| Bobbi and the Strays is an animal care Non-profit in Queens, New York that places pets with caring adults and families. (image credit: Greig Roselli) |
Hi, I’m Greig — welcome! Here you’ll find sharp writing, creative ideas, and standout resources for teaching, thinking, making, and dreaming in the middle and high school ELA and Humanities classroom (Grades 6–12).
18.10.26
The Dichotomy of Empathy: Exploring Fragility and Vulnerability
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
22.7.26
How to Write a Goodbye Letter to Depression: A Recovery Writing Exercise
Saying Goodbye to the Voice That Told You to Disappear
Depression often speaks in commands: withdraw, stay quiet, numb yourself, trust no one, and disappear before anyone has the chance to hurt you.
At first, isolation may feel protective. It can create distance from conflict, anger, rejection, and painful memories. Yet the same walls that appear to keep danger out can also separate us from the people, routines, and sources of support that help recovery take root.
Writing a goodbye letter to depression is one way to make that hidden conversation visible. The purpose is not to pretend that depression can be dismissed through willpower or a few forceful sentences. Rather, the exercise allows a person to identify depression’s language, confront the coping patterns it encouraged, and reclaim authority over the story.
A goodbye letter may include grief, anger, humor, accusation, insight, and hope. It can name unhealthy attempts to numb pain without turning those choices into moral failures. It can also acknowledge what has helped: therapy, trusted friends, family members, recovery communities, creative work, and the decision to ask for help.
In the following letter, Milo addresses depression as an unwanted tenant who has occupied too much space for too long. Drawing upon the language and mythology of The Wizard of Oz and Wicked, Milo transforms a private struggle into an eviction notice. Depression is placed on notice: it may have influenced the past, but it will no longer be permitted to speak with unquestioned authority.
Goodbye Letter
Dear Depression:
I withdraw to feel better. To numb.
I isolate to protect myself from those who can—or could—hurt me. To prevent myself from experiencing triggers. To prevent myself from feeling anger.
But anger is on the opposite end of the emotional spectrum from depression. That is something you never told me. It is something I had to discover for myself.
To feel better, I had to seek help from other people: my friends, family members, confidants, and therapist.
Had you told me the true source of my sadness, perhaps I could have begun healing sooner. But you did not. Instead, I sank further and further into depression without recognizing the damage it was causing to my body and mind.
I searched for unhealthy ways to cope. At different points, I tried to numb myself rather than confront what I was feeling.
Those choices were hurting me. They were slowly eating away at my body and soul.
But I have learned that depression has a language. It has its own vocabulary.
I have been in therapy for fifteen years, and I am only now becoming aware of how much damage you have done to my body and mind. I hate that about you.
I am expressly asking you to vacate these premises.
Be gone.
You have no power here—just as Glinda tells the Wicked Witch.
But even Elphaba is a victim of isolation. We share that in common. Elphaba, however, uses her rage to advocate for the Animals of Oz.
I have been obsessed with the lore of Oz all my life.
Now I understand why.
So I ask you to depart. I am choosing peace, recovery, connection, and the tools that help me remain well. You are no longer permitted to convince me that isolation and numbness are the only ways to survive.
Consider this document your official eviction notice.
—Milo
A Note on Recovery: Reflective writing can support healing, but it is not a replacement for therapy, medical care, or a relapse-prevention plan. A goodbye letter may be most useful when shared with a trusted therapist, counselor, recovery professional, or support person.
If you are in crisis call or text 988.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
5.2.26
Adjuncting in Graduate School: Money Stress, Meaningful Teaching
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| Let's get teaching! |
In the following post, I write about my time as an adjunct professor. The title might sound abrupt and professional, but the reality of adjunct teaching is much less polished: you’re paid by the hour, which usually means you’re paid only for the hours your classes meet each semester. It kept me afloat, but it also made finances feel precarious.
I became an adjunct out of necessity while I was in graduate school in New York City. Between tuition, rent, and basic living expenses, my scholarship and support weren’t enough. I needed side income—plain and simple. But looking back, that time ended up being more rewarding than I expected. It wasn’t just about getting by; it became a formative stretch that taught me how to communicate academic ideas to students whose lives and goals weren’t necessarily built around the humanities.
My own educational background was classic liberal arts: humanities, philosophy, the kind of learning you pursue because you love it, surrounded by teachers and classmates who felt the same. Adjunct teaching was different. Many of my students were pursuing concrete credentials—health-related programs, business tracks, accounting certificates. They didn’t come to class thinking, How can philosophy change my life? They came thinking, How can I finish this requirement, get the degree, and improve my situation? That difference mattered. It forced me to ask a hard, useful question: How do you teach ethics, philosophy, epistemology—material that can feel “extra”—to people who are rightly focused on work, family, and survival?
A lot of my students were adults—some older than me—returning to school to earn a certification or an associate’s degree so they could get a promotion, switch careers, or rebuild momentum. Many of them also carried bruises from earlier schooling. You could feel it: skepticism, anxiety, a kind of guardedness around classrooms and teachers. Navigating that—respectfully, patiently, without condescension—became one of the defining challenges of the job.
And then there was the student body itself. Teaching in New York City introduced me to a level of heterogeneity I hadn’t experienced before: students from Eastern Europe, South Asia, China, and a wide range of Black and brown New Yorkers—many of them immigrants or children of immigrants—sitting in the same classroom, bringing different histories, languages, and relationships to school itself.
That contrast made me look back at my own education with new eyes. I grew up in Louisiana in a lower-middle-class family. We weren’t wealthy, but my parents worked full time, we had stability, and we owned our home. I also had grants and scholarships that opened doors. And yet, when I think back, my schooling was overwhelmingly white. In secondary school, I had one teacher who wasn’t white—Ms. Washington—and in college and graduate school I remember very few Black classmates, and no Black professors that I can recall. I’m not saying that for dramatic effect; I’m saying it because it’s clarifying. It points to something structural—how segregation and opportunity still shape who ends up where in the United States.
That’s part of why “diversity initiatives” matter now. They’re trying to correct a longstanding absence, not merely add a decorative layer of representation. But the work is hard because it challenges established norms—who gets access, who gets supported, who belongs in the room.
My time adjuncting in New York City gave me a lived perspective on all of this. It showed me what a truly mixed classroom can look like—and it also showed me how much effort it takes, institutionally and culturally, to make that kind of classroom feel normal everywhere.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
29.12.25
It’s My Birthday — So, Here’s a Special Post
I feel like I have good people I love and know scattered across this crazy world. I’m scattered. So it works. Today is my birthday. It’s always an in-between day, but I’ve learned to stop worrying and love the bomb — I mean — the day!
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
11.12.25
The People Who Take You There
I think people carry with them certain memories—especially from early childhood into adolescence—that surface later in adult life, unbidden and strangely intact. Not the big moments. Not the milestones. But the people who were simply there.
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| I definitely had a coloring book like this when I was a kid in the 80s! |
Every morning and afternoon, I got on the bus driven by a man named Mr. Barry.
That is the memory.
Mr. Barry was a quiet man, probably in his forties—or at least that’s how I remember him. He was dark brown, with a face worn gently by time, gray-black hair thinning at the crown. He didn’t say much. I don’t remember conversations. I don’t remember jokes or discipline or instruction. What I remember is his presence.
On cold days, I can see him sitting in the driver’s seat before we boarded, eating out of a lunch container—not a tin exactly, but a proper lunch box. Inside was red beans and rice. In Louisiana, that meal is more than food; it’s ritual, warmth, care. I somehow knew his wife—or someone who loved him—had made it. He ate it slowly, with relish, like it mattered.
I don’t even know when he ate it. Maybe between routes. Maybe in the afternoon before the ride home. Memory doesn’t care much for logistics. It keeps what it wants.
Mr. Barry wore jeans, usually a collared shirt with a T-shirt underneath—sometimes red-and-black checked. Once the bus got moving, he’d turn on the radio. Rock and roll, whatever was on FM at the time. Occasionally, in the mornings, the news. There were only so many stations then. The world arrived filtered and faint.
Here’s the strange part: I don’t remember how he drove. I don’t remember a single thing about his skill behind the wheel. I don’t remember rules or reprimands or even the sound of his voice. But I remember him. His face. His name. The constancy of seeing him every day.
He probably didn’t know my name.
And yet, decades later, I carry him.
In high school, I had another bus driver: Mr. Greg. He was different—more talkative, lanky, tall, with a mustache and an easy smile. He played country music. He was also a police officer in Madisonville, Louisiana, where I lived at the time. I knew more about him. I saw him occasionally outside the bus, sometimes in his patrol car. He had a brother who also drove a bus, though I can’t remember his name.
Mr. Greg had rules—bus drivers always do. Sit down. Don’t move. Don’t test the limits of a vehicle that is both transportation and controlled chaos. Bus driving is hard. You’re responsible for dozens of children while piloting something the size of a small building. You’re caretaker and authority and witness, all at once.
I don’t know where either of these men are now. Mr. Barry could be in his sixties, his nineties, or gone altogether. Mr. Greg is probably in his fifties or sixties. Time gets slippery when you start measuring it against your own life. I’m now roughly the age I once imagined Mr. Barry to be. Or maybe older. Or maybe not.
And that’s the point.
We spend so much time worrying about what will matter—what we’ll be remembered for, what impact we’re making, whether our actions register. But memory doesn’t work that way. People remember presence. Consistency. Care. The way someone showed up, quietly, day after day.
Mr. Barry and Mr. Greg probably have no idea they live in my mind. They weren’t teachers. They weren’t family. They weren’t friends. They were simply the men who took me from home to school and back again, safely, repeatedly, without drama.
And yet they carry a kind of solace for me now—a reminder of a time when I had less agency, less freedom, and other people quite literally carried me where I needed to go.
I know for certain I could never be a bus driver. That job requires patience, endurance, and a tolerance for chaos I do not possess.
So this is a quiet thank-you—to Mr. Barry, to Mr. Greg, and to all the people whose labor is invisible but essential. To the ones who never make speeches but leave an imprint anyway.
You never really know who will remember you.
And maybe that’s the grace of it.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
6.12.25
Teaching on the Edge of “Goodbye, Mr. Chips”
I used to think teaching looked like a scene out of the novel-made-classic movie — the musical version I like is Goodbye, Mr. Chips, with Peter O’Toole in the title role. Mr. Chips is dapper. He nibbles biscuits, dispenses quiet wisdom through action, and his students adore him. That was my gestalt of teaching, a script I absorbed in childhood. I idolized my teachers — middle school, high school, even college — as if they could make order out of chaos (or show me the pattern inside the chaos, which is sometimes even better).
I became a teacher at twenty-eight, after a decade in the arms of Mother Church — first a seminarian, then a religious brother. I left that life for a parallel calling. And I’m still here, now in my forties, a little more tired, a little more rushed. The backstage parts of the job take up a lot of oxygen — grading, uploading this file and that one, posting grades, reading emails, responding to some of them. It’s office work except teaching isn’t an office job — it’s a command performance. The show thrills me; it also wrings me out.
This morning I cried in the shower. It was cold. My commute from Queens to my school in Washington Heights is about an hour and a half. I don’t love that part. I check my email and skim the news on my phone, but mostly it feels like time I can’t get back.
I started this year with gusto. Classic me — the Energizer Bunny. I’m either all-systems-go or in a deep morass of my own patheticness. People tend to like me when I’m bouncy and ready to wrangle sixth- and seventh-graders — the tribe I travel with these days. Teaching happens in the moment, but it demands a plan — lesson arcs, pacing calendars, data cycles. And yet my favorite moments are the improvised ones: a student’s random share, a series of unfortunate (and comic) events, that flash when a question sparks real curiosity. That’s the stuff that keeps me in it — kids doing, being, thinking, and seeing.
It’s my first time teaching in a public school after years in private — tuition-free places and tuition-paid ones. I got my certification after I’d already been in classrooms for a while. The shift to the public sphere is a whole story on its own. What I can say is: my students talk. They interrupt. They test boundaries. We’re nearing Christmas, and the behaviors have a pulse. That tracks. I should feel blessed — three more weeks and then hibernation. But I feel anxious.
Part of it is last year, which was a disaster. Let’s leave it there. Part of it is now: I’m learning two curricula, juggling four classes, and directing drama club (we meet once a week, which should be manageable, right?). I have a parent advocating hard for her seventh-grade son to get into a private school for eighth — which I respect — while I try to keep everyone learning today. I’m teaching everything new, following a set curriculum that still requires a million tweaks to fit the real humans in front of me. It drives me a little mad.
So I write. My therapist says writing is therapy; this is that. I’m not a naturally organized person. I survive on intuition. Sometimes I collapse under the pressure. I took a sick day today — I needed to breathe — and now I’m second-guessing the choice. My armor plate has shifted. I don’t feel as confident as I “should.” I’m not kind to myself; I can be brutal. When I stumble, the echo chamber inside me amplifies the mistake.
I’m not a perfectionist — far from it. I’m the teacher typing the slide deck minutes before students walk in. But like Mr. Chips, I believe in the humanity of this work. I’m teaching actual human beings — kids with desires and wishes, different from mine, but real. In the story, Mr. Chips falls in love. I always thought Goodbye, Mr. Chips felt a little queer-coded. There are plenty of us — gay men who found a home in the profession. When people ask (and they ask a lot), I sometimes joke that I’m saving myself for Mr. Right. I’ll even make up a beau — Marc Antony — no relation to the historical figure. He’s also been A.G. Millington or Uncle Faroger. It’s a little neurodivergent of me, maybe, to chat with my alter egos. It’s only a problem if they talk back, right?
My salve is Friday after school. New York City does something to me on Fridays — a little joie de vivre. I’ll walk along 37th Avenue in Queens, duck into a bodega, or browse a 99-cent store. I’ll treat myself to a café au lait (no sugar!) and remember that joy still sneaks in, even when I’m running on fumes.
Here’s what I know from my own mistakes: teaching isn’t osmosis. Papers don’t grade themselves. Lessons don’t float from the ether. But learning can be wondrous. I’ve built Stones of Erasmus from that conviction — it started “just for fun,” and in the pandemic it became a haven for the kinds of lessons I crave: resources that bring arts and letters to life, that challenge me and my students to go deeper. On my best days, I design the kind of work that makes adolescents sit up — not because it’s flashy, but because it’s alive with big ideas.
I’m still not Mr. Chips — I don’t want to be. He’s a sweet fantasy, a tidy narrative where the biscuits are always warm and the Latin epigrams always land. My classroom is messier, louder, more human. And when it’s all too much — when the commute freezes me, when the schedule crowds in, when the curriculum needs more tweaking than time allows — I remember why I came: to spark wonder, to foster thinking, to help kids map the disorder and sometimes find the hidden order inside it.
So, goodbye to the fantasy — and hello to the practice. I’ll keep showing up, tweaking, failing, trying again, and laughing at my own slide-deck-at-the-bell chaos. And on the days I manage to create a little stillness amid the storm — a circle of tea, a shared poem, a question that lingers — I nod to that dapper gentleman in my imagination and whisper, with gratitude and a grin: Goodbye, Mr. Chips.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
16.4.25
Sandcastle Moments and Subway Shirts: A Midlife Sabbatical from Queens to the Gulf
The Sabbatical Life
I’ve taken on a self-imposed sabbatical. That’s the nicest way I can frame it because no one really wants to hear the words “unemployed” or “jobless.” But that’s where I’m at—and it’s a decision I made. I’m a teacher by trade, though I’ve worn many hats (and I’m not even talking about reincarnation).
I plan to be back in a classroom by September. (And if you’re reading this before then, dear reader, don’t jinx it.)
I like to call this a sandcastle moment: one of those times when the tide comes in and sweeps away the intricate structure you’ve built, and all you can do is start again. As a kid, I loved standing in the wet sand, letting the waves rush over my feet, tugging at the earth beneath me. That was the Gulf of Mexico of my childhood—a brown, brackish sea that never made it onto postcards.
Now, as an adult, I avoid beaches. Sand gets everywhere. But childhood made them magical.
Adult Life and the Flotsam of Responsibility
In adulthood, I’ve lost that innocent lens. Bills pile up. Garbage needs to be taken out. Taxes lurk. Cover letters wait to be written. I distract myself by listening to that haunting song from Donnie Darko—you know, the one with the time-traveling rabbit (cue Mad World by Gary Jules).
Still, I know I’m a good teacher because I’m not afraid of mess. I am, however, sensitive—to place, to atmosphere. I left my most recent job after only nine months (a full gestation), right after February break.
Part of that was my gut talking—something I’ve learned to trust, even if I come across as sweet and naïve. And part of it was concern for my mother, who had undergone two major surgeries in as many months. The last time I’d seen her was when we buried my father.
In a dream, a banshee hissed at me: “What if your mom dies, and the last time you saw her was at your father’s funeral?” So, I booked a flight from LGA to New Orleans and went home.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
28.1.25
My Journey of Personal Growth: A Forty-something’s Self-Reflection
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| Me in a family Christmas photo—I'm like nine or ten (circa 1989) |
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| Me in the Late Nineties Entering Ms. Decker's Freshman Biology Class Image Credit: Mandeville High School Yearbook |
| Me in my early 30s |
“I pray you are having a good day. Stay safe!! I’m proud of the hard work you do. Love you!—Mom!”
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| Me in my room in New York City in My 40s |
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
27.3.24
Overcoming Bullying: A Personal Journey of Strength and Advocacy.
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.
19.1.24
Eulogy for Anthony Greig Roselli, Sr. (1950-2024)
Remembering Anthony Roselli: a heartfelt tribute, written by his middle son, Anthony Greig Roselli, Jr., to a life woven with New Orleans' spirit, culinary passion, and memorable adventures.
Eulogy
[Greig]: I'd like to share a few thoughts that I penned down in the parking lot. [laughter]
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| My father and I fishing at Percy Quin State Park (circa 1984). |
Dad had a way of turning moments into memories, often accompanied by laughter. But the song 'Cats in the Cradle' – it’s a song that now holds a deeper meaning for me.
And the cat's in the cradle and the silver spoon / Little boy blue and the man in the moon / ‘When you coming home, dad/son?’ ‘I don't know when / But we'll get together then / You know we'll have a good time then.’
I am an educator and a writer. I was born in Louisiana and I now live in the Big Apple. My heart beats to the rhythm of "Ain't No Place to Pee on Mardi Gras Day". My style is of the hot sauce variety. I love philosophy sprinkles and a hot cup of café au lait.






