MORE NEWS

As the 2024-25 academic year winds down, MORE News had the opportunity to sit down with Joseph Vietri to get a taste of what TMI’s 2025-26 programming will look like. Read on for an exclusive look at the year ahead!

TMI often offers courses that relate to current events. Are there any this year that you feel are particularly timely?

One of the literature discussion courses coming up is “America Through the Looking-Glass: Questioning the U.S. as Superpower in Fiction”. I think many of the course’s topics, such as American identity and the narratives that exist around it, will resonate with people who are observing what’s happening in the U.S. currently. There will also be a social sciences course titled “Eastern Europe: An Out-of-Fashioned Idea?” which will offer lots of food for thought to anyone wanting to know more about recent events in Europe. And for an even broader perspective, the bilingual social science course “La défaite de l’occident?” will take a sharp look at some of the very foundations of Western civilization. Of course, these are just three of many courses—we will have many more on other subjects such as history, art and philosophy, just to name a few.

TMI is also known to offer various writing courses. Any sneak peeks you can give?

TMI has a very vibrant writing community, so we’ve planned several fun writing courses. One of them is “The Moments That Shape Our Lives”, a memoir course on writing about the transformative events in our lives. Another is “How to Finish Your Novel”, for writers who have unfinished novel drafts in the works. And finally, “Creative Writing: Hybrid Forms” will allow participants to explore the blending of different writing genres such as fiction, poetry, playwriting and others. I hope these courses will encourage writers to pursue their projects regardless of which stage they are at in the creative process.

Over the last few years, TMI has also been offering courses that allow participants to explore the city around them. What can we look forward to from these TMI and our City courses?

Our Discovering Art series will return with two new topics: “Discovering Art: The Rise of Landscapes”, and “Discovering Art: The Beginnings of Contemporary Art”. One of our walking tours will return for a second edition, so if anyone didn’t get a chance to take “Exploring Montreal’s Urban Nature” last year, this will be another opportunity to do so. And for those who love both art and walking, there will be a brand new course that combines both of these things: “The Art of Close Looking: Sketching at the Border of Shaughnessy Village and Westmount”.

Thank you for these special insights! We look forward to seeing the full list of courses, which will be revealed in the first week of July!

Lenore Beitel arrived at TMI with impressive credentials.  She held a PhD in Biochemistry from McGill, and had a professional career in molecular biology and genetics.  In her final working years, she was contributing to neuroscience research at the Montreal Neurological Institute.    

However, she had always been curious about other subjects as well, and wanted to know more about the world.  Her studies had left her little time for non-science subjects, but even as a student she had felt that something was missing, so after completing her BSc, she travelled around Europe for three months, visiting churches, museums and historic sites.  Once she started working, she continued to love travel, visiting places as diverse as Peru, Egypt, Jordan and Turkey.   

It was a natural step for a woman who had always shown such curiosity in her life to sign up for a course in Basic Essay Writing at TMI.  After the Essay course she chose one on Leonardo da Vinci.  “Leonardo da Vinci is my inspiration,” she says.  “Renaissance man, scientist and artist, and left-handed (like me).”  Unfortunately, that course was interrupted by the Covid pandemic, but Lenore was hooked. 

“I always liked school,” she tells me, “and I like the reward of getting a flat hat!” she adds, with a laugh.  She decided to apply for a B.A. degree, because she felt that the additional effort involved would be more rewarding.  “You learn so much more, going over the material, synthesizing it, and writing about it,” she explains. 

Her courses to date have ranged from The Bronze Age to Reading Machiavelli, Ancient Chinese Philosophy and A Stitch in Time: The History and Practice of Textile Arts.  Her quiet, thoughtful enthusiasm as she talks about the courses is palpable.  She has strong praise for many of her discussion leaders, and for the books and readings chosen.  She especially liked the way the textiles course included a visit to the Visual Arts Centre in Westmount, to learn about weaving in a practical way. 

However, some aspects of the TMI learning method were a bit of an adjustment for Lenore.  “I had no trouble with the reading, as I’ve always liked to read,” she says.  “But it took me a while to get used to expressing an opinion in the discussions.  I’m more of an introvert.”  Essay writing was another challenge.  In the sciences her papers were based on research, experiments and results, with a focus on the results.  She had more flexible deadlines and often worked with contributions from several people.   

“Writing in the humanities is more opinion-based, and you need to develop a thesis statement,” she says.  She found it challenging to link together a large variety of readings, and to meet fixed deadlines.  Lenore now sets herself goals of writing a certain number of words per day, and she has become more comfortable summarizing specific points from the readings.  She has also learned not to take too many courses with overlapping deadlines at the same time. 

After a rewarding career in the sciences, Lenore is thoroughly enjoying her new venture in the Liberal Arts world, bringing her into contact with other lifelong learners.  “I like the chance to get together with other people who want to learn.  I have met people who felt they were missing something, and studying the humanities filled a gap,” she says.  “I wasn’t expecting the range of viewpoints,” she adds.  “There are people in the classes from many different backgrounds, so we hear many different viewpoints.” 

She has some final advice for anybody who, like herself, might be interested in pursuing a B.A. at TMI, even if they already have an advanced degree in another field.  “Be curious.  Be open.  Share what you think.  Listen to other people.  Develop your writing skills.”  Lenore will graduate in about six more years.  After that?  “I’ll probably be back for different classes,” she says with a smile.  “And I’d be happy to mentor any new degree students.” 

– Pauline Beauchamp 

Pauline, together with colleague Karen Nesbitt, offered a very successful series of writing workshops at TMI in the 2010s.   

Interested in TMI’s degree program? You can learn more here, or make an appointment with Joseph Vietri, Manager of Academic Affairs and Operations. 

June 2025 More News

Anatomy of a Course Design: Jane Eyre and Her Heirs  

Charlotte Boatner-Doane 

By Dominic Varvaro, Fall 2024

Prompted to think of TMI course designs in anatomical terms, I immediately zero in on the brain and the heart. In my interview with Charlotte Boatner-Doane about her upcoming course, Jane Eyre and her Heirs, it is clear that the impetus for the course comes from her heart, but that the working through of the design involved lots of brain-work—from initial curiosity to thorough research to the imaginative leaps required in bringing together in conversation seemingly disparate works. 

When I first talked to Charlotte to arrange a time and place for this interview, Charlotte asked if she should bring anything. I didn’t think she needed to, but suggested she bring in her copy of Jane Eyre, thinking we might want to look up a passage or quotation. I’m so glad she did. 

I start the interview with “Why Jane Eyre?” Charlotte responds by pulling out her copy of the book. I needn’t have asked the question. The physical book immediately shows me that this course springs from love. Her copy of the book is well-worn, the cover has been torn and taped over many times, and the pages are thoroughly thumbed. There is a dedication on the inside cover written by her father when he gave her the book, her “first grown-up book,” 20 years earlier. 

Jane Eyre is Charlotte’s favourite book. After reading and rereading and rereading it, she started to become interested in the afterlife of Jane Eyre in popular fiction. Charlotte started to think about designing a course that would include novels that are in conversation with Jane Eyre. As is so common with TMI course designs, the idea for the course had been percolating in her brain (and heart) for a long time.  

When Jane Eyre was published, it was met with some praise, but with more moral outrage (stemming from fear?) because Jane behaves un-Christianly (she speaks critically to a preacher), and rebels against prevailing gender and class structures. Social class is important in this novel. Jane is an orphan; she has to work for a living. Her outspokenness was seen by many nervous upper-class critics as a reflection of the class revolts occurring in society at the time. 

Charlotte explains the phenomenon of Jane Eyre-inspired novels (there are lots of them!) as having several motivations; the first is the continuing relevance of class and gender issues today. Another is simply that people still really like Gothic novels, especially ones with big houses and madwomen in an attic. What is unique about this Gothic novel is the voice of its protagonist. Jane is a strong proto-feminist character who stands up for herself and demands a rich life of her own. 

When I ask Charlotte how she chose the three specific “afterlife” novels she wanted to include, she says simply that she liked these three the best. She deliberately included only one other Gothic novel (Rebecca), in order not to overdo the gothic aspect. The three novels speak to Jane Eyre in very different ways, making for a richer course design, and ideally leading to more vibrant and varied course discussions. 

I ask Charlotte whether she feels these later novels do justice to Jane Eyre. She responds in a way that suggests this is not the right question. She says, “They do something different.” Wide Sargasso Sea gives the “madwoman in the attic” a voice. In Jane Eyre, this character is portrayed unsympathetically. She is often seen by critics as a representation of Jane’s inner rage at her social situation. Jean Rhys rewrites this compelling character with sympathy, portraying her madness as a consequence of her having been displaced from her home in the Caribbean. Oranges Are Not the Only Fruit is very different, but like Jane Eyre, it is a coming-of-age story that speaks to Bronte’s deep interest in relationships between women.  

As in all TMI courses, supplementary readings are an essential feature, and finding appropriate ones takes a lot of research. Charlotte explains how she looked for the readings she selected, first by going back to the source book, Jane Eyre. She looked at articles about Bronte, about what she would have been reading, where her inspirations may have come from. When looking for material to support the later novels, Charlotte used a mixture of looking for specific ideas (e.g., articles that touched on her hunch that there were interesting, but not obvious, connections to be made between Jane Eyre and Oranges) and being open to serendipity, to finding articles that spoke to connections she hadn’t thought of. 

Charlotte’s visible love for Jane Eyre, and enthusiasm for the way Bronte’s work still lives on today, have combined with her intellectual curiosity to create a fascinating and compelling course design. This will lead undoubtedly to a wonderful and exciting course.  

The Thomas More Institute has a variety of courses on offer this spring. Whether you’re looking for a deep dive into literature or philosophy, or a shorter but no less compelling look at cultural topics, you will find something to tempt you. Sign up early; courses are filling quickly.

Twelve-Week Courses

A Disturbing Disquiet: The Fiction of Patricia Highsmith

Starts March 13 • Online • Thursdays 1:30 – 3:30 p.m.

Patricia Highsmith’s noir fiction will be the focus of this course that looks at this “poet of apprehension,” as Graham Greene once called her. Highsmith probes the underbelly of the human psyche, compelling her readers to reflect upon what dark secrets lurk within ordinary middle-class lives. Is there at the core of her writing an existential message about our post-modern condition – do we live in a moral vacuum where virtues are willingly shelved and amoral actions justified?

The Humanists: Exploring What It Means to Be Human

Starts March 10 • Atwater • Mondays 6:15 – 8:15 p.m.

What does it mean to be human? How did humanists envision the role of religion in our lives? How does our shared humanity transcend cultural and political borders? These and other questions will be explored in this course anchored by Sarah Bakewell’s new book Humanly Possible: Seven Hundred Years of Humanist Freethinking, Inquiry, and Hope.

Six-Week Courses

Imagining Medea: From Myth to Modernity

Starts April 17 • Atwater • Thursdays 6:15 – 8:15 p.m.

This course will consider the figure of Medea from Greek mythology and explore how her story has been reimagined and recontextualized from classical antiquity until the present day. What draws us to characters who commit horrifying acts of violence? Why is Medea associated with both creativity and destruction? How have modern writers reconceived her identity?

Repatriation of Cultural Artifacts: Ethical and Practical Considerations

Starts April 15 • Atwater • Tuesdays 1:30 – 3:30 p.m.

The joy of seeing the treasures of the world on display in the Louvre in Paris or the Met in New York or the British Museum in London belie a darker history of the acquisition of such artifacts. What is the role of the museum in modernity? Should works taken as trophies in an imperial age be returned to their homelands? What would it mean if the world’s greatest museums were emptied of their treasures?

Shakespeare in the Spring 2025: Light and Darkness in As You Like It and Macbeth

Starts April 15 • Atwater and Online • Tuesdays 1:30 – 3:30 p.m.

This year’s celebration of Shakespeare is a study of contrasts, looking at his lightest comedy, As You Like It, and his darkest of tragedies, Macbeth, both coming to the Stratford Festival this summer. We will explore these plays in depth, watching videos of scenes played by some of the best theatrical companies and reading interpretations by Emma Smith, Marjorie Garber, and others.  Shakespeare’s plays become demystified, and their brilliance revealed as we explore them together.

Four-Week Courses

A Beginner’s Guide to Jazz

Starts May 1 • Atwater • Thursdays 1:30 – 3:30 p.m.

As Montreal prepares to welcome some of Jazz’s most prominent performers at our annual Jazz Festival, we will dive into an understanding of jazz music and its origins, from the descendants of African slaves to the early 20^th century recordings of Louis Armstrong, on to the very latest jazz trends. The course will also survey the program of the Festival de Jazz International de Montréal, and concerts will be recommended.

Exploring Montreal’s Urban Nature

Starts April 18 • Atwater • Fridays 10:00 a.m. – 12:00 p.m.

Join us on a walking journey into the hidden wildness of our urban landscape during this four-week course that will allow us to experience nature within Montreal. The walks will run from 10:00 to noon, rain or shine, and will explore the following sites: Mount Royal, Parc des Rapides, the Falaise Saint-Jacques, and Angrignon Park.

Portraits and Still Life

Starts March 26 • Atwater and Montreal Museum of Fine Arts (MMFA) • Wednesday 10:00 a.m. – 12:00 p.m.

Anita Grants is back with another instalment of her popular course focusing on different highlights of the MMFA’s permanent collection. This spring, we will be looking at portraits and still life paintings. Two in-person lectures will introduce the works we will be looking at in subsequent museum visits. The week following each lecture, we will meet at the MMFA to engage with the art discussed directly.

A Tribute to Judith Gray: Student, Course Leader & Designer, and Past President 

Fall 2024

On May 9, 2024, TMI past president Judith Gray passed away peacefully at 85 years old. Judith is remembered fondly as a brilliant woman known for her generosity, curiosity, and wit. 

Born in St. Catharines, Ontario, Judith was the daughter of a working-class family from Scotland. She obtained her nursing degree from Women’s College Hospital in Toronto, where she was valedictorian of her class.  

In the late 1950s, she married Ian Gray, with whom she had two children, Katy and Glenn (d. 1981). While in Toronto, Judith worked at the Toronto Psychiatric Hospital.  

When Ian was transferred to Montreal, Judith became the coordinator of nurse training at Vanier College. She started to take courses at the Thomas More Institute shortly thereafter, seeking an outlet for her curiosity and intellect. In 1980, Judith earned her Bachelor of Arts Degree at Bishop’s University through TMI. After graduation she became involved in the production of courses. In 1981 she took part in a TMI course on “Health, Well-Being, and Sanity” offered once a week during lunch hour at the Royal Bank Auditorium in Place Ville Marie. She designed and/or led in dozens of courses at TMI, such as “Freud and Women” (1989), “Stalking the Human Good” (1994), “Meeting/À la rencontre de Bernard Lonergan” (2000), and “Gertrude and Alice–The Fiction of Autobiography” (1911). 

Judith and Ian fell in love with the peace and beauty of the Eastern Townships. They eventually purchased a home in Foster, Québec, close to Knowlton, on 60 acres of woods. With retirement, they moved permanently to their beloved home in the country, but Judith remained involved at TMI, despite the distance.  

In 2003, when she heard the Search Committee was having trouble finding a new president to replace Eileen de Neeve, Judith volunteered. “She was the type of person to see a need and to step up and offer help,” comments Anne Fitzpatrick, who was Board Chair at the time. “Everyone liked Judith; she didn’t stand on ceremony, and she had a way of making things better.” Barbara Rolston, who worked at TMI during Judith’s term (2003-06), considers Judith as among TMI’s finest presidents. “She was so upbeat, so curious. It was a fun time.” Being president wasn’t just about administration for Judith. She understood the mission of the Institute and encouraged every aspect of its work, from fundraising to course design. Judith came into office when some tension existed, and she was able to lighten the atmosphere. She clarified roles, letting staff know exactly what she needed of them. Diane Moreau, who also worked at TMI at this time, describes her as “courageous and gutsy.” She was “a straight shooter” who “always told the truth” and who found a way to do so diplomatically, often making use of her sharp wit and fine sense of humour. 

Judith came into her own at TMI. The Institute provided a place where she could pursue her passions, engage her mind, and explore ideas where they led her. Diane Moreau notes that she had an exceptional talent for “mining a text.” Anne Fitzpatrick tells me she designed “wonderful courses.” Daniel Schouela, member of the TMI Board, speaks of her “warmth, humour, and probing intelligence.” “I really appreciated her passionate approach to [the Institute’s] commitment to shared inquiry,” he tells me. In 2005, on the occasion of the celebration of TMI’s 60th Anniversary, Judith said this about the institute: “[The majority of students at TMI] come to share their own burning desires with other questioning souls. This method can be truly called lifelong learning because it leads to no definite conclusions but over and over again helps us to use the insights that arise through our reading/discussion to change our minds, read more deeply, listen with attention and cherish the curiosity we make central to our lives.” Judith understood the mission of TMI because she found it incarnated in herself. 

Judith’s family will celebrate her life in a private ceremony to take place in late summer. In accordance with her wishes, they will travel to Canmore, Alberta to scatter her ashes at the grave of Judith and Ian’s son Glenn, who died there in a mountain climbing accident at the age of 21.  

TMI Student Profile: A Conversation with Charlotte de Neeve

By Dominic Varvaro, May 2024

Featured image: Charlotte de Neeve speaks with the TMI community at Spring Convocation

Savouring her hot chocolate, she displays a youthful bohemian spirit belied only by greying hair. Her soft-spoken responses to my questions in the cavernous market café cause me to lean in close on more than one occasion. Still waters run deep. This is the thought that occurs after my initial meeting with Charlotte de Neeve (pronounced de-NAVE-uh) at a local brûlerie where she’d bicycled – in the rain – to meet.

She is at home in Montreal. “It’s where I’m from,” she asserts, in spite of having lived in British Columbia, Texas, Massachusetts, and Ontario before returning two years ago. She tested Montreal’s CEGEP waters in the 1970s, a time when she was “playing piano for ballet classes and just hanging out.” She still practises the art of “playing music for fun or with friends.”

In 1980, she acquired a registered-nursing qualification from Vanier College and then followed her future husband to the University of British Columbia in Vancouver where she obtained a B.A. in Latin and Medieval Studies. “It was the Latin,” she corrects me when I ask about her reasons for choosing medieval studies. She emphasizes how important the study of language is to her and that Latin was simply something that interested her. “I just wanted to do it,” she reaffirms.

She earned a second undergraduate degree and then a Masters in Nursing from the University of Ottawa and began working as a nurse practitioner in 2013. “You learn a lot about medicine… and about how clinical decisions are made,” she explains of her small-town practice in a rural Cornwall clinic. “I was on my own a lot,” she says of its appeal. Today, she works as a nurse at a Residence privée pour aînés. When I press her on the nature of a vocation that intersects the purview of nurse and doctor, she tells me that she enjoys the interactions and that her practice is a serendipitous opportunity to socialize with the community she serves.

Both her parents were long-time supporters of the Thomas More Institute, so she feels it’s natural that she should return to the liberal arts there, to “stay connected to the world of ideas.” Her first hands-on TMI experience was a Gatineau-based in-person course on the Canadian constitution led by renowned TMI volunteer Pierrot Lambert, “which was fun,” she says. She extols the connections she made with the local community and the open discussions that transpired under Pierrot’s leadership.

Her feelings about Pierrot are reciprocal. “[She] brought to our discussions her intelligence, her wide experience of social issues, and her fine sensitivity,” he writes when I ask about his recollections of their classes together.

She later comments on the collaborative and interactive nature of the TMI method, saying that she “enjoys the discipline and dynamic of the discussion…learning how to listen better and to respond with equanimity, or how to say nothing and wait.”

Charlotte earned a Comprehensive Certificate, celebrated at the May 2024 convocation ceremony at the Institute. The Certificate program—comprising several courses with literature as a central theme – is an advisor-led and tailored program that concludes with a substantial and integrative essay. She tells me that the effort she invested in the essay was “…like scaling a vertical rock wall with my fingertips.”

Her essay escorts the reader through the development of literature from Roman poets to the Romantics. It exposes the power and beauty of the written word by showing how storytelling helps shape the evolution of society. It’s a sentiment that is familiar to essay reader and TMI Chair Carol Fiedler, who contends the essay “…accentuates the interaction between the mythical universe of the imagination and the natural universe of our physical bodies.”

In the essay’s conclusion, Charlotte writes “Our ideas and words define us as human.” She floats an enthralling proposal that “…we should replace our political stances with poetical ones, exchange ideas rather than oppose them, and practice a conversation based on our shared, timeless and contemporary language of myths and stories.”

Toward the end of our interview, I ask about her reasons for returning to Montreal. She explains that she moved back “for six months” to take care of her ailing mother, who was always a source of meaningful conversation. “Not stories so much as ideas about the world,” she answers when I ask about the nature of their conversations, but then she looks away and changes the subject before I can explore further.

Charlotte sees the writings of Renaissance author Giovanni Boccaccio as “…a growing democratization in the business of learning and literature.” It occurs to me that the nature of her essay parallels her life experiences, that the highlights of her journey—the social interactions, the exchange of ideas, the critical perspectives she acquired, and the playing of the piano for her friends—are all a continuation of the democratization of our own stories.

Dominic Varvaro is a writer, photographer, and TMI student. His foodie creations can be found at @thesauceison. You can read more of his writings in Voices: A TMI Writers’ Journal.

TMI Volunteer Profile with Jim Cullen 

by Dominic Varvaro, November 2024 

We’re surrounded by a collection of sculptures and paintings “conceived in the young minds of Quebec’s artist community,” he tells me. The stacked bookshelves on an adjacent wall—replete with Plato, Ovid and Homer—hold the tomes that “founding members had in hand” when first building the Institute’s charter. The nearby wall hosting a list of baccalaureates, starting in 1948, boasts the brain trust that has graced the Institute’s halls and enriched its collective consciousness. He points to these artifacts with awe and pride. I can’t imagine a more appropriate locale to interview Jim Cullen, past president of TMI and long-time volunteer. 

Cullen was born in the seaside and coal-mining community of Stellarton, Nova Scotia. His banking father was transferred, with his family, to Montreal in the mid-1950s. Cullen went from an intimate Atlantic Canada community of 5000 to bustling urban NDG, cycling to school, playing hockey in the park, and eventually embracing the influence of the Jesuit Fathers of Loyola High School and College.  

He confides that the transfer was difficult for his mother, being so far from family, but the glint I see in his eyes as he recounts the adventures of his youth tells me the transfer was a happy experience for him. 

When I ask about the path that led him to the Chicago Divinity School, following the B.A. in Theology he earned through Université de Montréal, he talks of Reverend Elmer O’Brien, a Jesuit who chaired the “newly developed field” of theology studies at Loyola College.  Cullen was inspired by how the Reverend “created engagement” when he first heard him speak in a Loyola College auditorium, and by the Reverend’s “deep appreciation of theology.” It was a turning point for Cullen who, until then, had been considering a career in journalism.  

His journey of “growth” continued at University of Chicago’s Divinity School in 1966 when he moved to the Baptist Graduate Student Centre. It’s where he taught, attended graduate school, and formed lifelong friendships.  

In 1968, back in Montreal, Jim married his fiancée, Maureen. He tells of how they were swept up in the 1968 Democratic Conference protests and of how they “endured…the tremendous turmoil” that then Chicago Mayor Daly’s police crackdown had on university protesters. He was also witness to the cultural stress that a military draft for an unpopular war in Vietnam had on America’s psyche and its “large impact on young people, especially speaking out” in protests and tectonic change of cultural mores. 

In the 1970s, in the midst of the province’s language law debates, Cullen returned to Quebec as a religion teacher at Bishop Whelan High School where he saw how enrolment was affected by “stricter language laws changed the composition of the school.”  During this time, he completed an M.A. in History and Philosophy of Religion from Concordia. 

1980 saw Cullen move to Quebec’s Ministère de l’Éducation. The dossier of responsibilities he managed during his 25-year career was extensive and included elementary and secondary Catholic education, securing Canada-wide funding for minority language education, supporting Services à la communauté anglophone, and representing the province within the Canada-wide Council of Ministers of Education. Most notable, however, was the period of transition where the “English speaking community took greater charge of the education of their children,” as reflected in his hands-on work with Gretta Chambers on the Advisory Board following Pauline Marois’ reform to secularize public schools and create linguistic school boards.   

He doesn’t argue when I convey my impression that the Institute is a magnet for critical thinking. As president, a position he held from 2006 to 2010, Cullen supported the way the Institute operated. TMI Director Daniel Schouela echoed the Institute’s appreciation for Cullen’s “wealth of diverse experiences” and for how Cullen “managed our relationships with the Ministry and with Bishop’s [University] with great care and skill, and spearheaded important modifications to TMI’s bylaws.” 

I ask him about the governance that evolved under his watch. He praises the groundwork that was laid by his predecessors and also the “beguiling and enchanting” influences of past directors Charlotte Tansey and Martin O’Hara. In the same breath, he recognizes the dedication of the volunteers, many of them women, who “worked during the day and then returned [to TMI] in the evenings” to bring to life the “bold experiment” that is the Institute. Cullen goes on to explain his contention that “the Institute has two roles in the development of adult education,” one of delivering adult education content and the other of conducting adult education research. 

As we wrap up, he mentions a 1980 interview that O’Hara conducted with artist, teacher, and TMI graduate Louis Belzile. Cullen maintains that “TMI places art next to text as an interpretive place for students.” It was Belzile’s position, regarding public school art classes and what he described as The Privileged Moment (https://mje.mcgill.ca/article/view/7343), that art is a vital component of early learning pedagogy and that educational institutions must enable and encourage students to exceed pedagogic expectations. Not surprisingly, Cullen contends that the concept applies equally to adult education. 

Dominic Varvaro is a writer, photographer, and TMI student. His foodie creations can be found at @thesauceison. You can read more of his writings in Voices: A TMI Writers’ Journal.