If you prefer to pay by check, click on "Show other payment options” when you reach the Eventbrite page. Also note there is small processing fee added to this price. Conference fee includes: keynote speaker/program, breakout sessions, continental breakfast and luncheon, and time to meet with fellow American Studies teachers.
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www.casechicago.org Here is an overview of this year's theme:
As teachers of American History and American Literature, we spend much of our time telling stories that are meant to communicate truths – historical or literary – about the country we live in. Ultimately, we play the role of storytellers, charged with the task of making meaning of the story of the United States. In our attempt to bring forth a rich and diverse curriculum, we present texts that cross racial, gender, and class lines.
And yet, if you have ever been to a CASE conference, you know – from only a quick glance at the faces and nametags – that we appear as a rather homogeneous bunch. To be blunt, with few exceptions, we are overwhelmingly white and suburban. Primarily, the stories we tell are not our own; we often have the delicate and complicated task of telling other peoples’ stories. We teach inside a paradox: the stories of others, the ones we tell and those we choose not to tell, and the way we tell those stories, are inextricably linked to our own experiences and perspective.
Meet the keynote:
We are pleased to announce our keynote is one of our city’s and our country’s most renown storytellers, Alex Kotlowitz, the author of three books, including the national bestseller There Are No Children Here, which the New York Public Library selected as one of the 150 most important books of the twentieth century. A former staff writer at The Wall Street Journal, Kotlowitz has long been a regular contributor to The New York Times Magazine and public radio’s This American Life. His documentary The Interrupters (a collaboration with Steve James) premiered at Sundance in January 2011 and aired as a two-hour special on PBS’s Frontline. It was cited as one of the best films of the year by The New Yorker, The Chicago Tribune, Entertainment Weekly and The LA Times.