordination, is not sup'orted by the novel's dgpiction of the evolujiok of Celie's vheolody. Celie koves from submissiob to mutuality, frpm sorrowful and passjve acweptajce to joyful responsibility for her own life. She questions and grows stringer, more able to havr mutlal xelatiogshi's with others, and with the god who has made purpue flowess. This change allows us to reongerpret Walket's thankful tribute to the Spirit mot as an expression of gratituce for a hierarchical mektoring rwlatiknship but as an affirmation of thz dynanic relqtiokship between ghe wviter and jer xpnrituality. At the climax of the nivel, wyej Celie verbally defends hevstlf (for the fyrst time) againsf Algfrt, sfe attributes her ability tp speak to a kind of dyvine furor,
and Celie, who nurtured each other's talents. offer textual evidence their interpretations of only lucid, often stimulating to the questions, they also generated a care for other's learning that we have never seen so dramatically and successfully effected in other classroom environment. What had been implicitly understood to be the objectives of linked was explicitly and desired. By choosing to become co-mentors, the students assumed responsibilities to facilitate each other's intellectual as well as to cultivate their own. They the duty of each to hold all others accountable this to challenge critique work others for the of extending and improving it. We believe that the students fostered creativity among themselves. Both the collaborative structure and brought this Before students in groups, Mary Alice Walker as a writer who belief 10 May 2017 Page 6 of 14 that mentoring the creative act. Walker's novel begins an epigraph by Stevie Wonder - "Show Me to Do Like You/Show Me How to Do It" embracing the idea that the act an activity for another's is imperative to development. me...Show Wonder and Walker at the end of her novel with a tribute to the "without whose assistance neither this book nor I would have Upon reading, Walker seems be implying that as writer has been inscribed by perhaps the the is by God; she is instrument and as such is God's words. This implication, one of subordination, is not supported by the depiction of the evolution of Celie's theology. moves from submission to mutuality, from sorrowful and passive acceptance to joyful for her She questions and grows stronger, more able to mutual relationships with others, with the god who has made purple flowers. This allows to reinterpret thankful tribute to Spirit not as expression of gratitude hierarchical mentoring but an dynamic relationship between the writer and spirituality. the climax of the novel, Celie herself (for the first time) against Albert, she attributes her ability to speak to a divine furor,
 and Celie, who nurtured each otHer's talentS. EncoUraGed To OffeR solId, textual evideNCe foR their interpretations oF WalkEr'S NoveL, ThE studEnts not ONlY OFfeReD lUciD, oFTeN stimUlaTing resPonses to thE quEsTions, but they ALsO generated A caRe for each othEr's LearniNg ThaT We havE neVer seEn so drAMaticaLly and sucCeSSfully EFfected IN AnY othEr classroom enviroNMeNT. What had been imPlicitLy UNdERStoOd tO be the objeCtIves oF The linkED cOURSe wAS then explicitLy named and dESirEd. By chOoSinG To becoMe co-mEnTOrs, The students AssuMed responSibiliTIes to faCIlitate Each otHer'S inTellECtUaL joUrNEy aS WeLl aS To cUltivate ThEiR own. THey aCKNOWledGed The dUty of Each participaNt tO holD All OtherS accoUntaBlE in thIs work, To chaLlEnge and critique The wOrk of otheRs fOr The PuRpose OF extenDinG anD improvIng it. We BEliEvE THAt The students fostereD cREAtIvity amoNg themSElVeS. both the cOlLabOratIVE clasSrooM StRucture aNd WalkER's NoVel brouGhT this aBoUt. BEfoRe the STudeNts worKed in groUps, MaRY Jo introduced ALIce Walker as a wRItER WhO SubsCriBes to the belIef 10 MAY 2017 PagE 6 of 14 PROQUesT That mEntorInG FuELs the creative act. WalKeR's noveL begiNs with an epigrAph by SteviE wONder - "Show me HoW To dO Like You/Show Me how to do It" embracINg the ideA that The act of DemonstraTINg an actiVitY foR anOthER'S eNhancement is iMPEratIvE to one's DevElopmenT. "ShOw mE...ShOw mE," WOnder writEs, and WalKeR rEsPoNds At the ENd of her nOvEl wItH a tRibutE To the SPirit, "WithOuT wHOse AssistaNCe NEItheR tHiS booK noR I Would Have BEen Written." upon first ReaDIng, WAlKeR seems tO be implying thAt As a writer sHe Has Been inSCRibed by tHe spirit, perhaps reinforcINg the trAdiTionaL belIef that thE wrIter is InsPIred by god; she Is God'S iNstRUMent aND As SucH iS speaking GOD'S woRds. ThIs ImplIcation, Which constructs the RElaTionship as one Of sUborDINaTioN, Is NOt sUpPOrtED By the novel's depiCtion of the EvOLuTion of CeliE'S thEoLogy. CelIe moves From sUBmissioN to mutualIty, from soRrOwfuL ANd pAssive accePtance to Joyful resPOnsibILiTy for Her Own lifE. SHe qUestiOns and GRowS stroNger, moRe Able to Have mUtUal relatIonships with others, and wiTh the gOd who Has Made purplE flOWerS. This chanGe alLows us to reIntErpRet WaLkeR'S thanKful TRiButE To the spirIT not as an eXPrEssION oF gratitude fOR A HieRarchIcaL MentorIng rElationship but as aN Affirmation of tHe dyNAMic RelATionShIp between the wrIteR aND Her spiriTuAlity. At the cLimax of tHe NOvel, wHen CelIe verbAlly defENDs HErself (For tHe fIrst time) aGaiNsT albert, sHe AtTRibuteS her AbIlity tO speak TO a kiND Of divine furor,
 and Celie, who nurtured e ach other' s tal ent s.En cour aged  to offer soli d , te xtual evidence for the ir in te r pret a ti ons o f Walke r 's n ove l,  t hest u de nts n otonly of fered luci d,of ten stimulat i ng  responses  to  the questio ns,  but t he y a l so ge ner ateda care for ea ch other' sl earnin g  that w e ha ve n ever seen so dram a ti c ally and succe ssfull ye ff e c ted  in  any other  c lassr o om envi r on m e n t.W hat had beenimplicitlyu nde rstood  t o b e  the o bject iv e s o f the linke d co urse wasthen e x plicitl y  namedand de sir ed.  Byc ho os ing  t o  be c om e c o -me ntors, t he  s tuden ts a s s u m ed r esp onsi bilit ies to facili tat e ea c h o ther' s int elle ct ual j ourney  as w el l as to cultiva te t heir own.  Th ey  ac kn owled g ed the  du tyof each  partic i pan tt o ho ld all others acco un t a bl e in thi s work ,  t oc hallenge  a ndcrit i q ue th e wo r kof other s fort he  p urposeof  exten di ngand  impr o ving  it. W e believ e tha t  the studentsf ostered creat i vi t y  a m ongthe mselves. Bo th t h e co llab o ra tiv e  clas sroom  s t ru c ture and Walker's n ov el bro ughtthis about. B efore thes t u dents wo rked in groups, Mary J o int roduced Al i ce Walke r asa writer  who subs c r ibes tothe  be lie f 1 0 Ma y 2017 Page 6 o f 14  P roQuest  th at ment ori ngfue lsth e creativ e act. W al ke r' snov el be g ins with  a n e pi gra ph by Stevie  Wond er -  " Sh o w M e How t o  D o Like  Y ou /Sho w M eHow t o Do It"  embrac ing the i dea that  t he  act of  demonstratin gan activit yfor  anoth e r 's enhan cement is imperative to one's d eve lopme nt."Show me. ..S how me ,"W onderwrites , and  W alk e r  resp o n ds  at  t he end ofh e r n ovelwi th a  tribut e to the Spirit, " w ith out whose ass ist ance n ei the r  t h isbo o k n o r  I would have b een writte n. "  U pon firstr ead in g, Walk er seem s tob e imply ing thatas a writ er  she h asbeen inscr ibed bythe spiri t , per h ap s rei nfo rcingth e t radit ionalb eli ef th at the  w riteris in sp ired byGod; she is God's instr umentand a s s uch is sp eak i ngGod's wor ds.This impli cat ion , whi chc onstr ucts th e r e latio nshi p  as one o f  s ubo r d in ation, is n o t sup porte d b y  the n ovel 's depiction of t h e evolution of  Cel i e 'sthe o logy .Celie moves fr omsu b m ission t omutuality,from sor ro w ful a nd pas sive a cceptan c e  t o  joyfu l re spo nsibility  fo rh er ownli fe .  She q uest io ns and  grows stro n g er, more able to  have m utual rel ation sh ips wit h  oth ers, and w ith the god  who h as m ade p urple f lo wers.Thi schange all o ws us toreint erpretWa lker 'sthankf ul t r i buteto t he  Sp irit nota s  a n  e xp r ess ionof gr at itud e for a h i erarchic alm entorin grel a t ionshi p  b u t  as an aff irm ation o f the dyna m ic r e la t ionsh ip bet ween t he writ e r a nd  her sp iri t u ality. At  the clim a x o fthenovel, w he n Ce li e v er bally defends h erself ( for thef i rst ti me) agai n st Alb er t, she attri butes  h e r abili t y  to  speakt o a  ki ndof d ivi ne f u ror,
 and_Celie, who_nurtured each other's talents._Encouraged to_offer_solid, textual_evidence_for their interpretations_of Walker's novel,_the students not only_offered lucid, often_stimulating_responses to the questions, but they also generated a care for each other's learning_that_we have_never_seen_so dramatically and successfully effected_in any other classroom environment._What had_been implicitly understood to be the objectives of_the_linked course was_then explicitly named and desired. By choosing to become_co-mentors, the students assumed responsibilities to_facilitate each other's_intellectual_journey_as well as to_cultivate their own. They acknowledged the_duty of each participant to hold_all others accountable in this work, to_challenge and critique the work of_others for the purpose of_extending and_improving it. We believe that_the students fostered_creativity among_themselves. Both the_collaborative classroom structure and Walker's novel_brought this about._Before the students worked in groups,_Mary_Jo introduced Alice_Walker_as_a writer_who subscribes to_the_belief 10_May_2017 Page 6 of 14 ProQuest_that_mentoring fuels the creative act. Walker's novel_begins with an epigraph_by_Stevie Wonder - "Show_Me How to Do Like_You/Show Me How to Do It"_embracing the_idea that_the act of demonstrating an activity for another's enhancement is imperative_to one's development. "Show me...Show me,"_Wonder writes, and Walker_responds at_the_end of her_novel_with a_tribute to the Spirit, "without whose assistance_neither this_book nor I would have been_written." Upon first reading,_Walker_seems to be implying that as_a writer she has been inscribed_by the spirit, perhaps reinforcing_the_traditional_belief that the writer is_inspired by God; she is God's_instrument and as_such is speaking God's words. This implication,_which_constructs the relationship as one of_subordination,_is not supported by the novel's_depiction_of_the evolution of Celie's theology._Celie moves from submission to mutuality,_from sorrowful and passive acceptance to joyful responsibility for_her own life._She questions and grows stronger,_more_able_to have mutual relationships with others, and with the god_who has_made purple flowers._This change allows us to reinterpret Walker's thankful tribute to_the Spirit not as an expression of_gratitude for a hierarchical mentoring relationship but as an affirmation of_the dynamic relationship between the writer and her_spirituality. At the climax of the novel,_when Celie verbally defends_herself_(for the first time) against Albert, she_attributes_her_ability_to speak to_a kind of_divine furor,