Reimagining Sponsorship: Recovery Work, Institutional Sponsorship, and the Nearly Forgotten Rev. Mary A. Will

Epigraph  

“We pray the Lord of the harvest, that he may send laborers into his harvest, that are not afraid to unite their labors with that of a woman. 

—Rev. Mary A. Will, The American Wesleyan, 20 February 1861 

“We are glad to say, that our church never has been so well governed under any pastor, as it has been under sister Will. We think it can no longer be said, that a church cannot be well governed by a woman. There never was a mother who watched over an infant with greater interest, than sister Will has over this church.”  

—S.A. Stock, The American Wesleyan, 12 June 1861 

“Resolved, that the action of … ordaining a female was unscriptural.”  

—Wesleyan Methodist Connection, “Book of Minutes,” June 1864  

“Resolved, that the action of … deposing sister M. A. Will was irregular and illegal.”  

—Wesleyan Methodist Connection, “Book of Minutes,” October 1875  

Introduction  

In 1994 when Cheryl Glenn published “Sex, Lies, and Manuscript: Refiguring Aspasia in the History of Rhetoric,” she called for feminist historians of rhetoric to “re-map” rhetorical history by writing women into the rhetorical canon (180). Glenn went on to offer a first step in this feminist challenge to the history of rhetoric by arguing for the inclusion of Aspasia of Miletus—a contemporary of Socrates, Plato, Pericles, and other classical figures—in the rhetorical canon. No primary sources from Aspasia have survived, but Glenn nonetheless reconstructs her life and rhetorical impact through secondary and tertiary sources, drawing a parallel between the credibility of recovery work on Aspasia and that of Socrates: “We know about Aspasia much the same way we know about Socrates: from secondary sources, for neither of their work exists in primary sources” (182). Soon after, Susan Jarratt and Rory Ong published “Aspasia: Rhetoric, Gender, and Colonial Ideology,” which employs similar recovery methods to consider Aspasia’s role as a Sophist and argue that “she marks the intersection of discourses on gender and colonialism, production and reproduction, rhetoric and philosophy”—making Aspasia a figure of “profound importance” for historical scholarship (10). Since then, feminist scholars in the history of rhetoric have continued to advance recovery efforts and made incredible strides in writing women and other traditionally disenfranchised groups into the rhetorical tradition, and more possibilities for recovery work remain.  

Yet, there is still more work to be done. Existing recovery efforts have largely focused on historical figures for whom secondary or tertiary accounts exist, meaning some historical figures remain elusive because we have so little or no account of the figure’s words. Jacqueline Jones Royster and Gesa Kirsch would refer to these figures as “silhouetted, if not altogether invisible, historical figures” (“Social Circulation” 175, emphasis in original). While silhouetted figures are everywhere to be found, the rhetorical tradition of preaching is rife with such silhouetted figures, particularly women preachers. Those women preachers who have entered the public consciousness and have crept into the rhetorical canon—women like Phoebe Palmer and Frances Willard—do so because of the relative celebrity they enjoyed as advocates for women during their careers. The higher cultural visibility that women preachers like Palmer and Willard attained led to the preservation of their sermons, letters, and other primary source materials that would enable future scholars to study and analyze their rhetorical impact. But what about the other women preachers, those who were less noticeable but no less significant? Women like Rev. Mary A. Will, a nineteenth-century Wesleyan-Methodist clergywoman in Illinois and the first known woman to be ordained, deposed, and then restored to ministry? Attempts to study and analyze Will via existing recovery methodologies have been unsuccessful because so few of her words were preserved, leaving very few primary, secondary, or tertiary accounts behind for analysis. This dearth of evidence surrounding Will reveals the need for expanded recovery efforts. Will and women preachers like her have shaped the communities around them and kept the tradition of women preachers alive for centuries, but most have been largely forgotten and have become silhouetted figures.  

Recognizing the need to recover silhouetted figures and other marginalized voices, Nan Johnson issued a challenge to feminist scholars in the history of rhetoric in her introduction to Peitho’s 2015 celebratory issue: “how can we widen the view even further?” (15). Johnson’s call is a recognition of both the incredible work feminist historiographers have done to recover marginalized voices over the past few decades and the need for even more innovative means to recover and elevate women’s voices in the rhetorical tradition.  

This article responds to Johnson’s call by forwarding a new framework of institutional sponsorship, a recovery methodology that is not entirely dependent upon a figure’s words. By reimagining Deborah Brandt’s notion of sponsorship through a feminist rhetorical lens, institutional sponsorship emerges an analytical framework that locates a silhouetted historical figure’s rhetorical presence through their relationship with the institution(s) surrounding their lives and careers. In forwarding the institutional sponsorship framework, I have two primary objectives. First, I hope to invigorate further conversations about the utility of sponsorship for wider application in feminist rhetorical scholarship. Second, I aim to theorize and demonstrate institutional sponsorship as one such application that serves as a method for recovering marginalized voices.   

The institutional sponsorship framework employs a three-pronged approach to map and locate a silhouetted figure’s presence: embracing the ephemeral evidence pertaining to the figure, exploring the power dynamics between the figure and the institution, and analyzing the reciprocal impact between the figure and the institution. I begin by contextualizing institutional sponsorship in existing literature and then explain and illustrate the three-pronged framework with Rev. Mary A. Will. Even though Will had a unique and tumultuous career as a clergywoman in nineteenth-century America, she has been almost completely overlooked in the tradition of Methodist women preachers. My attempts to study and analyze Will via existing recovery methodologies were unsuccessful and revealed the need for this new institutional sponsorship framework, as Will left very few words behind and only glimpses of her have survived in traditional archives. Despite the scarcity of primary, secondary, and tertiary accounts that have survived Will, I use institutional sponsorship to analyze Will’s relationship with her denomination and demonstrate how Will’s rhetorical presence shaped the Wesleyan Methodist legacy of women’s ordination.  

Toward a Feminist Rhetorical View of Sponsorship  

In their chapter in Laurie Gries and Collin Gifford Brooke’s Circulation, Writing, and Rhetoric, Royster and Kirsch call for the deployment of social circulation in our digital age to encourage a new type of analysis. Social circulation, as explained by Royster and Kirsch, is a feminist rhetorical practice that “invokes connections among past, present, and future in the sense that the overlapping social circles in which women travel, live, and work are carried on or modified from one generation to the next and can lead to changed rhetorical practices” (Feminist 23). Analysis grounded in social circulation, then, looks for impact that ripples across time and may transcend the boundaries of traditional archives. As Royster and Kirsch explain,  

This type of analysis helps us reach for new interpretive paradigms for silhouetted, if not altogether invisible, historical figures and locate a rhetorical presence, rather than absence, for them at the convergence of images, texts, forms, formats, and perspectives. At this convergence we gain a capacity to create a social historiography, a mapping of visibility, and a sense of mobility within social space as we learn to narrate consequence, impact, and achievement in a more fully textured way. (“Social Circulation” 175, emphasis in original) 

I suggest that reimagining sponsorship as an interpretive paradigm that stems from social circulation offers new possibilities for mapping the visibility of marginalized and silhouetted voices.  

Such a reimagination is already in close alignment with Deborah Brandt’s original conception of sponsorship. When Brandt first published “Sponsors of Literacy” in 1998, she was addressing the need to move beyond a narrow focus on individual literacy development and examine how an individual’s development was shaped and influenced by larger, systemic forces. Brandt formally defines sponsors as “any agents, local or distant, concrete or abstract, who enable, support, teach, model, as well as recruit, regulate, suppress, or withhold literacy—and gain advantage by it in some way” (“Sponsors” 166). Brandt expands her exploration of sponsorship relationships in her 2001 book Literacy in American Lives, and commenting further on the nature of sponsorship, she explains:  

Sponsors are embodied in the materials of reading and writing, the institutional aegises and rationales under which learning is carried out, the histories by which practices arrive at the scenes of learning, the causes to which teachers and learners put their efforts, and the advantages, both direct and indirect, that stand to be won by the sponsors themselves. …Sponsors can be benefactors but also extortionists—and sometimes both in the same form. (Literacy 193)  

Put another way, sponsorship relationships are complex and nuanced. Sponsors possess power and exert ideological pressure, and a sponsor’s impact upon the sponsored may be helpful, harmful, or both. By analyzing sponsorship relationships scholars can locate those connections across time and space that Royster and Kirsch’s practice of social circulation calls us to look for and examine. 

Brandt further describes sponsorship as a way to expose the “[a]ccumulated layers” of influences that comprise the “deeply textured history” of literacy, making it a framework that not only withstands but embraces complexity and nuance (“Sponsors” 178). Rhetorical ecologies are rife with complexity and nuance, and when we reimagine sponsorship through the feminist rhetorical lens of social circulation it becomes a means of analyzing that “convergence” of sources that Royster and Kirsch envision to surround silhouetted figures (“Social Circulation” 175).  

Since its publication, Brandt’s sponsorship framework has been widely applied to study literacy in a variety of contexts, from Bump Halbritter and Julie Lindquist’s methodology for operationalizing discovery in scenes of literacy sponsorship to Dale Jacobs’ study of Marvel comics as sponsors of multimodal literacy.1 The complexity of these sponsorship relationships and the variety of research sites and subjects put forth by Brandt and many others in her wake serve as proof of the appeal and utility of sponsorship as an analytical framework, particularly in examining relationships between the sponsor and the sponsored. However, as chronicled by Ann M. Lawrence in her 2015 review of sponsorship literature, subsequent scholars who used Brandt’s study as a model for their own research moved away from this expansive notion of sponsorship and focused only on people as sponsors. New possibilities for analysis and potential rhetorical intervention emerge when we re-engage with Brandt’s original construct through a feminist rhetorical lens, particularly when we consider the “institutional aegises” that Brandt named as a site of sponsorship.  

Brandt’s definition of sponsors highlights the importance of looking beyond the individual to the influences that surround them, and this same concern has reverberated throughout feminist rhetorical scholarship. Through her scholarship, Brandt effectively argues that sponsors are “delivery systems” for economies of literacy and that sponsorship is “richly suggestive” as a framework for exploring these economies and their effects (“Sponsors” 167). The feminist reimagination of sponsorship I am calling for not only re-engages with Brandt’s expansive conception of sponsorship but also shifts its lens from economies of literacy to rhetorical ecologies. By using sponsorship to examine rhetorical ecologies and grounding the framework in feminist rhetorical practices, scholars of rhetoric can offer new insights into people, situations, events, and interactions by identifying the sponsors—human or nonhuman, overt or subtle—that possess or exert power in a given rhetorical situation and then examining the relationships between the sponsors and the sponsored. For the present purpose, my interest is in developing an ecological view of the sponsorship relationship between an institution and a silhouetted historical figure. This sponsorship relationship offers feminist scholars in the history of rhetoric a new way to recover silhouetted voices that existing recovery methodologies have not yet been able to access.  

Institutional Sponsorship  

Institutional sponsorship, then, is a specific form of rhetorical sponsorship that I define as an analytical framework that examines the relationship between a person and the institution(s) surrounding that person’s life and career. The deployment of this institutional sponsorship framework follows a three-pronged approach: embracing ephemeral evidence, examining power dynamics, and analyzing the reciprocal impact the person and the institution had on one another. This methodological reorientation toward institutional sponsorship holds great potential for recovery work in the history of rhetoric. For the remainder of this article, I will demonstrate how a silhouetted figure’s presence can be mapped and analyzed through the three-pronged institutional sponsorship framework by offering some brief biographical background and then exploring the sponsorship relationship between the silhouetted historical figure Rev. Mary A. Will and her denomination.   

The Nearly Forgotten Rev. Mary A. Will  

Rev. Mary A. Will was ordained in 1861 and assumed leadership of the Nora preaching circuit in northern Illinois around that time. A scant three years later in 1864, Will was stripped of her ordination and ministerial credentials on the grounds that ordaining a female was unscriptural. Her case was later brought before the church’s General Conference in 1875, at which time Will’s deposition was declared “irregular and illegal” and she was (surprisingly) reinstated into ministry. As both a rhetorical scholar and an ordained woman, I believe Will’s story is remarkable in both its novelty and complexity. Will navigated predominately male spaces and found both success and opposition, and her story may also help us better understand the struggles other women and marginalized groups face. Yet, despite her unusual ministerial career, Will has remained a silhouetted figure, a mere whisper in the Wesleyan-Methodist archives, and very little about her personal life is known. Will’s rhetorical presence can only be recovered and analyzed through the lens of institutional sponsorship.  

Will may be nearly forgotten, but her impact upon her denomination—the Wesleyan Methodist Connection of America—has rippled throughout subsequent generations. By analyzing the traces of Will that remain through the three-pronged institutional sponsorship framework—embracing ephemeral evidence, examining power dynamics, and analyzing the reciprocal impact—I examine Will’s rhetorical presence and consider how Will shaped the Wesleyan Methodist legacy of women’s ordination. 

Embracing Ephemeral Evidence: Locating Mary Will in the Ripple Effects

While the excellent strides feminist scholars have made in developing recovery methodologies have enabled many marginalized figures to be written into the rhetorical tradition, some figures do not fit into these methodological frameworks because we have minimal or no accounts of the figure’s words. I argue that when we have little or no primary, secondary, or tertiary accounts of a figure’s words—as is the case with Mary Will—we can use the institutional sponsorship framework to study the figure’s rhetorical impact through the ripple effects the person left upon a given institution. These ripple effects are what queer theorist José Esteban Muñoz would call the ephemera or “invisible evidence” that is located in intangibles like performance, emotion, and story (10). Ephemera includes “those things that remain after a performance, a kind of evidence of what has transpired but certainly not the thing itself” (10). In other words, ephemera is not the silhouetted figure or direct evidence from the figure but is instead the impact the figure has made upon the institution.  

Though the institutional sponsorship framework can certainly be used in contemporary application and analysis, institutional sponsorship is ideal for recovery work because it is not a means of examining a figure individually (e.g., a focused analysis of a person’s journals or private papers). When a person has left few or no papers, letters, or words behind—either through primary sources or the kinds of secondary and tertiary sources that motivated Glenn’s recovery of Aspasia—even established recovery methods are quickly stretched. Institutional sponsorship, by contrast, is less concerned with a dearth of surviving words from a historical figure than with the figure’s relationship to a particular institution. And the traces of this relationship are located in the ephemera. Ephemeral evidence of this nature, Muñoz argues, “grants entrance and access to those who have been locked out of official histories” (9), and institutional sponsorship offers a way to locate a person’s rhetorical presence by analyzing and interpreting the ephemeral evidence to reveal the relationship between the person and the institution. This ephemeral lens is useful for analyzing Mary Will because very little traditional evidence remains to offer insight into Mary Will’s life and career. Glimpses of Will remain only in government records, minutes from denominational meetings, and a few brief status updates about her church that were published in her denomination’s weekly newspaper, The American Wesleyan 

Mary Will was ordained by the Wesleyan Methodist Connection of America (now known as the Wesleyan Church), a small Methodist denomination that was formed in 1843. The larger Methodist church in the United States was embroiled in a debate over slavery at that time, and the pro-abolition wing of the church branched off and established itself as the Wesleyan Methodist Connection of America. In their early days, the Wesleyans had considered themselves “beacons in a darkened world” (Stephens 164). They identified with the radical reformers of their day, fighting for abolition and the promise of a new social order.  

This social reform mentality was seen most clearly in 1848 when the Wesleyan Methodist Chapel in Seneca Falls, NY became the site of the first Women’s Rights Convention in the country, and ephemeral evidence suggests the possibility that a young Mary Will had a connection with the Seneca Falls congregation. Genealogical records indicate that Mary Will was born in the state of New York in 1821, with her maiden name appearing with the spelling variations “Salsbury” and “Salisbury” across records. Records from the Chapel in Seneca Falls indicate that a Rev. Samuel Salsbury/Salisbury served as the pastor there from 1843 to 1847 and then again from 1870 to 1872 (National Park Service). Samuel Salsbury/Salisbury was also the president at the 1867 Wesleyan-Methodist General Conference. Surviving evidence can neither confirm nor deny a familial connection between Mary and Samuel—perhaps he was her father, uncle, brother, or other relation—but these ephemeral traces suggest that Mary was likely immersed in the social reform-minded Wesleyan-Methodist community as she grew up and would have been aware of the women’s rights movement that burst to national visibility at Seneca Falls. In 1853, a few years after the Women’s Rights Convention, the founder of the Wesleyan Methodist Connection of America, Rev. Luther Lee, presided over the ordination of Antoinette Brown, one of the first women to be ordained in the United States. Less than a decade later, Rev. Mary A. Will was ordained by the Illinois District of the Wesleyan Methodist Connection in 1861, making her the first woman to be ordained within the fledgling denomination.  

Will’s motivations for entering ministry are unclear, but the ephemera surrounding Will offers some insights. Census records indicate that Will married her husband Henry “H.R.” Will, a Canadian citizen, during her teen years, and gave birth to their two daughters—Sophia and Matilda—while the young family was living in Canada. In 1848 the Wills returned to the US, taking up residence on a farm in Hanover, Cook County, Illinois. By the time of the 1860 census, Mary and H.R.—now empty nesters—had moved roughly 100 miles southwest to the Hennepin Township in Putnam County, Illinois, where H.R.’s profession was listed as a “Wes. Meth. Clergyman.” Denominational records show that both Mary and H.R. were ordained by the regional Illinois Conference of the Wesleyan Methodist Connection, and that the Wills relocated to Nora, Illinois in late 1860. Pieced together, census data and denominational records suggest that the Wills entered into ordained ministry and moved to Nora for Mary to take charge of the Wesleyan-Methodist preaching circuit there following the previous pastor’s departure. This move would mean Mary Will was not only the first woman to be ordained but also the first woman to be officially recognized as a pastor and given a pastoral appointment within the Wesleyan Methodist Connection. Put another way, the ephemeral evidence reveals that Will was the first woman to hold a formal leadership position within her institution.  

It was a common practice for Wesleyan-Methodist pastors at the time to send periodic updates to the denomination’s newspaper, The American Wesleyan, and Mary Will published a few such updates in early 1861. Will’s updates are brief and written with a positive tone, but her update published on February 20, 1861 offers her only surviving reference to the opposition she encountered as a female minister. After recounting some details about her growing ministry in Nora, she concludes with a prayer: “We pray the Lord of the harvest, that he may send laborers into his harvest, that are not afraid to unite their labors with that of a woman, for the harvest truly is great, but the laborers are few” (30). Clearly, Wesleyans had not universally adopted Rev. Luther Lee’s view of women’s ordination, and Will was confronted by people who were reticent or unwilling to “unite their labors with that of a woman.” However, the exact nature of the problems she encountered remains unknown. Perhaps the challenge lay with her local congregation, perhaps with the Wesleyan Methodist institutional leadership, or perhaps both. Whatever the case, ephemeral traces indicate that Will’s ordination was revoked three years later.  

How and why Will’s ordination was challenged remains unclear, but at the 1864 General Conference of the Wesleyan Methodist Connection of America, the Illinois Conference’s decision to ordain her was brought under review. The committee that reviewed Will’s ordination declared “that the action of the Illinois Conference in ordaining a female was unscriptural” (209). The General Conference, however, declined to take action following the committee’s resolution and left the matter to the Illinois Conference (Haines and Haines 18). The Illinois Conference soon followed suit and deposed Will from ordained ministry, exerting their institutional power over her. This much is recorded in the official denominational minutes, but details of the conversations and wider debates that surrounded Will’s deposition were not preserved.  

Will’s thoughts and actions following her deposition are also unknown. Perhaps she remained at the Nora church, continuing to minister as she had been but with H.R. stepping in as the official pastor. Perhaps she needed some time to recover from the deposition ordeal and left Nora to stay with one of her daughters for some respite. Will disappears from records for a few years following her deposition, and surviving evidence does not indicate if her retreat from visibility was forced or voluntary.  

The impact of Will’s ordination and subsequent deposition on her denomination, as seen through these ephemeral traces that remain, is complex. Her deposition came near the end of the American Civil War, a time when many Christian communities—including the Wesleyans—were beginning to experience an identity crisis. As historian Randall J. Stephens observes, “post-war Wesleyans longed for a miraculous, old-time, unadorned faith, free from worldliness and corruption,” and the end of the Civil War to the beginning of the twentieth century marked a period of transition away from their focus on reform to a more conservative outlook that emphasized personal holiness and entire sanctification (169). The result was a loss of the radical hope that had driven the abolitionist reformers, and Wesleyans faded from larger national conversations as they abandoned “the idea that the world could be fundamentally reordered by the cross and through human effort” (Stephens 173). Whereas the Wesleyan-Methodist founder Rev. Luther Lee had advocated for women’s ordination and other reforms with enthusiasm, Mary Will’s generation of Wesleyans had endured a civil war and were struggling to redefine themselves.  

By locating Will in and through the ephemera that surrounds her, we see more clearly how her ministerial career was shaped by historical, social, and denominational events both before and during her career. Will is the first of many Wesleyan women who would eventually be ordained in the centuries to come, but her complex relationship with the Wesleyan Methodist Connection is reflective of the complex history of women’s ordination in the United States.  

Examining Power Dynamics: Mary Will’s Pastoral Ethos

The second pillar of institutional sponsorship is an examination of the power dynamics between a person and an institution. Like Brandt’s original sponsorship framework, institutional sponsorship is grounded in power. Under Brandt’s definition of sponsorship, power is the key characteristic a sponsor possesses, and the sponsor benefits from exercising their power. However, in the institutional sponsorship framework, the power evinced between a person and an institution may be more nuanced than a blanket statement that the sponsor possesses power and benefits when that power is exerted. While this imbalanced power dynamic is often true in institutional sponsorship relationships, it is also possible that the power dynamic is more fluid and can shift over time. Institutions generally possess and exert more power than any one person, yet individual people like Mary Will can and have wielded complex and often fraught forms of influence over a wide range of institutions.  

The institutional sponsorship approach investigates who was able to exert power in a given situation and how that power was expressed. Sometimes power is overt and visible, and sometimes power is seen through scars left upon the person, the institution, or the surrounding landscape. To explore such power dynamics, the institutional sponsorship framework asks two main questions. First, Whose accounts and records were preserved and what is missing? Or, in contemporary application, Who is allowed to speak and who is silent? When analyzing a historical figure, power is revealed in the surviving evidence. Institutional sponsorship considers how power dynamics influence which voices, sources, and forms of evidence were preserved and which were disregarded. Institutional sponsorship also examines how power dynamics inform who was granted and who was denied access to publications, platfoWhat sources rms, pulpits, and more across various places in time. Second, of power do individual figures and institutions draw upon? Institutional sponsorship looks both for traditional, visible forms of overt power (e.g., power to create policies, form governing structures, hold leadership positions) and for nontraditional, more subtle sources of power (e.g., community support, spiritual ethos) that operate within a given rhetorical situation. By wrestling with these questions and tracing power dynamics across time, institutional sponsorship participates in Royster and Kirsch’s call for the deployment of social circulation in new forms of analysis. In so doing, institutional sponsorship helps to map the visibility of silhouetted figures and locate their rhetorical presence through the power they exerted and the power exerted upon them.  

To begin interrogating the power dynamics between Mary Will and the Wesleyan Methodist Connection, I focus on the power exerted through access to ordination. The Wesleyan Methodist Connection held the power to control and wield access to ordination. The denomination exercised this power over Will by first granting and then revoking her ordination, and they benefitted from their power to control and regulate access to ordination. Later, however, the power of Will’s presence would lead the denomination to restore Will’s ordination. To examine these power dynamics between Will and the Wesleyan Methodist Connection, I turn to the two guiding questions: Whose accounts and records were preserved and what is missing? What sources of power do individual figures and institutions draw upon?  

Discussion of the first question—whose accounts and records were preserved and what is missing?—began in the previous section with the recognition that very few of Mary Will’s words have been preserved. No surviving records reveal how Will reacted to her ordination and deposition, and the Wesleyan Methodist newspaper, The American Wesleyan, is noticeably silent regarding wider reactions to Will’s ordination and deposition. Will also seems to have been denied access to the review of her own ordination. Nothing in the records and minutes from the 1864 General Conference that overturned her ordination indicates that Will was present or invited to contribute to the conversation in any way. Whether Will was intentionally written out of “official” histories or was merely overlooked as not worthy of inclusion in these conversations, these gaps and silences reveal the power that the Wesleyan Methodist Connection exerted over Will.  

In response to the second question—what sources of power do individual figures and institutions draw upon?—Will seems to have drawn power from three sources: the ethos of the Methodist woman preacher, the tangible success of her ministry, and her congregation. Will was ordained relatively early in the life of the Wesleyan Methodist Connection, a time when the new denomination was still negotiating its institutional identity as distinct from the broader Methodist church it had broken away from. Methodist preacher and theologian Phoebe Palmer was already a well-known figure during Will’s time, having published her best-selling book The Way of Holiness in 1843, and Will would have had Palmer and other Methodist women preachers to point to as she was beginning her ministerial career. It is possible that Will, in her church context, was able to draw power from the ethos of the Methodist woman preacher to reach and connect with her audience in the manner that Patricia Bizzell effectively argues enabled Frances Willard to reach her own audience. This ethos, which Bizzell describes as “a particular type of womanly spiritual ethos,” likely helped to advance Will to ordination in 1861, whether because she enacted this spiritual ethos or because her audience would have made positive associations between Will and other Methodist women preachers (“Frances Willard” 378). Yet, as time passed and the Wesleyans drew further away from the larger Methodist church, any power Will might have drawn from enacting the ethos of the Methodist woman preachers seems to have faded quickly. By the time her ordination was brought under review at the 1864 Wesleyan Methodist General Conference, the power of the Methodist woman preacher ethos had dissipated.  

From the ephemeral scraps of Will’s written words that have survived, another source of power, though of a distinctly rhetorical kind, emerges: the undeniable success of her ministry. A handful of updates Will published in The American Wesleyan are all that remain of Will’s voice, and in these updates she offers the wider denomination glimpses of news from her congregation. Will’s first update appeared in the newspaper on January 23, 1861, a few months after she had arrived in Nora to take charge of the preaching circuit there. Addressing the newspaper’s editor, as was standard practice, Will writes:  

Bro. Prindle:—While writing on business, I will just say to the readers of the Wesleyan, that we are enjoying a glorious revival on this Circuit. It is supposed that there have been over one hundred reclaimed or converted, and the work is still going on. We have no house large enough to hold the congregations that assemble from evening to evening. There is another feature of this work which is encouraging; believers are being sanctified. All are pressing forward to perfect holiness. (15)  

The factual tone of this update is indicative of Will’s other pastoral updates, and through this factual tone Will contrasts herself with her male contemporaries. Most of the updates pastors published in the newspaper were more expansive and included the pastor’s ruminations on certain people and events within his congregation (perhaps as a means of smoothing over any challenges or difficulties that had arisen), yet Will’s update is succinctly focused “on business.” Rather than offering her own extended interpretation or reflection on the status of her church, she draws power and authority from her successes: with more than 100 new members and the need for a larger meeting space, few could deny that Will’s ministry was thriving.  

The final source of power seen in the evidence surrounding Will is her congregation. Even though Will’s name appears in the pastoral rosters that were periodically published in The American Wesleyan during the early 1860s, not everyone acknowledged her leadership at her church. In a report on the Nora Quarterly meeting that appeared in the newspaper on May 15, 1861, Will and her husband H.R. were referred to as “Brother and sister Will, the joint pastors of the flock” (Matlack 78). H.R. Will was also an ordained minister, so this confusion is perhaps understandable, but it is more likely that people who encountered Mary Will operated within a terministic screen that equated pastor, preacher, or clergy with men. Seeing Will in a pastoral capacity would not fit within that interpretive framework, and categorizing Will with her husband, then, would have been a way to make sense of and explain the lived reality. It is also possible that defining pastor as male led the authors of such reports to intentionally suppress Mary’s leadership in her church.  

Whatever the case, the confusion over Will’s leadership motivated her congregation to come to her defense. A month after the report listing Mary and H.R. Will as “joint pastors” was published, S.A. Stock—a member of Will’s congregation—wrote to the editor of The American Wesleyan to correct and clarify Will’s position as pastor:  

Brother Prindle:—In looking over the Wesleyan, I notice brother Matlack’s publication of our quarterly meeting. We think Bro. M. did not understand sister Will’s position. We do not censure brother M.; we think he was misguided perhaps by the quarterly conference. We do not wish it to go out, that sister Will does not have charge of the Nora Circuit. We are glad to say, that our church never has been so well governed under any pastor, as it has been under sister Will. We think it can no longer be said, that a church cannot be well governed by a woman. There never was a mother who watched over an infant with greater interest, than sister Will has over this church. May God speed the time, when man will no longer trample under foot woman’s rights, but, when God calls her to labor in his vineyard, she may not be trammeled. As woman is blamed with the fall of man, we think she should have the privilege of proclaiming his redemption. (Stock 94, emphasis added)  

This letter was published on June 12, 1861, and we have no information about this letter’s author, S.A. Stock. Yet, Stock’s rebuke of those who either confused or intentionally downplayed Mary Will’s leadership imbues Will with power by confirming her position and authority as pastor of her church.  

It is noteworthy that Will did not offer this correction herself but remained silent and allowed S.A. Stock to speak for her in this venue. In her analysis of women’s defenses of women’s preaching in nineteenth-century America, Lisa Zimmerelli identified appealing to the power of the call to preach as one of three topoi commonly employed. By articulating detailed accounts of the call to preach, women were able to shift agency away from themselves and establish their ethos in a “mandate from God,” which also “constituted an exigency that demanded women respond” (Zimmerelli 189). Zimmerelli argues this frequent pivot to narration of the call to preach demonstrates women preachers’ rhetorical savviness via their “astute analysis of the constraints and opportunities of their rhetorical situation” (189). While I suspect Will would have employed this rhetorical strategy in her own preaching and pastoral work, she allowed someone else to narrate her calling and capabilities to the readers of The American Wesleyan. In so doing, the impact of this letter upon its Wesleyan audience was stronger than if it had come directly from Will, and the power behind Will’s pastoral ethos rests in both a divine mandate and the support of her congregation.  

The power Will drew from the ethos of the Methodist woman preacher, the tangible success of her ministry, and her congregation may not have been enough to keep the denomination from revoking her ordination, but her powerful presence kept her from being fully ignored or completely written out of official histories. In 1878, the county where Will had lived and pastored published The History of Jo Daviess County, Illinois, and a significant portion of the book traces the history of Christian denominations in the area. In a section devoted to Will’s church in Nora, the book’s authors note:  

[W]e are unable to fix the date of organization, but it is remembered that the office of pastor was filled by Revs. Mr. Morgan, W. W. Steward, H. R. Will and his wife Mary A. During the charge of the latter minister, in 1861, their church was built on the township line road five and one half miles south of Warren. …The Sunday school was organized in connection with the church at the time of the erection of their building. Its first superintendent was Rev. H. R. Will. (562-563, emphasis added) 

Mary Will’s name is only briefly dropped into this record, yet her presence is significant. As the only woman to appear in this record, we can assume that Will’s role in the church was so powerful that even those who would intentionally or subconsciously suppress women’s pastoral activities could not leave her out of the historical record. Echoing the confusion that led to S.A. Stock’s letter clarifying Will’s role as the pastor of the Nora church, Will is here listed again as pastor alongside her husband, but this record also identifies H.R. as the first superintendent of the Sunday school. This detail offers a hint as to the true dynamic between Mary Will and her husband. Sunday schools were typically operated under the authority of the church, with the superintendent taking responsibility for the administration, budget, and operations of the Sunday school. If Mary Will pastored the church and H.R. ran the Sunday school, it is possible that Mary was effectively H.R.’s boss, which would align with S.A. Stock’s letter explaining Mary Will’s leadership over the Nora church. In contemporary terms, this would mean Mary was the lead pastor and H.R. was her assistant pastor.  

Mary Will’s powerful presence also forced the Wesleyan Methodist Connection to contend with her again more than ten years after her deposition. The events that led to Will’s appeal are unknown, but at the church’s General Conference in 1875, Will’s deposition was appealed, and the committee that reviewed her deposition declared that “the action of the Illinois Conference in deposing sister M. A. Will was irregular and illegal” (350-351). Though this was certainly good news for Will, the committee’s report was not adopted by the General Conference and support for women’s ordination swiftly declined. Will’s appeal in 1875 is the last known mention of her in any documented records, and she is noticeably absent from the Wesleyan Methodist archives and the Wesleyan newspaper from this point forward.  

Analyzing the Reciprocal Impact: Mary Will’s Fractured Legacy

Alongside embracing ephemeral evidence and examining power dynamics, the third element of the institutional sponsorship framework involves analyzing the reciprocal impact of the person and the institution upon one another. Building upon the questions posed in the previous section about power dynamics, analyzing the reciprocal impact between a person and an institution involves asking: How would the institution and the individual be different if they had not encountered one another? This is perhaps the most important question posed within the institutional sponsorship framework. From a contemporary vantage point, institutional sponsorship looks at the changes in policies, leadership positions, and organizational structures that result from an institution’s interaction with an individual figure. These changes might be bold and readily apparent, or they might be subtle and visible only in the aftermath of the figure’s relationship with the institution. Whatever the case, changes and alterations are indicative of the nuanced power dynamics described above and serve as fruitful sites for analysis. As Kara Poe Alexander’s exploration of reciprocal sponsorship demonstrates, sponsorship need not be a “one-way” or “fixed” dynamic in which the sponsor influences the sponsored. Rather, Alexander argues, the sponsorship relationship can be fluid and reciprocal—that both parties can serve as sponsors for one another. The same can be true in an institutional sponsorship framework: the person and the institution can shape one another, and both can wield power. For historical figures, the reciprocal impact might be visible during the person’s lifetime (e.g., changes that directly affected the person’s career), in subsequent generations (e.g., policy changes, shifts in institutional structures), or both. To revisit Royster and Kirsch’s social circulation language, the reciprocal sponsorship impact “invokes connections among past, present, and future” (Feminist 23).   

The complex relationship between Mary Will and her denomination as seen through the ephemera and power dynamics above demonstrate a fluid relational dynamic. Both wielded differing forms of power and influence, and both impacted the other. While the Wesleyan Methodist Connection held the power of ordination and controlled Will’s career, Will left lasting imprints upon both her church in Nora, Illinois and the Wesleyan-Methodist denomination. Her calling to ministry and apparent leadership strengths prompted the Illinois Conference to make her the first Wesleyan woman to receive ordination and assign her to a preaching circuit, which both contributed to ongoing debates about women in church leadership and provoked new debate within the denomination. Will’s presence created ripple effects felt by the denomination and the women within it for generations to come, and the challenges to Will’s ordination reflect the shifting ideology of the Wesleyan Methodists. 

Despite the radical reform mentality that birthed the Wesleyan-Methodist denomination and its founder’s public support of women’s ordination, when Will came into ministry the prevailing attitude seemed to be that women had already advanced far enough. Wesleyan women already enjoyed greater access than in many other societal spheres, as they were able to cast votes in their local churches and to publish in The American Wesleyan newspaper, and women were central to the battle for temperance, which was becoming a prominent issue among Wesleyans during Mary Will’s time. While some still demonstrated a more activist stance, most Wesleyans seemed content to preserve the status quo surrounding women and were beginning to embrace the ‘separate spheres’ ideology that confined women to the domestic or private sphere. As Barbara Welter, Nan Johnson, and others have demonstrated, this gender ideology rose in popularity among white, middle-class Americans in the nineteenth century, including Wesleyans.  

This shift away from the Wesleyans’ radical reform mentality of the 1840s toward the separate spheres ideology is reflected both in Mary Will’s career and in The American Wesleyan. In 1847—more than a decade before Will’s ordination—a woman, Sarah A. Rice, wrote to the editor with a unique request: “Will the Editor be so kind as to recur to the 20th number of May 15th, 1847, and give us the vice versa of an article ‘To Wives’?” The “To Wives” article referenced was a detailed list of nine things wives should do to please their husbands, and Rice chastises its author, stating that he “assumes the office of dictator” and “issues down his terms as if he were an occupant of the upper world; or belonged to a higher species of some grade of superhuman nature” (1). This “supercilious manner of dictation to women,” Rice observes, is “neither new nor uncommon.” Rice then challenges the author to examine his own gender bias and to “occasionally reflect upon the deteriorating and degrading tendency of caste of sex, the necessary result of those conventional usages by which the power of the strong exalts itself to such an astonishing supremacy” (1).  

Rice follows this rebuke with a series of illuminating questions about the biblical and theological assumptions behind the “To Wives” article and concludes with a further challenge to the newspaper’s editor, briefly excerpted here:  

First, Can the mind under compound systems of physical power, civil, religious and domestic, ever attain its proper growth or the mortal and intellectual stature which its benevolent Creator meant it should?  

Second, Should not all human beings who possess incontrovertably productive energies sufficient to secure them in the rights of free agency, personal responsibility, and self-control, enjoy them?  

Third, Liberty is as necessary to the growth and expansion of the soul as is space to the body. Is that policy of society, of law, and of provincial justice, therefore right and just, which deprives females of all strength by securing their greatest possible dependence?  

Few Editors have moral magnanimity enough to allow females the liberty of the press, if they say anything which does not fall precisely in the wake of public sentiment. Can [this newspaper] publish this? If not, he is requested to send it to some lover of truth, if any such can be found, who will. (Rice 1) 

The newspaper editor granted her request, commenting, “We shall henceforth claim to belong to the most magnanimous class of editors, for we allow our lady correspondent the use of our columns, to say what is as far from the wake of public sentiment, as the general pursuits of men are from the duties of the nursery and the kitchen.(1). Printed just below Rice’s letter and the editor’s note was “To Husbands,” which opens by noting that a man’s first thought after marriage should be, “How shall I continue the love I have inspired?” Following this guiding question are the nine points of advice originally proffered to wives with the nouns and pronouns switched to refer to husbands. For example, the eighth point reads:  

Few things please a woman more than seeing her husband noble and clever in the management of his household. A knowledge of cookery, as well as every other branch in housekeeping is indispensable in a male; and a husband should always endeavor to support with applause, the character of the gentleman and the house-keeper. (Rice 1)  

Subsequent issues of the newspaper do not indicate how Rice’s request and the “To Husbands” column was received.  

By the 1870s, however, any “magnanimous” editorial spirit seems to have abated and such a request from a woman is less likely to have been entertained. On July 12, 1876, after Will’s ordination had been revoked and then restored, The American Wesleyan published an article written by Mrs. J. P. Spaulding, who was married to the current pastor of the Nora Circuit where Will had pastored. Mrs. Spaulding’s article, “Duties of a Pastor’s Wife,” argued that a woman’s primary responsibility was to care for her children. The pastor’s wife should also support her husband’s ministry through prayer and encouragement, but, Mrs. Spaulding concludes, “the position of mother [is] higher, nobler, holier than any of her sphere in which woman was ever called to act” (2). Mrs. Spaulding’s sentiments reflect an ideology that would confine women to the domestic sphere (see Bizzell, “Chastity”; Johnson, “Gender”; Welton), and her exhortation to pastor’s wives seems to be a direct response to women like Will who continually sought to work outside of the domestic sphere in the church.  

Yet, even as the Wesleyan Methodist Connection seemed to embrace at the institutional level the separate spheres ideology, Will could not be contained within the domestic sphere. The Wesleyans continued to debate about women after Will’s deposition, but she remained in Illinois and continued her ministry. Though her husband H.R. was now the ‘official’ pastor in the family, the 1867 pastoral roster listed “H.R. and M.A. Will” as pastors of the preaching circuit at Ophir, Illinois, and Mary Will’s name appeared on a publicized list of speakers for a regional ministry conference held in early 1867. Apparently, Mary Will’s pastoral calling and giftedness in ministry were so significant that the institution—her denomination—had no choice but to allow her continued presence in ministry.  

Years later, after Will’s deposition had been reversed, Mrs. H. E. Hayden, another preacher and contemporary of Will would allude to Will’s impact upon the Wesleyan Methodist Connection thus: “The Lord designed that the Illinois Conference should take the lead in giving the sisters a helping hand by ordaining them. I am sorry that after they had taken a step or two, they backslid. I hope they will soon be reclaimed” (Hayden 1). Mrs. H. E. Hayden was a vocal and visible advocate among the Wesleyans for women’s ordination and women’s right to preach, but she was never ordained. It seems that Hayden and many other women who sought to preach over the next few decades were casualties of the “backslide” resulting from the controversy over Mary Will.  

From 1879-1891, Wesleyans formally ceased ordaining women but did allow them to serve as licensed ministers.2 Wesleyan women were able to seek ordination again after that period, but the Wesleyans never regained the radical hope that had characterized their earliest years and led Will to ordination. Today, Will’s denomination, now known as the Wesleyan Church, is quick to celebrate its history of ordaining women. In 2011, a small brochure appeared at church conferences, “Celebrating 150 Years of Women in Ministry in the Wesleyan Church.” The brochure highlights Will’s ordination in 1861, but the more complete story of Will’s deposition and the denomination’s fractured legacy of support for women’s ordination is absent from both the brochure and the broader denominational consciousness.  

If not for Will, Wesleyans would not be able to (accurately) claim that their denomination has been ordaining women since 1861, and this legacy and history has attracted women seeking ordination to the Wesleyans. If not for Will’s appeal and restoration to ministry in 1875, the Wesleyans may have ceased ordaining women entirely during the nineteenth century, and her presence contributed to the continuation of women’s ordination in America. Despite this legacy, a study conducted in 2016 concluded that just 7.75% of all senior or solo pastors in the Wesleyan Church are women (Hammond 65). This figure places the Wesleyan Church slightly behind American Protestant churches, where women comprise just 9% of senior pastors (Barna Group).  

By using the institutional sponsorship framework to analyze Will’s relationship with the Wesleyan Methodist Connection, Will emerges as a passionate, gifted leader whose presence forced her denomination to grapple with its position on women’s ordination. Many women who stand in Will’s fractured legacy have found that, like Will, their journey to and beyond ordination is a tumultuous one. Perhaps a greater awareness of Will would benefit women today who face challenges in their own ordination processes and ministerial careers. 

Conclusion  

This article participates in mapping the visibility and mobility of women that Royster and Kirsch call for by mapping Rev. Mary A. Will’s sponsorship relationship with her denomination. Institutional sponsorship offers a means of responding to Nan Johnson’s call to “widen the view” of feminist rhetorical scholarship, and it invites new possibilities for further study and analysis. My exploration of Will and the Wesleyan-Methodist Connection of America highlights the complex relationships that can occur between a person and an institution, and it also demonstrates the ability to recover a figure’s rhetorical presence by examining the impact a figure has left upon an institution. While the denomination exercised significant power over her, Will—through her continued pursuit of ministry—shaped the Wesleyan legacy of women’s ordination. Will’s existence and effectiveness in ministry made her impossible to ignore or erase. Even after her deposition, the denomination acknowledged Will’s effectiveness in ministry and affirmed her as a “co-laborer in Christ,” and Will and her husband remained active in the denomination throughout their lives (“Illinois Conference” 2). Despite looming in the shadows as a nearly forgotten, silhouetted historical figure, Will’s presence has rippled across time and impacted generations of women and Wesleyans, and her presence provides additional context for existing rhetorical scholarship on women preachers. 

Institutional sponsorship builds upon the work begun by Cheryl Glenn, Nan Johnson, Jacqueline Jones Royster and Gesa Kirsch, and so many more by forwarding a new means of approaching recovery work and bringing silhouetted figures into sharper focus. Where other methods might see only an absence, institutional sponsorship locates a rhetorical presence at the convergence of ephemeral evidence, power dynamics, and reciprocity. I hope to see more historical figures recovered and analyzed using the institutional sponsorship framework.  

 

Works Cited 

Alexander, Kara Poe. “Reciprocal Literacy Sponsorship in Service-Learning Settings.” Literacy in Composition Studies, vol. 5, no. 1, 2017, http://licsjournal.org/OJS/index.php/LiCS/article/view/137/209. 

Barna Group. “What Americans Think About Women in Power.” Barna Group. 8 March 2017 https://www.barna.com/research/americans-think-women-power/. 

Bizzell, Patricia. “Chastity Warrants for Women Public Speakers in Nineteenth-Century American Fiction.” Rhetoric Society Quarterly, vol. 40, no. 4, 2010, pp. 385-401, doi:10.1080/02773945.2010.501050. 

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Brandt, Deborah. “Sponsors of Literacy.” College Composition and Communication, vol. 49, no. 2, 1998, pp. 165-85. 

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Center for Women in Ministry. “Celebrating 150 Years of Women in Ministry in the Wesleyan Church: Mary A. Will Ordained 1861 Illinois District.” Brochure first published January 2011. 

Glenn, Cheryl. “Sex, Lies, and Manuscript: Refiguring Aspasia in the History of Rhetoric.” College Composition and Communication, vol. 45, no. 2, 1994, pp. 180-99, doi:10.2307/359005. 

Haines, Maxine L., and Lee M. Haines. Celebrate Our Daughters: 150 Years of Women in Wesleyan Ministry. Wesleyan Publishing House, 2004. 

Halbritter, Bump, and Julie Lindquist. “Time, Lives, and Videotape: Operationalizing Discovery in Scenes of Literacy Sponsorship.” College English, vol. 75, no. 2, 2012, pp. 171-98. 

Hammond, Priscilla Bray. Wesleyan Ministerial Study Programs’ Relationship to Ministerial Effectiveness of Wesleyan Pastoral Leaders. 2016. Indiana Wesleyan University, PhD dissertation. 

Hayden, H.E. “Woman’s Work in the Conversion of the World.” The American Wesleyan, vol. XXXIV, 1 Nov. 1876, p. 1. 

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Jacobs, Dale. “Marveling at ‘the Man Called Nova’: Comics as Sponsors of Multimodal Literacy.” College Composition and Communication, vol. 59, no. 2, 2007, pp. 180-205. 

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Johnson, Nan. Gender and Rhetorical Space in American Life, 1866-1910. Southern Illinois UP, 2002. 

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Lawrence, Ann M. “Literacy Narratives as Sponsors of Literacy: Past Contributions and New Directions for Literacy-Sponsorship Research.” Curriculum Inquiry, vol. 45, no. 3, 2015, pp. 304-29, doi:10.1080/03626784.2015.1031058. 

Lebduska, Lisa. “Literacy Sponsorship and the Post-9/11 GI Bill.” Literacy in Composition Studies, vol. 2, no. 2, 2014, http://licsjournal.org/OJS/index.php/LiCS/article/view/50. 

Mastrangelo, Lisa. “Community Cookbooks: Sponsors of Literacy and Community Identity.” Community Literacy Journal, vol. 10, no. 1, 2015, pp. 73-86. 

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Muñoz, José Esteban. “Ephemera as Evidence: Introductory Notes to Queer Acts.” Women and Performance: A Journal of Feminist Theory, vol. 8, no. 2, 1995, pp. 5-16. 

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—. “Social Circulation and Legacies of Mobility for Nineteenth-Century Women: Implications for Using Digital Resources in Socio-Rhetorical Projects.” Circulation, Writing, and Rhetoric, edited by Laurie E. Gries and Collin Gifford Brooke, Utah State UP, 2018, pp. 170-88. 

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Feminisms and Rhetorics Keynote Address: The Uses of Fatigue: Invitations, Impatience, and Investments 

This is a modified version of the 2023 Feminisms and Rhetorics Conference keynote address.  

Permit me to open with a few quotes. The first two are definitions of which you may be familiar. They are:  

Fatigue, a noun referring to extreme tiredness resulting from mental or physical exertion or illness. 

Weariness, a noun describing a reluctance to see or experience any more of something. (Dictionary.com)  

The next quote is the opening of a recent advice essay in The Guardian. The letter writer states:  

Ever since I made the conscious decision to live my life fully as a feminist, it has been fraught with conflict and stress. I’m determined to make a mental note of any discrimination against my gender, to open my eyes and stop editing out instances — on the television, internet, radio, and day-to-day life — of women being treated differently to men…My conflict and stress don’t originate in interactions or arguments with others, but from the mental effort of attempting not to live in a dreamlike state, ignoring evidence everywhere, all the time. (“I Live as a Feminist”) 

This passage is the opening to an advice essay entitled “I Live as a Feminist, but I’m Tired of Being Furious All the Time.” In response to this dilemma, the columnist advises the letter writer to: “stop raging,” because  

Solutions are not found when we are incensed… We all want a new world that’s far more female-shaped. That dream will only be realized using predominantly feminine qualities, such as reason, patience, endurance, and emotional sensitivity. For that we need to be calm, rational, and ready to listen, not in a state of rage. (“I Live as a Feminist.”) 

A confession: in one draft of this address, I dragged this columnist and what I considered to be her antiquated advice. If there is an emotion that has characterized feminism and – more specifically – the feminisms enacted among people of color and marginalized communities, it has been rage. June Jordan once confessed that the police officers who beat and disfigured a childhood friend “hardened her” and pushed her into a “place of rage” (Parmar). bell hooks observed that “sharing rage” fosters cross-generational alliances among those groups “seeking ways to be…self-determined” and participate in…. [political] struggle” (hooks 19-20). Susan Stryker maintained that in “rebirthing [their] rage… rage rebirthed [them]” in her work on trans-life (237). Brittany Cooper has helped us understand when this emotion requires what she refers to as “homegirl interventions” (5). More recently, Hil Malatino extracted an “Infrapolitical Ethics of Care,” or a “reliance on a community of friends to protect and defend you from violence, to witness and mirror one another’s rage, in empathy, and to support one another during and after the breaking that accompanies rage” through their analysis of CeCe McDonald’s letters[1] (130). Rage has been integral to the political self-actualization of most feminists. Indeed, for some of us, rage is our brand. 

Eventually, I realized that I had encountered a version of feminist fatigue last spring during a conversation with the undergraduates in my Black Women’s Rhetoric class. When they fell silent during our session on Ida B. Wells’ rhetoric in “Lynch Law” and I tried to coax them back into the conversation, a brave young woman spoke up and said, “we’re tired of this.” 

“Tired of what?” I asked.  

“It’s overwhelming,” the student said. “It’s depressing.” Others nodded in agreement. “Why do we always have to look at the past? It’s hard enough being a Black woman here right now.”  

I don’t want to call this a failure on my part, but I had already stumbled with this class. On the first day of the semester during my customary reading of Pearl Cleage’s “Why I Write” essay, one young woman teared up and another became visibly tense when we got to the passage where Cleage describes a mass shooting. In my efforts to begin the class as I always had, I did not consider the residual trauma many of them were experiencing in the wake of the November 2022 shooting on our campus. My choice to prioritize business as usual had set the stage for them to shut down.  

The contrast between public discussions of feminist fatigue and the one I witnessed in my classroom is an inspiration for this address. While I imagine we’re all feeling the brunt of pandemic-related issues, inflation, anti-immigration legislation, attacks on queer and trans communities, political corruption and insurgency, gun violence, and anti-woke curricular initiatives alongside our standard diet of harassment, misogyny, misogynoir, patriarchy, the “isms” and the “phobias,” I consider my undergrads’ confession a cause for concern. If we can agree that feminism is a project undergirded by hope (Glenn 2018) and an insistence on justice, what are we to make when a group of prospective feminists and young rhetoricians are already exhibiting apathy and overwhelm? What are feminists’ ways of making it (Balliff, Davis, and Mountford) in times like these? And, finally, how can we collectively imagine feminist futures when so many of us are tired? 

My answer is that conversations about fatigue invite us to refine our approaches to listening, to deepen our understanding of relationships, and to invest in reparative practices. Black women and femmes hold no monopoly on exhaustion, but we have been talking about fatigue for a while. In the past decade, we’ve built upon the concept of “Racial Battle Fatigue” to include what Menah Pratt calls “racial and gender battle fatigue.” We have seen the emergence of groups like the Nap Ministry, and the publication of critical works such as Chanequa Walker Barnes’ Too Heavy a Yoke: Black Women and the Burden of Strength, Marita Golden’s The Strong Black Woman: How a Myth Endangers the Physical and Mental Health of Black Women, April Baker Bell’s “For Loretta: A Black Woman Literacy Scholar’s Journey to Prioritizing Self-Preservation,” and public-facing works like Tricia Hersey’s Rest is Resistance: A Manifesto. This is but a small sampling of a robust set of discourses on exhaustion happening among and about this group by Black feminist and womanist scholars that too often remain under-tapped for their broader insights about the nature of labor, work, and participation. In that vein, I devote the remainder of this address to identifying how fatigue among members of this group can be made usable to us as logics of participation, methods of disruption, and pathways to return. 

Truth is I’m Tired”: Fatigue as an Invitation to Listen[2]  

The first quotes I cited containing definitions of “fatigue” and “weariness” are attempts to pay homage to the late Audre Lorde, whose essay “The Uses of Anger: Women Responding to Racism” is the other inspiration for this address. Lorde delivered “The Uses of Anger” as the 1981 National Women’s Studies Association (NWSA) Conference keynote. By that time in her career, she had already published several poetry collections, helped to create Kitchen Table: Women of Color Press, and taught at Tougaloo, Lehman, and John Jay College where she fought for the creation of a Black Studies program. Although Lorde conceded that her position as an employed faculty member and one-half of a two-parent household gave her some economic stability, she used the occasion to call out NWSA’s commitment to equity, noting that the organization’s refusal to waive registration fees “for poor women and women of Color who wished to present and conduct workshops” undercut the liberatory potential of the conference’s theme of “responding to racism” (“Uses of Anger” 126). Lorde lists various racial and gender microaggressions she experienced as some of the sources of her anger, but she concludes that anger can be transformational because it’s “loaded with information and energy,” and, when “focused with precision, it can become a power source of energy serving progress and change” (127).  

In “The Shape of My Impact,” Alexis Pauline Gumbs informs us that when Lorde was diagnosed with cancer a few years later, she was not only denied medical leave, but she had to turn down a prestigious fellowship at Cornell University because Ithaca’s climate was too cold for her battle with the illness. Moreover, Hunter College, the school Lorde would join just months after delivering her NWSA keynote, ultimately denied her requests to teach during the summer so she might live in climates more accommodating to her health concerns the rest of the year. Never mind that Hunter College’s English Department would later hold a symposium to honor Lorde after her death. At this point, the institution was inflexible about how Lorde was to undertake the labor they expected of her (Gumbs). 

I relate to these aspects of Lorde’s career because at this point my situation looks different today than it did in October 2007 when I attended my first Feminisms and Rhetorics Conference at the University of Arkansas, Little Rock. I am now a tenured associate professor at an institution considered to be elite by some. Back then, however, I was a graduate student eager to present on Septima Clark, excited to meet fellow peers and friends that would push my thinking for years to come, thrilled to sit in a hotel lobby and chat with Dr. Royster, Dr. Logan, and the late Dr. Joyce Middleton, and unaware of how long it would take to pay off the credit card debt necessary to attend these events despite having generous mentors who let me room with them. I left that conference invigorated and invested. And so, when I took my first position as an assistant professor teaching a 4/4 load, I attended five conferences in less than two years, served on national committees, prepped five classes in four semesters, and published. And then, two years later, when I moved on to my next institution, a place where I would stay for six years, I dug even deeper into my reserves, attending at least twelve conferences and undertaking six campus visits, sitting on yearly hiring committees too often as the requisite person of color, prepping and piloting at least nine new courses, surviving two different tenure hearings, serving on executive boards, chairing committees, and planning one wedding and one funeral. I don’t share these last details to elicit sympathy or to downplay the good outcomes I have experienced. The truth is, though, I’m tired because the road from Little Rock to Atlanta has been an exhausting one.  

I am not alone here. 

  • A queer historian who has spent the first decade of their career assembling a groundbreaking archive and fighting to secure funding to house it receives an email soliciting their participation on yet another organization’s Awards Committee. When they respond explaining they have just finished their third committee appointment in five years, they are told “but we need people like you to do this work.” 
  • The sole woman of color on the editorial board of a scholarly journal receives an urgent request to write a piece for the journal’s late summer/early fall 2020 issue. When the scholar tells the editor that she is committed to other projects and has no new work she can contribute at that time, the editor immediately writes back requesting the names of other scholars “who can provide the Black perspective.” When the scholar sends the names of two other scholars who may be able to contribute, the editor circles back again and states: “I assume you can at least find the time to review these essays.” 
  • An energetic young scholar agrees to become a section editor for an established journal despite teaching a 4/4 and carrying a considerable load of other service obligations. In less than two years, the scholar steps down from the position. When asked about her decision, she confesses “There was no structure in place, and I was just tired.”    
  • An award-winning interdisciplinary scholar and researcher arrives two days early to the university where she will co-lead a week-long summer institute seminar. As she is catching up with her co-leader and finalizing their plans for leading the seminar, she begins to cry, saying: “I am tired. So tired.”  
  • An associate professor and journal founder posts an apology on social media to the people to whom she “owes something,” explaining that she has been overwhelmed and unable to deal with all of the obligations. 

Patricia Hill Collins’ (2016) work on Black Feminist Thoughtand specifically her discussion of oppositional knowledges – arose from her study of the labor exploitation Black women experienced. Krista Ratcliffe’s theory of “rhetorical listening” and her work to figure out how to “stand under” discourses developed as a response to the resentment and resistance Lorde’s critique and truth-telling inspired among some white readers (Ratcliffe 205). While I am sure many of us benefit from these valuable concepts, feminist rhetoricians still need frameworks to identify the kinds of assumptions, logics, and discourses that position Black women and other typically under-represented populations adversely within these spheres of labor and service. Said differently, in addition to “standing under” the discourses of others, how do we account for the discourses that inform how we “stand among” each other? 

Fatigue narratives like these become usable when they push us to listen for what I consider as the “seat at the table” logics that position some of us for burnout and make inordinate labor requests seem reasonable. As Sara Ahmed observed in On Being Included, the longstanding challenge to creating diverse and equitable working environments is a compulsory atmosphere of “happiness” where workers, and particularly members of under-represented groups, feel that they are expected to appear agreeable or perform gratitude for the opportunity to labor (2012). Conversely, as Carmen Kynard explains in “All I Need is One Mic,” there is a distinction between the “job,” or the compensatory tasks or acts of service individuals undertake, and the “work,” or the labor that should emerge from a person’s convictions and commitments, that is too often confused in these labor conditions. “Seat at the table” logics are the claims and assumptions about work, duty, and membership that Black women, and truly any number of historically underrepresented groups, internalize and navigate that lead to such confusion.  

Three of the prevalent logics that circulate in our contemporary moment are: 1) the scarcity/gratitude logic which says “there are limited seats at this table, so you must demonstrate willingness and gratitude to be there”;  2) the when and where I /you enter” logic[3] which says: “I am/you are the only one of your group at this table, so I/you must represent for my/your community;” and, finally, 3) the “change is slow and institutions are firmly built” logic which says you “must put in present work for future gain.” The latter is a particularly potent logic that not only makes change and accountability subjective or invisible but can also absolve those who are inhibiting progress of said accountability by amplifying the message that it is hard to undo tradition. Some of these logics have originated as survival mindsets designed to protect groups attempting to enter previously closed spaces from surveillance, disappointment, or exclusion. In these ways, they are not altogether dangerous, and they do not prevent individuals from being vocal or critical during a working or collaborative effort. These logics simply become dangerous when they justify unfair critiques or inordinate expectations placed on others. 

Let’s consider again the narrative about the scholar of color who was approached to write for the special issue. While it is likely that this woman joined the board to help promote more diversity in the journal, the editor does not acknowledge the lack of representation on their board but expects her to perform multiple forms of labor. In this instance, the scholar ultimately chose not to undertake the labor expected of them, but “seat at the table” logics enable us to hear the lines of thought and largely unspoken messages at work when underrepresented groups feel obligated to take on tasks time and time again. These logics also highlight the mechanisms that contribute to the state of the Black Rhetorical Condition, or what Elaine Richardson describes as a state of being “desired and devalued” (33). Imagine if we, a body of feminists and rhetoricians, built these forms of fatigue and these logics into our approaches to mentoring, organization, and engagement. Imagine if we thought about the assumptions that we internalize about the duties we should uphold or the labor expectations we project onto others. Imagine if we thought more about rest as we are thinking about representation. 

“Get Somebody Else to Do It”[4] : Impatience as Resignation 

Fatigue does not always look like lethargy. Sometimes it looks like confrontation or disruption. Such was the case when Civil Rights Attorney and activist Nekima Levy Armstrong interrupted a February 2022 press conference about Minneapolis Police Officer’s shooting of Amir Locke, a 22-year-old Black man who was asleep on a sofa when officers entered Locke’s cousin’s apartment thinking they had located a suspect in a different crime. Locke did not survive the shooting and the protesters and city leaders who spoke out on the murder condemned the police’s use of a no-knock warrant. When the city’s mayor and Police Department officials took to the podium during a press conference a few days after the subsequent protests, the Police Chief acknowledged how “everyone knows” the kinds of threats officers face and how “quickly” the officers had to make the decisions that culminated in the shooting that transpired (“Anatomy”). Minutes into the Police Chief’s remarks, Levy-Armstrong – who was co-chairing a public safety task force at the time – stood up and interrupted the speaker, approaching the podium while opening her coat and facing the cameras to indicate that she did not have a weapon (see Figure 1). In the eight-minute remarks that followed, Levy-Armstrong pivots between directly addressing the mayor and the Police Chief as she calls out what she describes as the “anatomy of a cover-up,” or the organizational structures and decision-making practices that enabled the Police Department to absolve themselves of responsibility in Locke’s death. Exasperated, she declares that she is:   

expecting strong leadership, I’m expecting integrity, and I’m expecting accountability. You guys aren’t going to waste my God damn time… I can be used to come speak the truth about what needs to happen, but when it’s time to call out these inconsistencies, these inaccuracies, the lack of information, I gotta sit in the back? Or not even be invited? I’m not here for it. (“Anatomy”) 

In an interview with Levy-Armstrong shortly after the press conference incident, journalist Roland Martin introduced the activist by saying that she was “sick and tired” of listening to excuses (“Anatomy”).  

Obviously, there is a difference between the service-inspired burnout I illustrated with the previous fatigue narratives and the activist burnout Levy-Armstrong articulated during the press conference. In this latter instance, fatigue becomes usable as a way of understanding how Black women rescript the terms of their working engagements and advocacy. Within her eight-minute remarks, Levy-Armstrong moves deftly through several significant rhetorical tasks. In addition to creating an opening to speak in a moment that is assumed to be closed by generic conventions and articulating her commitments and personal convictions as a civil servant and the mother of a Black son, she redirects the ethical responsibility of service back onto the city’s leadership with her actual threat of quitting the working group. These moves of employing spectacle, articulating an unapologetic stance, and calling out how the working group was wasting her time are all emblematic of the rhetorics of impatience, or discourses and performances of urgency and exasperation used in pursuit of equity and control (Carey 2020), Black women use as forms of resistance and discipline in the interest of self-care and wellness.  

As I explain in “Necessary Adjustments,” these rhetorics operate as resistance against forms of temporal hegemony, or structures and systems that converge and push equity further and further out of reach (270). Although the Police Chief was not attempting to push or delay any particular goal away from Levy-Armstrong, her reference to the “speed” in which her officers were forced to make their decisions suggests that the chief felt licensed to rush past the questions about accountability that would understandably follow. Had Levy-Armstrong subscribed to the “seat at the table” logic that suggests change happens slowly and that it’s difficult to undo traditions, she might not have been as possessive over the currency of her time or the way the city leaders seemed fine with exploiting her activism when it served their purposes. To disrupt and discipline the leaders away from these lines of thinking – lines of thinking that could result in the loss of a life – Levy Armstrong brings her “whole self” (Lorde) to this moment, embodying indignation and calling for reciprocity. Fatigue channeled as impatience becomes usable when it shows us how people like Levy Armstrong reject any attempt to make them complicit in their own oppression or the disregard of the communities for whom they labor. At this point, resignation is the only option.  

We will not all end up on the frontlines of efforts against state violence, nor will we all take active roles in racial and other social justice campaigns. As feminists, however, the minimal amount of work we should feel compelled to undertake is the task of learning to see, hear, and respond accordingly to the calls for accountability rhetoricians like Karma Chavez (2013), Eric Darnell Pritchard (2017), and Elliot Tetreault (2018) have made to advise us on how to responsibly show up for each other in our coalitional work. Imagine if the pedagogies we developed in our classroom spaces amplified these moments of impatience and fatigue as exemplars of activism rather than leaving them unengaged or misread as forms of incivility. Imagine if we did more to cultivate the kinds of emotional literacies necessary to stand among and stand up for each other in crisis.  

“No Ways Tired”[5] : Fatigue as a Call to Invest in Homecoming 

I began this address by identifying feminist fatigue and how I had observed it, but I want to close by returning to the definition of weariness, or the reluctance to see or experience any more of something. The case studies I have discussed are extensions of my current projects on urgency and risk, but it is the project I did on healing that has yet to let me go. That project has taught me that too often we skip the stage of grief that happens between trauma – by way of microaggressions or bigger systems of violence – and healing. The impulse to rush back to “business as usual” is understandable if we have the fear that taking time for ourselves will result in us giving up or falling apart, but it can be shortsighted when some of us are still weary. Well before the pandemic, I began to notice how many dynamic feminist scholars and or women of color have experienced have experienced fights with cancer. Indeed, I have worked alongside some of them and consider them among my dearest friends. Again, I don’t share these details lightly. Instead, I am convinced by scholars like Jenifer Nash (2022) who writes of “slow loss” and Black feminist endurance that we must sit with and grieve how heavy the weight of fatigue has been on us, particularly on women and people of color.  

Yet, as we’ve gathered here at Spelman College, an institution with an esteemed history and a beacon within an HBCU culture, I am inspired by the concept of a homecoming and how our opening session between Dr. Bachelor-Robinson and Dr. Royster launched us into this conference. Growing up in the Black Church, I understand homecomings as reunions and gatherings that should replenish us. As someone who studies healing though, I also see the concept of homecoming as a potentially radical reparative project. In her recent book Homecoming: Overcome Fear and Trauma to Reclaim Your Whole, Authentic Self, psychologist Thema Bryant explains that fatigue is a sign of disconnection, an indicator that a person is out of touch, burdened down, and cut off from the sources that give them life. Among the solutions that Bryant offers is a project of reparenting. The logic is that we can extend to ourselves the care and support we have not always received. Ideally, these intentional practices will enable us to counteract weariness by being compassionate to ourselves first.  

As I close, I want to imagine several homecoming practices we might invest in as a coalition. Imagine if we made the restorative circles and other inclusive efforts intentionally built into this conference part of the coalition’s legacy. Imagine if the organizers of the next conference kept that same energy[6] as the organizers of this year’s conference exhibited and built in mechanisms for the rest and repair of their attendees. Also, imagine if we did more by way of recognition and self-actualization to combat the harmful “seat of the table” logics that position so many of us for exhaustion, perhaps through compiling or archiving fatigue narratives such as the ones I shared. Imagine if we as a coalition invested in or partnered with restorative training efforts such as Beth Godbee and Candace Epps-Robertson’s recently developed “Pathways Through Burnout” cohort program to stop the trend where we suffer through fatigue in “isolation” by joining spaces for “discussion, reflection, processing, and guidance” (“Pathways”). Imagine if we remixed the logic that change is slow and we rebuilt ourselves with the affirmation that our work, as a coalition, as scholars and teachers, as feminists, womanists, and as citizens, is and has always been necessary and that our presence is valuable. Imagine if we took rest in the fact that even as so many of us are tired, we are still here.  

Thank you.   

Bibliography 

Ahmed, Sara. On Being Included: Racism and Diversity in Institutional Life. Duke UP, 2012.  

“Anatomy of a Cover Up: Nekima Levy Armstrong Interrupts Presser on Amir Locke, Calls Out  Officials.” YouTube, uploaded by Roland S. Martin, 4 Feb. 2022,  https://www.youtube.com/watch?v=VJoqpUnSX9I&ab_channel=RolandS.Martin. 

Balliff, Michelle, Diane Davis, and Roxanne Mountford. Women’s Ways of Making it in Rhetoric and Composition. Routledge, 2008.  

Bryant, Thema. Homecoming: Overcome Fear and Trauma to Reclaim Your Whole, Authentic  Self. TarcherPerigee, 2022.  

Carey, Tamika L. “Necessary Adjustments: Black Women’s Rhetorical Impatience.” Rhetoric Review, 37.4, 2020. 269-86. 

—. Rhetorical Healing: The Reeducation of Contemporary Black Womanhood. SUNY Press, 2016. 

Chávez, Karma R. Queer Migration Politics: Activist Rhetoric and Coalitional Possibilities. University of Illinois Press, 2013.  

Collins, Patricia Hill. “Black Feminist Thought as Oppositional Knowledge.” Departures in  Critical Qualitative Research, 5.3, 2016, 133-44.  

Cooper, Anna Julia. “Womanhood: A Vital Element in the Regeneration and Progress of a Race” (1886). The Voice of Anna Julia Cooper, edited by Charles Lemert and Esme Bahn, Rowman & Littlefield, 1998. 53-71.  

Cooper, Brittany. Eloquent Rage: A Black Feminist Discovers Her Superpower. St. Martin’s Press, 2018.  

—. “The Racial Politics of Time.” TED: Ideas Worth Spreading. Oct. 2016, https://www.ted.com/talks/brittney_cooper_the_racial_politics_of_time?language=en 

“Fatigue.” Dictionary.com, https://www.dictionary.com/browse/fatigue. Accessed September  2023. 

Frostrup, Mariella. “I Live as a Feminist, but I’m Tired of Being So Furious All the Time.” The Guardian, 24 Nov. 2019, https://www.theguardian.com/lifeandstyle/2019/nov/24/i-live-as-a-feminist-but-im-tired-of-being-so-furious-all-the-time-mariella-frostrup.  

Glenn, Cheryl. Rhetorical Feminism and This Thing Called Hope. Southern Illinois UP, 2018.  

Golden, Marita. The Strong Black Woman: How a Myth Endangers the Physical and Mental Health of Black Women. Mango Publishing, 2021. 

Gumbs, Alexis Pauline. “The Shape of My Impact.” The Feminist Wire, 29 Oct. 2019. 

“Pathways Through Burnout: A Cohort Experience.” Heart-Head-Hands.Com, https://heart-head-hands.com/pathways-through-burnout/. Accessed Oct. 2023.  

hooks, bell. Killing Rage: Ending Racism. Holt Paperbacks, 1995.  

Kynard, Carmen. “All I Need is One Mic: A Black Feminist Community Meditation on  The Work, the Job, and the Hustle (& Why So Many of Yall Confuse This Stuff).” Community Literacy Journal, 14.2, 2020. 5-24.  

Lorde, Audre. “The Uses of Anger.” 1984. Sister Outsider: Essays and Speeches. 1984, Crossings Press, 2007. 124-33. 

Malatino, Hilary. “Tough Breaks: Trans Rage and the Cultivation of Resilience.” Hypatia, 34.1, 2019. 121-40. 

Nash, Jennifer. “Slow Loss: Black Feminism and Endurance.” Social Text 151, 40.2, June 2022. 

Parmar, Pratiba, director. A Place of Rage. 1991. 

Pritchard, Eric. “‘When You Know Better, Do Better’: Honoring Intellectual and Emotional  Labor Through Diligent Accountability Practices.”  http://carmenkynard.org/featured-scholar-eric-darnell-pritchard-when-you-know-better-do-better-honoring-intellectual-and-emotional-labor-through-diligent-accountability-practices/, July 2019.  

Ratcliffe, Krista. “Rhetorical Listening: A Trope for Interpretive Invention and a Code for Cross  Cultural Conduct.” College Composition and Communication, 51.2, 1999. 195-224.  

Richardson, Elaine. African American Literacies. Routledge, 2002.  

Stryker, Susan. “My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage.” GLQ, 1.3, 1994. 237-54. 

Tetreault, Elliot. “We’re asking you to show up”: Accountability as Rhetorical Practice for Queer, Feminist, and Racial Justice Allyship. 2018. University of Louisville, PhD dissertation 

“Weariness.” Dictionary.com, https://www.dictionary.com/browse/wearinesses. Accessed September 27, 2023.  

Endnotes

[1]Cece McDonald is an activist and advocate for prison reform who survived a white-supremacist and transphobic attack in 2011 but received a second-degree manslaughter conviction and prison time for defending herself. 
[2] The phrase “truth is I’m tired” is a reference to the song Take Me to the King by gospel artist Tamela Mann. It is commonly used in Black vernacular spaces to indicate that a person is exhausted and approaching a point of weariness that makes them want to leave or depart from a situation or environment. 
[3] Here I am acknowledging how Anna Julia Cooper’s oft-quoted claim that it is only Black women can say “When and Where I Enter” with the certainty that the whole “race enters” (“Womanhood”) with them can function as a form of internal motivation for under-represented groups while also functioning as a type of projected expectation from other groups that benefit from their labor.  
[4] The saying “get somebody else to do it” comes from a December 2022 TikTok video featuring a young woman approaching an older woman who is shopping and asking her to record a video. The older lady flatly tells the young woman, “Uh uh. Get somebody else to do it.” When the young lady tries to explain that she needs help to make a video for an audition, the older lady woman walks away, signaling her refusal to continue participating in the exchange. There is some debate as to whether the older lady is the young woman’s grandmother. Regardless, the phrase “Get somebody else to do it” has come to signify a flatly articulated stance of refusal.  
[5] “No Ways Tired” is a well-known gospel song about endurance and perseverance. 
[6] Keep that same energy” is a phrase from Black Vernacular culture that people use to challenge others to be consistent in their behavior, criticism, or participation. 

Burning Questions

Minnie Bruce began to teach me thirteen years ago in a cramped circle of tiny desks in a windowless room next to a stack of her notes and an electric kettle. Before our first meeting, she asked the class to email each other our “burning questions,” the “myster[ies] or dilemma[s]” that would frame our work together. And then, for two frequently harried summer weeks, we wrote and revised in response to fifty prompts as we followed these questions. Minnie Bruce provided the space to reckon with something pragmatic, something profound: we faced the reality that a single piece of writing could never actually deliver the urgent desires that demanded it.  

More menacing still, it seemed we couldn’t actually begin to grapple with these demands without first producing drafts. Many of them. Each one with the knowledge that no amount of revision or feedback would ever ensure the writing’s sufficiency to ourselves.  

Earlier this year, preparing to teach in my first faculty position following my PhD, I tried to use my syllabus to share Minnie Bruce’s lessons on the promises of writing and revising in community. My draft claimed that she described our burning questions as the “visceral, urgent, but often underexamined questions that motivate our intellectual work.” But my description of the burning question is absent from my final syllabus. Then, like now, I knew something was missing. I had made a mental note to email Minnie Bruce. I didn’t. 

There were—are—so many of us who depended on Minnie Bruce for pithy and crisp language when we brought her a morass. Minnie Bruce taught us to use a single, located, sensuous moment as a key to the world. It seems so silly to think about the lilt of her voice over the dusty linoleum of a humanities building, as If a mundane moment in an unremarkable classroom could say anything about her you don’t already know.   

This writing is not sufficient. I’ve had Peitho’s short call for memorial writing about Minnie Bruce open on my screen for weeks, but I could only write when the option was to something insufficient or nothing at all. Our sole job as writers, according to Minnie Bruce, is to produce something that is honest and accountable enough, and then to let it go. I want to believe I have the wherewithal to contribute to an archive of our love for her, using the tools she helped me develop. Yet, I’m wallowing in the worst kind of irony in trying to write about the mentor who helped me find my voice. It seems my voice just won’t stay found. 

 

Tribute to Minnie Bruce Pratt

 a group of eight people smiling and standing in front of a white wall. Minnie Bruce Pratt is on the far left, and Eileen Schell is the fifth person from the left.

a group of eight people smiling and standing in front of a white wall. Minnie Bruce Pratt is on the far left, and Eileen Schell is the fifth person from the left.

Brilliance. Generosity. Warmth. Revolutionary Communist, Anti-Racist, Feminist Consciousness. All of these qualities were on full display any time Dr. Minnie Bruce Pratt was in the room. Many of us know Minnie Bruce as a renowned feminist, poet, essayist and activist;  I had the good fortune of being her colleague at Syracuse University 2005-2014; I also was fortunate to serve as her Department Chair from 2007-2012.   

I first met Minnie Bruce when she came to Syracuse, NY to give a poetry reading at the YMCA Downtown Writers’ Center. Star-struck, I listened to her read her poetry and approached the podium with a book for her to sign. I found her to be warm and approachable. After the reading, my colleague Margaret Himley strategized with me about bringing Minnie Bruce to Syracuse as a colleague, and she worked tirelessly to make that happen.  Upon arrival at Syracuse University, Minnie Bruce was jointly appointed in the Departments of Writing Studies, Rhetoric, and Composition and Women’s and Gender Studies at SU. She was centrally involved in the 2006 launch of the LGBTQ Studies Program in the College of Arts and Sciences. She taught courses across all three areas and immediately drew a following of students. 

Minnie Bruce’s courses changed lives and changed consciousness. Her cross-listed WRT 422/QSX 400 course “Stranger than Fiction: LGBT Creative Nonfiction” asked students to respond to the question: “The hidden facts and unspoken truths of life can sometimes be ‘stranger than fiction’—and when that is so, how do we write believably and convincingly about those complex realities?” (“Syllabus” 2014). Students read LGBTQ creative nonfiction and wrote creative nonfiction on themes of bodies, genders, and sexualities. She also taught a remarkable interdisciplinary advanced Creative Nonfiction course at the graduate/undergraduate level labeled WRT 438/CCR 638/WGS 600 Advanced Creative Nonfiction: “Writing In-Between” that took place over a two-week intensive Maymester session.  The course was set up around “tracking the answer to a burning question” through creative nonfiction (“Syllabus” 2015).  Populated by a mix of undergraduate students, graduate students across disciplines, faculty, staff and community members, the course enabled so many to work on figuring out their writing projects through creative nonfiction. I took her class the last summer it was taught and saw first-hand the incredible camaraderie and investment that people had in each other’s work.  These courses were more than writing courses; they were communities of writers and activists who wrote, supported each other (see Navickas). Writers often ended up publicly sharing their work in the Department of Writing Studies, Rhetoric and Composition Nonfiction Reading series. Minnie Bruce was instrumental in helping me start this series in 2008 when she headlined the Department’s Spring Conference “What is Nonfiction?” along with Judith Kitchen.   

In addition to her pivotal teaching, Minnie Bruce was on the frontlines of almost every major campus and community protest in Syracuse. She and her partner Leslie Feinberg were active in labor struggles, anti-racist, and queer liberation movements across the country and world. Minnie Bruce served as a journalist and managing editor of Workers World/Mundo Obrero newspaper. When I was Chair, I remember her sitting in my office with a stack of Workers World, sharing her latest pieces. Her work as a journalist was on top of all the organizing, teaching, writing, and workshops she was doing at Syracuse and elsewhere.  As she shared on her website: “The struggle—for social justice and for workers and oppressed people, against racism and imperialism and for liberation for women and all gender and sexually-oppressed people—is my life” (“La Lucha”). She lived those words daily.   

 

a group of thirteen people standing together and smiling in front of a dark red wall. They are in two rows: six in the front and seven in the back. Eileen Schell is the third person from the left in the front row. Minnie Bruce Pratt is the second person from the right in the back row

a group of thirteen people standing together and smiling in front of a dark red wall. They are in two rows: six in the front and seven in the back. Eileen Schell is the third person from the left in the front row. Minnie Bruce Pratt is the second person from the right in the back row

None of us in Syracuse were ready for the news of Minnie Bruce’s illness and death. We had watched her care for Leslie through the advanced stages of Lyme disease until hir death in 2014. We had attended Minnie Bruce’s remarkable retirement party in 2015, which featured readings by some of her creative nonfiction students. It was inconceivable that less than ten years after Leslie passed away that Minnie Bruce would pass away from glioblastoma.  

At her “Celebration of Life” service on September 30, 2023 at the May Memorial Society in Syracuse, I met her two sons, grandchildren, chosen Syracuse family, former students, and comrades. Infused in that event was the community that Minnie Bruce and Leslie had built together. All of us were given the opportunity to carry away a memento in the form of a pair of clip-on earrings. Minnie Bruce did not have pierced ears, but she loved wearing clip-on earrings, and she had a huge collection for all occasions. As I stood with colleagues and friends looking at the trays of her earrings, we reminisced about Minnie Bruce: her colorful scarves, stylish hats, smile, laugh, wise advice, revolutionary writing, and activism. We talked about the electric energy in the air in her classes, readings, writing, activism, and her stories about growing up in Alabama. I carried away a pair of Minnie Bruce’s simple silver spiral earrings, which symbolize to me her beautiful, revolutionary spirit and life that touched and fortified so many of us for the struggles ahead.  

Works Cited 

“La Lucha: The Struggle.” Minnie Bruce Pratt website.https://minniebrucepratt.net/the- https://minniebrucepratt.net/the-struggle-la-lucha/. Accessed 30 October 2023. 

Navickas, Kate. “The Limitations of Liberation in the Classroom: Lessons from Minnie Bruce Pratt.” Pedagogy, vol. 20, no. 1, 2020, pp. 49–58. 

“Syllabus:  WRT 422/QSX 400: Studies in Creative Nonfiction,” Fall 2014, Syracuse University.   

“Syllabus:  WRT 438/CCR 638/WGS 600 Advanced Creative Nonfiction: “Writing In-Between,” Maymester 2015, Syracuse University.   

The Power of Narrative: A Memorial for Dr. Minnie Bruce Pratt

I met Dr. Pratt in the summer of 2016 during the first year of my doctoral coursework in the Composition and Cultural Rhetoric program at Syracuse University. That summer, Dr. Pratt was teaching an Advanced Creative Nonfiction (CNF) course. Reluctant to take any course that required me to write personally, I was not going to pass up the opportunity to take a class with the Minnie Bruce Pratt. I was already an admirer of her work and activism and countless graduate students in my program had described her course as “transformative.” In fact, many discovered their dissertation project in her course. I entered the first class meeting a bit skeptical of CNF but eager to learn from a legend. Dr. Pratt slowly ate away at my skepticism with daily writing exercises that amounted to hundreds of pages over the eight-week course. Scared to be vulnerable or to share something that would out me as the impostor I felt like, my writing remained performative over the first few weeks. I began the course trying to write in a way that I thought would impress Dr. Pratt.  

As a working class, first-generation woman in the South, I was raised to not share my dirty laundry or negative feelings with people I didn’t know very well. Everything is always “fine” in front of “company.” With direct but generous guidance, Dr. Pratt helped me see the power in my own voice, the value in my own story, and how to confront my own limitations and biases as a writer and reader. By the end of the course, I had used the daily writing exercises and larger assignments to begin to process the crushing grief I felt after my father’s death the year before. In addition to the personal impact of taking her course, Dr. Pratt helped me unlearn the fabricated boundaries between research and narrative, theory and reflection, and academic and personal writing that I had been taught. The reading, writing, and collaborating I did in her course irrevocably changed the scholar and teacher I am today. Once staunchly resistant to personal narrative, reflection and feminist storytelling are central in all my scholarship today. Looking back at my final reflection from the course now, I feel overwhelmingly grateful to have been able to study with her: “Writing in this way seems more powerful than I ever imagined. My own identity as a ‘strong woman’ is being tested by my surveys into the past, into my memories. Writing like this becomes a way for me to parse through the outside voices to truly find and exercise my own.”  

It’s impossible to capture what we’ve lost with Dr. Pratt’s passing, just as it’s impossible to capture her lasting impact on so, so many. Rest in power, Dr. Pratt, and thank you, truly thank you, for everything.   

Editors’ Introduction

This issue of Peitho was crafted just after the biannual Feminisms and Rhetorics De-Conference taking place at Spelman College in Fall 2023. There, the editorial team were all inspired by the rich and diverse panels that demonstrated how the political and scholarly work of feminism is pushing to make and reimagine a just future. After the editorial team presented “Making Publishing in Peitho Transparent” to a well-attended panel, they eagerly awaited the submissions from participants that would showcase the scholarly possibilities that come out of a de-conference. At the same time, they all heard and indeed felt the power of Tamika Carey’s keynote address, “The Uses of Fatigue: Invitations, Impatience, and Investments,” which acknowledged that the work of feminism is uneven and exhausting and that at the center is rage. During continued fraught times not only in the US but also across the globe, as feminists we rage but we are also challenged to question our own affinities and practices and to recognize our own political affordances and limitations. Because Carey’s keynote focuses on rage and fatigue and their presence and legacies within the feminist community, especially feminists of color, we thought it was imperative to publish it here in Peitho. In particular, her questions, What are feminists’ ways of making it (Ballif, Davis, and Mountford) in times like these? And […] how can we collectively imagine feminist futures when so many of us are tired?” are generative because they push us to imagine ways of doing feminist work in sustainable ways. Though our term as editors will have ended by the next Feminisms and Rhetorics conference in 2025, we hope that publishing the keynote addresses may become a tradition. 

Carey’s focus on feminist futures and fatigue resonates with our two other articles in this issue. Holland Prior in her essayReimagining Sponsorship: Recovery Work, Institutional Sponsorship, and the Nearly Forgotten Rev. Mary A. Will” puts Deborah Brandt’s theories of literacy sponsorship in conversation with feminist rhetorical studies in order to forward a new feminist rhetorical recovery project based not on a figure’s words but on the figure’s relationship with an institution. Carving out a new feminist future through this unique method, Prior cogently demonstrates the affordances of this method for tracing the rhetorical practices of women whose words and work may have been erased, squelched, or would not otherwise be known.  Prior implicitly recognizes how the politics surrounding a speaker may limit how their rhetorical actions were archived and circulated. As a result, her method importantly draws attention to the relationship between figures and institutions. Further drawing our attention to how institutions shape rhetorics, Amy Vidali, draws attention to how choice feminism has inadvertently promoted damaging rhetorics around infertility. Drawing from her personal experiences with infertility, Vidali’s essay resonates with Carey’s keynote essay in that both demonstrate the utility of rage even as may face exhaustion. Vidali uses her experiences to draw attention to the need to understand and communicate about infertility through the lenses of feminist disability and reproductive justice because they reframe the issue temporally, outside of a normative progression controlled by personal choice and responsibility. Ultimately, Vidali offers us new feminist rhetorical practices that treats infertility not as a person failure but as a human condition that changes across a lifetime.   

Jennifer Sano-Franchini and Nina Ha’s Recoveries and Reconsiderations essay in this issue describe the important recovery work involved in building an archive. Their project recovers the history of Asian and Asian American students at their institution, Virginia Tech, and in the surrounding Appalachian community. Sano-Franchini and Ha engage in collaboration among undergraduate students, faculty, and staff to construct this archive in community about the range of Asian and Asian American experience at Virginia Tech. The Coalition of Feminist Scholars in the History of Rhetoric and Composition (CFSHRC) has a collection of resources, “Fighting Anti-Asian Racism and Rhetoric,” and we will be recommending that this archive be added to the collection for its powerful demonstration of antiracism and belonging that universities can and should support and learn from.   

Included in this issue is also an In Memoriam tribute to activist, teacher, poet, and scholar Minnie Bruce Pratt who, in solidarity with others of her generation, paved the way for many to not only embrace sexuality but also to connect oppressions within a heteronormative and heterosexist system. Rebecca encountered Pratt’s work as an undergraduate student with a minor in Women’s Studies. For Rebecca, Pratt’s book S/He showed the workings of heteronormativity and sexism relied on each other.  

The first time Clancy read Pratt’s work was just over twenty years ago, for a feminist studies seminar when she was a student at the University of Minnesota. She was assigned Pratt’s 1984 essay “Identity: Skin Blood Heart,” published in Yours in Struggle: Three Feminist Perspectives on Anti-Semitism and Racism. Pratt reflected on her life experiences, including her childhood in Centreville, Alabama. Having spent most of her life until that point 170 miles north in Florence, Alabama, Clancy felt a shared understanding with Pratt and appreciated the deft way she described the cognitive dissonance that white evangelical Christians in the southern United States often showed, and still show, about US foreign policy, especially in the Middle East: 

in evangelical theology, the establishment of the state of Israel, the growth of an “Arab-Moslem confederacy,” the rise of “red” Russia and China, are seen as important only as preparation for the second coming of Christ; the Christian messiah will come again only when Arabs and Jews in the Middle East “fight a battle into which all the world’s nations will be drawn”—Armageddon. All non-Christians will suffer horribly in these “end-days,” which are described as specifically a time of “purification” for Jews. Christian believers will escape this holocaust, which some of them think might be a “limited” nuclear war, because they will be caught up into heaven in “the Rapture,” and return to earth only after Christ’s coming has prevented the destruction of the planet. Such “Christian” believers, in their Arab-hating and their Jew-hating (disguised as Jew-loving, the right-wing Friends of Israel) have no motivation to work for peace in the Middle East, no interest in the needs of both Palestinians and Jews for safe homes, but only an interest in continuing the long history of imperialist nations in pitting the two peoples against each other. (46-7, my emphasis) 

Pratt, writing in the early 1980s, summarizes the arguments Clancy was hearing later in that decade in her Southern Baptist church’s youth group (this same church brought Lt. Col. Oliver North in to give a talk, with much fanfare, shortly after the Iran-Contra hearings). “Identity: Skin Blood Heart” was published forty years ago, and it’s still as timely now. Rebecca and Clancy didn’t have the opportunity to work closely with Pratt as the contributors here did, but Benjamin Zender, Eileen E. Schell, and C.C. Hendricks share their memories of her as a teacher, mentor, and colleague, and we can see the reach of Pratt’s legacy in their thoughtful tributes.  

Cluster Conversation: Gender and the Rhetoricity of Work 

We are pleased to publish in this issue a Cluster Conversation edited by Michelle Smith and Sarah Hallenbeck. The Cluster started as a weekend workshop at the Rhetoric Society of America (RSA) Summer Institute in 2023 at Penn State. From Thursday, May 25 through Saturday, May 27, participants engaged in the intensive reading, discussion, and workshopping of ideas that is emblematic of RSA workshops, and we’re happy to showcase writing that comes out of that rich, deeply collaborative intellectual environment. In this Cluster, authors examine a variety of different kinds of work and norms and policies about work. Lillian Campbell shares findings from her interviews with tele-observers who work in hospitals and are overlooked members of care teams. Ashley Beardsley reveals the obscuring of labor in Rachael Ray’s show 30-Minute Meals, which demonstrate home-cooked meals that can be prepared in half an hour. Ray makes simple recipes seem more complicated and elevated than they in fact are, while also omitting some of the work that must be done to prepare the meals, including grocery shopping and cleanup. Kristina Bowers analyzes policies of US workfare programs and how they effectively prevent most people with Long COVID from being able to access benefits. Ashley Hay introduces readers to Repairman67, a content creator who posts primarily on TikTok and OnlyFans and is a sex worker, sex educator, and influencer whose work involves creating intimacy with viewers in a digital attention economy. Kelsey Taylor Alexander’s piece looks closely at the the r/antiwork forum on Reddit, a space where users are doing serious critique of cultural norms about work, especially during the pandemic. Alexander historicizes this conversation, situating it in the Protestant work ethic, and she uses David Graeber’s critique of capitalist logics to intervene in received notions of work-as-identity.  

Our cover art for this issue is by Pilar Emitxin, an illustrator and graphic designer in Córdoba, Argentina. The image, “El Feminismo Va a Vencer” (“Feminism Is Going to Win”), is posted on Justseeds, a wonderful place to buy art: posters, postcards, calendars, stickers, and more. Justseeds also has a repository of digital graphics that are Creative Commons licensed. We are grateful for Emitxin’s generosity in providing this art in the repository, and we are proud to feature it on the Winter 2024 cover.  

Nicole O’Connell’s review of Unsettling Archival Research: Engaging Critical, Communal, and Digital Archives completes the Winter 2024 issue. This issue may be the last one that will be featured on the CFSHRC’s website: Peitho will be moving to the WAC Clearinghouse platform soon. It is still the journal of the CFSHRC, and all issues that are currently on the CFSHRC’s website will continue to be archived here, but future issues will appear on the WAC Clearinghouse’s website. This partnership will provide more resources for the journal, including funding and production support, and ease in assigning Digital Object Identifier (DOI) numbers for each contribution to Peitho. We’re excited to be working with the WAC Clearinghouse, and we hope you enjoy this Winter 2024 issue.  

 Works Cited 

Emitxin, Pilar. “El Feminismo Va a Vencer.” Justseeds, justseeds.org/graphic/el-feminismo-va-a-vencer/. Accessed 20 Feb. 2024. 

Pratt, Minnie Bruce. “Identity: Skin Blood Heart.” Yours in Struggle: Three Feminist Perspectives on Anti- Semitism and Racism, edited by Elly Buikin, Minnie Bruce Pratt, and Barbara Smith, Long Haul Press, 1984, pp. 1-55. 

“BLACKstudies”: a Contemplatively Poetic Response to Alexis Pauline Gumbs(& Audre Lorde)

“The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized. This is poetry as illumination.” 

–Audre Lorde, “Poetry Is Not a Luxury,” 1977  

Prologue (or an artist’s statement) 

I.

Although written six years ago, I recently read Alexis Pauline Gumbs’ (2017) “17th Floor” oracle essay wherein she contextualizes Audre Lorde’s teaching experiences as Lorde expresses them in her 1974 “Blackstudies” poem. According to Gumbs, Lorde’s “Blackstudies” should be “activated as a resource for current Black and Brown lesbian educators . . . who bring complexity and nuance to their teaching setting” (375). Let me explain: When Lorde wrote her introspective “Blackstudies” poem, she was teaching composition in CUNY’s[1] CAPS[2] program wherein she navigated racism, sexism, and homophobia, while contending with such outside of her white cis-male dominated classroom. “High up on the seventeenth floor, Audre Lorde struggled to feel grounded,” says Gumbs, who then asks: “How could the work she was addressing in this classroom interact with the real world (literally) below?” (379).  

Although Lorde was situated in a classroom with her “enemies”—armed white police officers and officers in training—when she composed “Blackstudies,” confessing: “I do not know whose words protected me / whose tales or tears prepared me / for this trial on the 17th floor” (155; part. 2, stanza II, lines 1-3), Lorde’s poem was inspired by the relationship she cultivated with the Black creative writing students she taught at Mississippi’s Tougaloo College in 1968. In an interview with Adrienne Rich, Lorde explains it thusly:  

The ways in which I was on the line in Tougaloo . . . I began to learn about courage, I began to learn to talk. This was a small group and we became very close. I learned so much from listening to people. The only thing I had was honesty and openness. And it was absolutely necessary for me to declare, as terrified as I was, as we were opening to each other, ‘The father of my children is white.’ And what that meant in Tougaloo to those young Black people then, to talk about myself openly and deal with their hostility, their sense of disillusionment, to come past that, was very hard. (“Interview,” Sister Outsider 90) 

I quote Lorde at length here because the relationships that Black lesbian women foster with their students—if they are open and honest—most likely will be rift with hostility and disillusionment. These associations, built between Black (and/or white) students and their queer Black teachers, cultivated inside and juxtaposed against a white cis-male heteronormative america hellbent on annihilating Black and brown folks, ain’t easy. “I am afraid / that the mouths I feed will turn against me,” writes Lord (“Blackstudies” 154; pt 1. stz 5, ll., 1-2). Thus, Lorde’s poem is a study in being a queer Black teacher. As such, says Gumbs, today’s queer, Black teachers reading Lorde’s works (or psalms) should turn on, energize, animate—put into praxis—Lorde’s theories so they might find a balm in their own Gileadean environments.  

Gumbs models such engagement by “activating” Lorde’s poem via an abecedarian oracle through which she (and Lorde, the holy ghost) instructs readers to think of a challenge they encounter in their teaching, such as homophobia, then to reflectively read the “H” section of her oracle (375). There, teacher-readers find inspirational thought—a prophecy, a foreshadowing—directing them on ways to counter that challenge and/or suggestions regarding how to protect their spirit as they confront such in and out of class oppressions. Gumbs employs each letter of the alphabet, excepting letters “X” and “Z,” and composes a divine message intended to support queer teachers drudging through the trenches as Lorde did.    

My poem, therefore, titled after Lorde’s “Blackstudies,” is an honest, open, declaration of the barriers between me and my Black students that threaten to thwart my teacherly self and practice; it answers Gumbs’ call to exercise theory—to trust in the Lorde. However, instead of galvanizing Lorde’s work as Gumbs instructs, I activate Gumbs’ “17th Floor” essay. I employ her abecedarian approach, including letters “X” and “Z,” to stimulate and transcribe my own teacherly self-reflection, thereby composing a poem addressing the classroom challenges I have faced.  

II.

I am a Black lesbian woman. I have been teaching composition to Black and brown students for over 20 years. I currently teach writing courses at a public HBCU where anti-Black racism, sexism, homophobia, ableism, and ageism are as present as they are in historically white institutions. However, the anti-Black, sexist, and homophobic attitudes and behaviors I encounter amongst my Black and brown students (and colleagues) dispirit me more than white folks’ oppressions—as evidenced in my poem’s first line. It answers Gumb’s question: How can the fact that you are not the first educator to face contradictions and transformations sustain you? (376) to which I respond, “it doesn’t,” and explicate my answer via a poem penned as fluidly as Kanye writes his curses in cursive. [3]   

I am a witness that poetry, says Audre Lorde, comes out of “an incredible reserve of creativity and power, of unexamined and unrecorded emotion and feeling” (“Poetry,” Sister Outsider 37). It is only through poetry, therefore, I could best “respect [my] feelings and transpose them into a language so they can be shared” (37), and I certainly want, I need, to share my feelings about teaching Black and brown students—born and/or coming to age in a 21st century where colorblind racism, pinkwashing politics, and pseudo-decolonization so visually impairs them—they see me an impediment to their knowing selves.  

How do I engage Black and brown students in a liberatory praxis when they recognize me as their enemy? How do I help them to write themselves into a liberatory existence when my writing curriculum doesn’t sit right with them? How do I talk about these barriers—many of which have been manufactured to fragment our togetherness—with Black and brown students who only hear white noise coming from my mouth?  

My poem records these emotions and feelings, thus “address[ing] the barriers between us (me) and that future” [emphasis mine]—that future generation of Black and brown students drunk on a cis-male heteronormative capitalist patriarchy that renders me useless. And though I know I am not useless, I often feel worlds apart from my students—a distance exceeding the expected generational gaps and classroom hierarchies naturally separating us from one another. Our disconnections can seem so wide I feel depressed—as I imagine Lorde occasionally felt. But! as quiet as it’s kept in (traditional) Blacks studies, still we rise;[4] thus, my poem acknowledges, too, the coalition of folks on whose shoulders I stand, whose spirited faith propels me to keep on keepin on even when the fact that I am not the first educator to face contradictions and transformations doesn’t (immediately) feel sustaining. 

III. 

But it is, isn’t it? I would not be able to enter the classroom day after day, semester after semester if I were not entering with a coalition of folks allied toward a united action. Thus, my poem, directly in “part three: M” and indirectly throughout, names family members, mentors, teachers, and literary figures—some of whom are ancestors—who have (and are) my burst of light. [5] I carry their wisdom and their prayers with me; wherever I am, so, too, are they. I name my coalition via citation practices forwarded by Katherine McKittrick who invites Black writers to use citation practices as spaces wherein they (we) narrate “what we do with books and ideas . . . how we arrange and effectuate the ideas that make ideas” (15). According to McKittrick, whose (2021) Dear Science: and Other Stories also centers Black studies, traditional citation practices “acknowledge the shared and collaborative intellectual praxis that makes our research what it is” (15-16). However, as marginalized text, she explains, while citations showcase and centralize the knowledge Black scholars have mastered, they fail to reveal “how we came to know imperfect and sometimes intelligible but always hopeful and practical ways to live this world as black” (17).   

“What if citations offer advice?” asks McKittrick (19). “What if citations are suggestions for living differently? What if some citations counsel how to refuse what they think we are?” (19). The copious notes [6] ending my poem, therefore, answer McKittrick’s call to reveal the lessons that cannot be contained within my poem, to share the other stories, the “how I got ovuh” stories, the whose I am stories. They also detail my relationship with and/or admiration for particular people and their practices—some of them academic, others secular and spiritual. Traditionally, my endnotes also provide context for my poem and include the questions Gumbs poses in her “17th Floor” oracle essay my poem answers.  

Moreover, while McKittrick’s work proposes alternative knowledge by way of citation narratives as “alternative stories” through which Black writers write against the empire (18), my poem acknowledges alternative epistemologies via counterhegemonic composing styles I borrow from Black feminist, Black Arts Movement writers like Ntozake Shange, [7] Nikki Giovanni, and Sonia Sanchez who have written against English language standards. As a matter of fact, I borrow Sanchez’s Blackening, if you will, of the Japanese tanka and haiku; instead of these 7th and 17th century poetic forms being about seasons and nature, their subjects are of the Black experience and are composed in a Black English inclusive of the grammatical structures that make it a language.  

With all that said, I neither can write nor teach, neither address nor dismantle the barriers between us (me) and that future without a coalition of folks who inspirit my activism, which is why I position the Latin “et al.” (and others) after my name as author, for my poem “BLACKstudies” is our poem; it is a collaborative project I am empowered to compose (and ultimately publish) because of the genius and courage of our ancestor/grandparent writers, teachers, thinkers, and activists. I am because they are. It really does take a village—a united state, despite america’s splintering spirit. 

_____ 

 part one: A-E [8]  

the fact I am not the first educator to face contradictions & transformations does not sustain me; [9]  

for the fact of my Blackness [10] challenges me to show up for & be present to 

Black[11] students who don’t see the Lorde in me 

but find their savior in the white man department chair  

who’d rather manufacture peace 

than hold students accountable to their higher power;[12]  

& tho I try to have mercy on my traitorous students— 

to give them grace 

to pardon their sins 

to forgive them for not knowing what they do— 

cause I know their childhood aint been my childhood:  

supported by middle class luxuries[13]  

privileging home libraries,  

club affiliations,  

paid college tuition, & summer vacations  

inside a two-parent household showing me  

Black is beautiful 

practicing Black love 

relying on Black ways of knowing  

because they believed in Black genius,  

Black family tradition, & kinship  

to raise children to be young, gifted, & Black 

 

w/souls intact [14]  

 

to turn the other cheek 

to think before we speak 

to be mindful of our planting 

cause what we sow is what we reap— 

the devil has been busy stealing our children 

their consciousness, their Blackness, 

out of my hands [15]  

convincing them they exist in a post racial America [16]  

where my layered Blackness meeting Black across Black 

isn’t a rainbow [17]  

but a stain upon their white-washed dream. 

 

I’ve grown too tired of trying to uplift them 

they squander the gifts their ancestors gifted them 

the systems between us keeps me from reaching them 

& creating safe spaces aint gone protect them [18]  

a brave composition is needed. 

 

part two: F-L [19]   

I have no practice 

grounding my teacherly work 

in the sound of here 

in a sonic consciousness 

enabling my presence [20]  

 

for the god in me 

is an angry god of floods 

promising rainbows 

layered in Black, meeting Black 

across Black[21] toward Black love 

 

but like sea lions 

claiming their territories 

I must claim tenure[22]  

& my hands aint strong enuf 

to hold my students & me 

 

my hands are tired 

from juggling judgment & love 

& presumed justice 

wearing my whole body down 

threatening transformation 

 

if only they’d learn 

to unknow what they’ve been taught 

to believe my Black 

will lead them back to their Black 

into Black togethering [23]  

 

might I be able to communicate a communion that frees them. 

 

part three: M[24]  

Roll Call: 

Choling Bryant [25]  

Donald Bryant [26]  

Rose McKenney Jones [27]  

Mary Bryant [28]  

Tywana Greene [29]  

Yasmin Greene [30]  

Anita Bryant[31]  

Persephone Taylor[32]  

Barbara Mesa [33]  

Karen Bullard[34]  

Maria Krane [35]  

Patricia Moore [36]  

Vernetta Clenance [37]  

Eddye Rodgers [38]  

Vickie Frazier-Williams [39]  

Doris Hart [40]  

Patricia Daniels[41]  

Tananarive Due[42]  

Genyne Boston[43]  

Margie Rauls[44]  

Gloria Taylor[45]  

Deborah Plant [46]  

Gurleen Grewal [47]  

 

part four: N-T [48]  

I am inside a nightmare of corporate education 

where Black students aint required to master African-American literature  

as long as they can afford tuition; 

& does it really matter they can’t recall a Black playwright? 

have never read The Color Purple? 

can’t list three Toni Morrison novels? 

& have no recollection of Sojourner Truth? [49]  

& I have ploughed thru public school’s hidden curriculum 

& planted Lorraine Hansberry, Alice Walker, & June Jordan 

& gathered Black history from Ptah Hotep [50] to Patrisse Cullors 

& still, I aint the teacher my Black students want. 

 

I— 

unapologetically Black 

lesbian 

middle-class 

& religious 

like when Celie met Shug & found God in everything that is or ever was or ever will be[51]  

& if only I can get my Black students to get the white man off their eyeball 

to see thru their third eye thru which they transcend a myopic wokeness  

& dive into a critical consciousness clarifying their Black genius 

then, will they know I love them? 

 

& don’t they know I love them? 

that my red pen bleeding on their page is my offering— 

a blood covenant securing us in an I-thou relationship promising transparency, truth, & presence? 

that my love inspirits them to compose compositions as fluid as hieroglyphs inside pyramid walls? 

that my love insists they know words as intimately as they know themselves—in spirit & in flesh? 

that my love begs them to read & write themselves into an existence they were never intended to realize? 

 

No. my Socratic inquiries are not a questioning of ur intelligence[52]   

but an invitation to ur wondering inside the in between 

love is or it aint; thin love aint love at all [53]  

& I wonder after they graduate & have children themselves to raise 

will they know what I have known & truthfully admit I loved them? 

 

part five: U-W [54]  

 when I resigned one year short of earning tenure[55]  

my mother, a former elementary school teacher who suggested I major in education after I told her I wanted a creative writing degree, said:  

 

Daughter,  

Remember—80% of ur work goes to the students you teach.  

They are ur priority; they’re the ones you aim to reach 

 

& Mommy being Mommy, practiced what she preached  

& put her students first 

she, a 3rd grade teacher integrating an all-white elementary school, 

prioritized her predominantly white class, especially her Black students— 

rarely there, but when present, holy visible 

like the little Black girl for whom Mommy purchased a JC Penny brand white sweater 

so she wouldn’t have to keep coming to school in the dirty, disheveled one she wore; 

& sometimes, before we can teach Black students to come to voice  

thru arranged vocabulary & syntax 

we must give them clean sweaters to wear— 

warmth as secure as Maya Angelou’s navy blue peacoat [56] absorbing wind on the pulse of morning [57]  

wind is our teacher  

& Mommy’s been the wind beneath my wings urging me to fly right 

but not right like  

right or wrong  

nor right like  

left or right 

but right like  

righteously 

for the good of those who love the Lorde  

will eventually know justice.  

 

part six: X-Z[58]  

when my Black student shouted 

Malcolm X led the Million Man March— 

after his classmate claimed it was Martin Luther King— 

I asked the Lorde to be a fence around me [59]  

to give me the strength to enlighten generations Y & Z 

who had no reverence for Black history 

their flailing about felt like blasphemy 

& the more I taught them, the more they denied me 

my classroom space had morphed into calvary 

& I was the thief begging for mercy 

so that I might muster grace enuf for them— 

my zillennial[60] students  

who believed in a post racial america 

because Barack Obama was the president 

& I—a nigger crook purloining their american dream 

 

the academy is fulfilling its purpose 

 

ensuring our Black students swim only the surface 

got em thinkin they’ll drown  

after deep submergence[61]  

believin my lessons are a grave disservice 

can’t even save them w/biblical verses[62]  

the deeper I dive,  

the wider the gap of convergence  

as tho I prohibit their breathing 

 

& I just don’t know where to go from here 

lately I don’t feel the Lorde drawing me near 

as I age thru teaching, so does my despair 

my students, they take up so much of my air— 

 

part seven: A-Z [63]  

but like a phoenix [64]   

rising out of the ashes 

still I rise. I rise 

into each new semester 

a hope-filled Easter morning. 

 _____ 

  

(Must Read) Works Cited 

Angelou, Maya. And Still I Rise. Random House, 1978. 

—. I Know Why the Caged Bird Sings. Random House, 1970. 

—. “On the Pulse of Morning.” Random House, 1993. 

Baraka, Amiri. SOS: Poems 1961-2013. Grove Press, 2014.  

Bryant, Kendra. Free Your Mind . . . and the Rest Will Follow: A Secularly Contemplative Approach To Integrating Mindfulness into the High School English Classroom. 2012.  University of South Florida, Ph.D. dissertation. USF Digital Commons, https://digitalcommons.usf.edu/cgi/viewcontent.cgi?article=5192&context=etd. 

—. “Gays are going to hell: A Lesbian Teacher Tries to Teach Compassion.” Solace: Writing, Refuge, & LGBTQ Women of Color, edited by S. Andrea Allen and Lauren Cherelle, BLF Press, 2017, pp. 23-33. 

—. “‘Heaven last all ways’: Examining Celie’s ‘Suchness’ in Walker’s The Color Purple.” Alice Walker’s ‘The Color Purple’: Critical Perspectives, edited by Devaleena Das, Pencraft International,  2016, pp. 122-132.  

—.  “My Daddy, My Mammy: A Black Man Doing Black Feminism.” drknbryant.com, 24 Nov. 2019, https://drknbryant.com/2019/11/24/my-daddy-my-mammy-a-black-man-doing-black-feminism/. 

—. “A Rose by any other name would smell as sweet: Unearthing Grandma’s Black Feminism.” drknbryant.com, 17 Nov. 2019, https://drknbryant.com/2019/11/17/a-rose-by-any-other-name-would-smell-as-sweet-unearthing-grandmas-black-feminism/. 

Christian, Barbara. “A Race for Theory.” Cultural Critique, no. 6, spring 1987, https://doi.org/10.2307/1354255. 

Cooper, J. California. A Piece of Mine. Wild Trees Press, 1984. 

Due, Tananarive. The Between. HarperCollins, 1995.  

Dunbar, Paul Laurence. The Complete Poems of Paul Laurence Dunbar. 1913. Good Press, 2019.  

Evans, Mari. “Who Can Be Born Black.” I Am a Black Woman, William Morrow and Company, 1970, p. 93.   

Fanon, Frantz. “The Fact of Blackness.” Black Skin, White Masks, Grove Press, 1967, pp. 109-140. 

Freire, Paulo. Pedagogy of the Oppressed. Translated by Myra Bergman Ramos, The Continuum International Publishing Group, 1970. 

Gumbs, Alexis Pauline. “17th Floor: A Pedagogical Oracle from/with Audre Lorde.” Journal of Lesbian Studies, vol. 21, no. 4, fall 2016, https://doi.org/10.1080/10894160.2016.1164519.  

—. Undrowned: Black Feminist Lessons from Marine Animals. AK Press, 2020. 

Hammond, Fred. “Jesus Be a Fence around Me.” Purpose by Design, 2000. Verity Records. 

Hansberry, Lorraine. To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own Words. Directed by Gene Frankel, 02 Jan. 1969, Cherry Lane Theatre, New York City. 

hooks, bell. Ain’t I a Woman?: Black Women and Feminism. South End Press, 1981. 

—. All about Love: New Visions. William Morris, 2001.  

Hotep, Ptah. The Teachings of Ptah Hotep: The Oldest Book in the World. 2388 B.C. Edited by Asa G. Hilliard III, Larry Williams, and Nia Damali, Blackwood Press, 1987.  

Houston, Whitney. “Greatest Love of All.” Whitney Houston, 1985. Arista Records. 

Hurston, Zora Neale. Barracoon: The Story of the Last Black Cargo. Edited by Deborah G. Plant, 2018, Amistad. 

King, Martin Luther. “I Have a Dream.” 1963. A Testament of Hope: The Essential Writing and Speeches of Martin Luther King Jr. Edited by James M. Washington, Harper One, 1986, pp. 217-220.   

Leonardo, Zeus, and Ronald K. Porter. “Pedagogy of Fear: Toward a Fanonian Theory of ‘Safety’ in Race Dialogue. Race, Ethnicity and Education, vol. 13, no. 2, summer 2010, https://www.tandfonline.com/doi/abs/10.1080/13613324.2010.482898.  

Lorde, Audre. A Burst of Light: And Other Essays. Fire Brand Books, 1988. 

—. “Hugo Letter: On Generators and Survival.” 1989. Audre Lorde Papers (box 18, folder 2.1.137). Spelman College Archives, Spelman College, Atlanta.  

—. “An Interview: Audre Lorde and Adrienne Rich.” 1981. Sister Outsider: Essays and Speeches by Audre Lorde, Crossing Press, 1984, pp. 81-109. 

—. “Poetry Is Not a Luxury.” 1977. Sister Outsider: Essays and Speeches by Audre Lorde, Crossing Press, 1984, pp. 36-39. 

—. “Blackstudies.” 1974. The Collected Poems of Audre Lorde, W.W. Norton & Company, 1997, pp. 153-157. 

Marx, Karl, and Friedrich Engels. The Communist Manifesto. 1848. Signet Classics, 1998.  

McKittrick, Katherine. Dear Science and Other Stories. Duke University Press, 2021. 

Morrison, Toni. Song of Solomon. Alfred A. Knopf, 1977. 

—. Beloved. Alfred A. Knopf, 1987. 

Plant, Deborah, editor. The Inside Light’: New Critical Essays on Zora Neale Hurston. Praeger, 2010. 

Sanchez, Sonia. Sonia Sanchez: Collected Poems. Beacon Press, 2021. 

Simone, Nina. “Mississippi Goddam.” Nina Simone in Concert, 1964. Philips. 

Simone, Nina, and Gene Taylor. “Why? The King of Love is Dead.” Nuff said!, 1968. RCA Victor. 

Simone, Nina, and Weldon Jonathan Irvine. “To Be Young, Gifted, and Black.” Black Gold, 1970. RCA Victor.  

Sinclair, April. Coffee Will Make You Black. HarperCollins, 1994. 

Thurman, Howard. The Meaning of Love. 1958. The Howard Thurman Digital Archive, 2014, https://thurman.pitts.emory.edu/items/show/171. 

Walker, Alice. The Color Purple. Harcourt Brace Jovanovich, 1982. 

—. In Search of Our Mothers’ Gardens: Womanist Prose. Harcourt Brace Jovanovich, 1983. 

—. “Lost.” Hard Times Require Furious Dancing, New World Library, 2010, pp. 25-26. 

West, Kanye. “All Falls Down.” The College Dropout, 2004. Roc-A-Fella Records. 

West, Kanye, and Jay-Z. “Otis.” Watch the Throne, 2011. Roc-A-Fella Records. 

Withers, Bill. “Grandma’s Hands.” Just as I Am, 1971. Sussex. 

 

Endnotes

[1] City University of New York
[2] College of Police Science
[3] phrase borrowed from verse four, line four of Kanye West’s “Otis,” a song he produced on his 2011 Watch the Throne album with rapper Jay-Z.  
[4] And Still I Rise is the title of Maya Angelou’s third collection of poems, which includes a poem of the same name, published in 1978—a year before I was born. “Still I Rise” as well as “Phenomenal Woman,” also included in that collection, is two of Angelou’s most popular poems. 
[5] A Burst of Light is the title of Audre Lorde’s 1988 collection of essays, which includes the most inspirited “I Am Your Sister: Black Women Organizing across Sexualities.” Considering these current times, wherein cis-gendered Black women are fighting against transgendered Black women, Lorde’s essay ought to be required reading—a national book read (if the conservatives would stop banning books and closing libraries)—that might unite Black women under one coalition fighting against the other who oppresses them (us) as one. 
[6] My poem submission originally included footnotes, which I believe would be more accessible to readers like me who prefer to read notes on the same page as the main text accompanying them. However, because the footnotes distracted from the poem’s structure, I conceded to rearranging them as endnotes.
[7] Shange’s respelling of words like “enuf” instead of “enough” in works like her 1976 choreopoem, for colored girls who considered suicide / when the rainbow is enuf, have so influenced my writerly self—inviting me to rewrite myself via alternative spellings, abbreviations, and punctuation marks that allow me to boldly Blacken white pages. Her works, predating text messaging shorthand, is a study in Black English, in Black Arts, in Black being; it is a study in Black voice significant to Black narrative.
[8] This section of my poem responds to Gumbs’ questions: “How is your classroom more and less fraught than the classrooms Audre faced? How can the fact that you are not the first educator to face contradictions and transformations sustain you?” (376); “What is the Blackness of your challenge as an educator? What cannot be known? What must be transformed? Can you inhabit the Blackness of your teaching?” (377); “What are the experiences that you had as a child, or as a student, that show up as challenges in your teaching?” (378); “How do you create safe space in your classroom?”; and “How does your classroom interact with the rest of the world that your students must navigate during and after your time with them?” (379). 
[9] Gumbs’ question: How can the fact that you are not the first educator to face contradictions and transformations sustain you?” (376) garnered an “It doesn’t” response from me. At that very moment, I knew I had written the first line of this poem, for I have been barely managing my feelings re: the current corporate classroom situation and its 21st century consumerist learner in whom I continue to deposit, but from whom I rarely receive a return beyond loose regurgitations of course material and lecture. (And when I use the term “deposit,” I don’t mean like Paulo Freire’s (1970) banking concept of education but deposit as in “pouring my energy into”—until my well is dry.) While being able to see myself in others and knowing upon whose shoulders I stand have often comforted me as a Black American lesbian woman, I don’t find sustenance in Lorde’s classroom experiences—at least not in her “Blackstudies” poem. I feel, instead, fatigued.  
[10] Here, I am referencing Frantz Fanon’s (1952) “The Fact of Blackness.” Like Fanon, who contemplates his Black personhood against a world of white dehumanization, I think about my Blackness in relationship to my Black students, many of whom have drank the Kool-Aid and prescribe to a whiteness politick that mammies and mules me.
[11] I initially hesitated to boldface the term “Black,” which I also capitalize throughout the poem, because I didn’t want the boldface type to distract readers. However, after many conversations w/a graduate student re: the term “Black” and the language debates re: capitalizing it and using the term at all, I opted to boldface “Black” because I want readers to hear “Black” as though a Xhosa-speaking south African woman clicked the term out her throat. 
[12] At the historically Black university where I teach, the department chair is a well-meaning enuf white man. However, in his desire to help Black students, his efforts often undermine the Black women teachers who hold students accountable for following the course syllabus, class procedures, and departmental mandates. Often, Black students, both graduate and undergraduate, have complained to the chair re: my academic standards—which they read and agreed upon as evidenced on the syllabus forms I require they sign and return to me at the semester’s start. Instead of encouraging students “to rise to the occasion,” as I often tell them, our white man department chair has gone as far as to supporting student withdrawal from a course and offering that course again during an off semester under him as a directed study. What happens to Black studies when white folks direct and manage HBCU programs and departments? What leg do I have to stand on when my Black and brown students see in me a roadblock and see a savior in the white department chair—and in other white teachers who pass our students through systems because they either pity them or are afraid of them? I struggle w/this: w/holding Black and brown students to a particular standard while they participate in and navigate through an academy whose curriculum duplicates racist, sexist, classist, homophobic, ableist ways of being. How do I support my Black and brown students w/out giving them handouts? Or should I give them handouts? Here! You get an A! You get an A! It’s freedom time; this is reparation.       
[13] My first post doctorate teaching gig was at Florida A&M University [FAMU], where I graduated w/my bachelor’s and master’s degrees. It was 2012, and four years prior, iPhone had just recently become smart; everyone had it (or the Android), including students. Such material possession, at least to me, was a symbol of financial ability—like Air Jordans in the mid-80s. Unfortunately, I had not yet been introduced to bell hooks (outside of her scholarly contributions to composition theory) nor had I read any Karl Marx or Antonio Gramsci. And although Kanye West’s 2004 “All falls down” had put it in my face: “It seem we livin’ the American Dream / But the people highest up got the lowest self-esteem / The prettiest people do the ugliest things / For the road to riches and diamond rings / We shine because they hate us, / floss ’cause they degrade us / We tryna buy back our 40 acres / And for that paper, look how low we’ll stoop / Even if you in a Benz, you still a nigga in a coupe” (verse 4, lines 9-16), I still didn’t comprehend nor had compassion for my Black students who entered the classroom ill-prepared: no textbook, no paper, no sense (or very little) re: college readiness. It wasn’t until a student brought to my attention her need for a book voucher that would enable her to buy her textbooks that I realized from what my middle-class privileges shielded me: Although Black students were attending this four-year university, most of them did not have parents who were footing the bill. As a matter of fact, during one of my personal narrative writing activities, one student revealed her houselessness at the semester’s start. I had no idea. As a college student my students’ age, I had no concept re: student loans, textbook vouchers, or Federal Pell Grants. As a result, I did not initially understand nor have compassion for my Black students. That was my first lesson re: class differences in the Black college classroom; we are not a monolithic people.      
[14] The original line of Weldon Irvine’s (1969): “When you’re young, gifted, and Black, your soul’s intact” was sang by Nina Simone. It was inspired by Black playwright, Lorraine Hansberry whose 1969 autobiographical play is titled To Be Young, Gifted and Black. A college girlfriend of mine introduced me to Nina Simone via a homemade mixed CD of what she considered Simone’s greatest works. “To Be Young, Gifted and Black” was included, and although I knew very little of Simone’s biography and civil rights activism then, in her voice, I felt the struggle—both her own and of the Black children of the 1960s for whom she sang. In another verse, Simone sang, “There’s a world waiting for you,” which is the world for which I endeavor to prepare my students who cannot (yet) envision the world as I see it and have seen it. When I taught English Language Arts at a predominantly Haitian high school in Miami, Florida, prior to being a university professor, I played Nina Simone on a loop, so much so, my students would enter the classroom asking to hear “Mississippi Goddam” (1964). As a college professor, although I don’t have the classroom space nor extended time to play Nina Simone as I had, I do integrate Simone’s music into my instruction by way of my Martin Luther King unit, during which time students listen to and analyze her (1968) “Why? The King of Love is Dead.” If I don’t share Nina in my composition classroom, I don’t know if my students will ever know her, and Black students should know Nina Simone.    
[15] According to Gumbs, Audre Lorde was challenged to create safe classroom spaces for her students while preparing them for an unsafe world of intersecting oppressions (378). “She engaged in this battle even in her own nightmares about how demons of White supremacy wanted to steal her children, and the blackness of her hands,” says Gumbs (378). I feel this so regularly—but my Black students claim a wokeness that resembles sleep deprivation more than it does critical consciousness. White supremacy is so covert it’s slicker than oil, outwitting Black students whose elders and ancestors are noted tricksters.    
[16] As a first-year composition professor at FAMU during the semester when Trayvon Martin was murdered and the #blacklivesmatter hashtag was evolving into a national movement, I situated my first-year writing curriculum within Martin Luther King’s rhetorical genius, inviting students to read and think beyond King’s popular 1963 “I Have a Dream” speech. Alas, because Barack Obama was serving as the U.S. President, more of my Black students than not attached themselves to the notion that we were living in a post racial America. As a result, my students were not interested in studying the civil rights movement—and told me so. These born-in-1994-18-year-old students’ concept of relative American history dated as far back as 2001, when Al-Qaeda terrorists supposedly attacked the United States. I was at my wits end, but more than that, and perhaps hyperbolically so, I felt heart broken. How could these Black students who were witnessing a modern Emmett Till lynching be so blasé about civil rights? While I understood their apparent apathy re: a Martin Luther King they felt was overstudied, students told me they were uninterested in civil rights all together because those movements happened so long ago. My students’ expressed disdain for studying King’s rhetoric in relationship to current happenings felt like a personal affront. Admittedly, after teaching that class of students, I posted Matthew 7:6 on my office door.  
[17] In Gumbs’ (2020) Undrowned: Black Feminist Lessons from Marine Mammals, she wrote about the Melon-headed whale she describes as being layered in Blackness. Her exact words: “layered Blackness where Black meets Black across itself as Black” (133) are inspired by Toni Morrison, whose Pilate character from Song of Solomon(1977) describes such Blackness as a rainbow (133). I want my Black students to see in themselves a Blackness so beautiful, they “may as well be a rainbow” (Morrison as cited in Gumbs, 133).  
[18] I bought into traditional safe spaces until having read Zeus Leonardo and Ronald K. Porter’s (2010) “Pedagogy of Fear: Toward a Fanonian Theory of ‘Safety’ in Race Dialogue.” In their article, Leonardo and Porter claim creating safety around public race dialogue protects only white students while harming Black and brown ones. They advocate, therefore, for brave spaces where “risk discourse about race” acknowledges the “already here” presence of violence, thus moving students toward a more actively progressive discussion re: race (139). After having read Leonardo and Porter’s essay, I moved beyond traditional safe spaces and informed my Black students of my intent to create brave spaces. Although Leonardo and Porter’s essay is grounded in race dialogue, as a composition classroom in an HBCU, most of my class discussions about writing are race centered. Thus, I aim to cultivate a radical classroom environment where Black students feel a “safety” that enables a brave thinking and being that disrupts white male heteronormativity. Unfortunately, it seems many of my Black students, have a narrow concept of safe spaces believing them to be environs wherein I, the teacher, must manage their feelings re: teacher feedback, assessment, and instruction. Students’ expectations for such “safety,” align closely w/ coddling and/or entitlement that doesn’t serve them—and sometimes, results in a classroom experience that isn’t safe for me. Despite my efforts at constructivist teaching, supported by the buffering model of effective teacher feedback, some students lack the vulnerability and valor required to learn. As a result, I have experienced students’ clapback-callout-cancel behavior, which is a violence students often don’t realize they’ve committed against me. If Black-on-Black crime were a real phenomenon, then I’ve experienced it most in the classroom, especially in the online classroom.  
[19] This section of my poem, made up of five tankas, a five-line, 31-syllable Japanese poem—which I learned to write Black after reading Sonia Sanchez’s poetry—addresses the following questions (and one statement) Gumbs poses: Does your fear before class feel like a fear of falling or a fear of not being able to climb the mountain of work ahead of you?” (380); “What are the gods of your classroom?”; “How often does what we feel in our hearts make sense in our heads?”; Do you find yourself taking the journey of each student personally?” (381); “How can your classroom become a place where justice is possible and judgment is suspended long enough for transformation (justice) to occur?”; “In the face of transformation, so much must be unlearned” (382); and “What do students learn about how communication works when they are with you?” (383). While this section addresses these questions, the first three tankas are inspired by Gumbs’ Undrowned.     
[20] In her “be present” chapter (Undrowned 67-72), Gumbs discusses the presence of the Indus River dolphin who she says “live[s] in sound . . . echolocating day and night . . . ask[ing] where, again where, again where” (68). She then beautifully writes: “The poem of the Indus [R]iver dolphin is the ongoing sound of here, a sonic consciousness of what surrounds them, a form of reflective presence. Here” (68). However, in a previous chapter titled, “practice,” Gumbs asks: What are your dorsal practices? What evolutionary repetitions have you cultivated to move through oceans? What are the ones you need to cultivate for the waves moving you now?(45). Those chapters considered together brought me back to my 2012 dissertation about a contemplative high school English curriculum grounded in mindfulness practice that I’ve since neglected, and I questioned myself: Kendra, at what point will you, the teacher become the grasshopping student again? What happened to your practice? And how has neglecting your mindfulness practice contributed to the weariness you feel navigating the oppressive school environment?   
[21] See endnote xvi. 
[22] In her “learn from conflict” chapter (Undrowned 83-86), Gumbs describes how sea lions fight each other for territory, repeatedly threatening each other by way of “‘ritualized postures’” also called “‘tenure’” (84). I have thrice been on a tenure track, spanning over a 10-year period and have recently, July 2023, earned it; needless to say, I cringed when I read Gumbs’ overt criticism of the academy and its players. Admittedly, and most likely because I had been holding that posture for so long, I have been a sea lion. However, I am not fighting other professors. I am fighting the system, which requires both my hands. As a result, sometimes my students become collateral damage because I don’t have hands enuf to hold them and the things they carry.  
[23] Here, I am calling in the great poet Mari Evans, who asks, in her 1970 “Who Can Be Born Black” poem: “Who / can be born Black / and not / sing / the wonder of it / the joy / the / challenge / And /to come together / in a coming togetherness” (93). It is one of my favorite poems, one I occasionally recite to my Black students—who I believe should memorize poems; they should have at least one poem they carry w/them reminding them of their Black genius, and Evans’ poem is one of the ones. “Who Can Be Born Black” brings tears to my eyes as I read it and recall all the Black genius, Black spirit, Black audacity that enabled my existence. I want my Black students to feel all of that when I recite Evans’ poem to them. I learned of Evans when I was an 8th grader attending my first Maya Angelou lecture. According to Angelou, Mari Evans was one of her favorite poets; she became one of my favorites, too.  
[24] This verse of my poem responds to Gumbs’ section, “M is for mother (my my my)” wherein she asks: How does mothering show up as a place of mythmaking, measurement, muting, and messages in your own teaching situation?(384). According to Gumbs, Lorde is metaphorical mother to the students she teaches as evidenced “all over the poem ‘Blackstudies’” (383). I, too, often feel like Mother to my Black students—a result of the mothering I received from kin/folks who nurtured me w/what theologian civil rights activist Howard Thurman (1958) terms “mother love.” And so, this verse is a libation, if you will, to the kin/folk—grand/parents, aunts, teachers, and mentors who inspirited my humanity. This roll call verse also acknowledges “those who hold me accountable, who expect me to be who I need to become. . . . [who] ignore[e] the lies I tell myself about myself” (Gumbs, Undrowned 23). In her expressed gratitude for her teachers, which is also what “part three: M” is, Gumbs writes: “Even in my resistance I am grateful for you all. For the love you are teaching me, deep, Black, and full. For the nurturance, push, and example. What you learned by facing your own death. What you learned in your drowning is my breath” (23-24). What you learned in your drowning is my breath. Yes! I am because of these folks listed here—some elders, others ancestors. àṣẹ and praise God!  
[25] Mommy. My mother is my first master teacher whose mother love continues to support me way into my adulthood. In 1969, she integrated a predominantly white elementary school in Miami, Florida and retired from there after having taught majority 3rd grade classes. When I was in elementary school, Mommy gave me my first rhyming dictionary and thesaurus, and when I was in 7th grade, she took me to hear Maya Angelou lecture after I found in her my muse. My mother has been my biggest advocate and cheerleader, reminding me, still, to keep my eyes on the prize.  
[26] Daddy. My daddy was a social worker who predicted I’d be a career student and told me I was a revolutionary with no cause. I am living to prove the latter wrong. Nonetheless, his mother love regularly cooked dinner, nursed me in Mommy’s absence, and insisted neither of us—my sisters nor I—be satisfied with C grades, for anyone can be satisfactory, he said. When I was in high school, Daddy attended a parent-teacher conference with Mommy and me wherein he defended (and demanded) my right to privacy after the white man school counselor attempted to suspend me for writing and passing a letter in class he read without my consent. By the time Daddy was through w/him, I knew that white man school counselor would think twice before threatening school suspension upon another Black girl. Daddy passed when I was 22 years old; he was 55. I’ve written an essay about his Black feminist spirit on my blog site: drknbryant.com.  
[27] Grandma Rose. My maternal grandmother absolutely belonged to herself as Alice Walker (2010) encourages readers to do in her poem “Lost.” Grandma Rose was born Pilate, but changed her name post high school. She was a single mother to four children, and, before becoming an x-ray technician, was a day’s worker, paid $7.50 + carfare per day. Grandma Rose collected elephants and tea pots, slept in a round bed, and decorated her house in Asian aesthetics. And at 60+ years old, she eloped while on a senior group bus trip to Las Vegas. Grandma Rose belonged to herself, indeed. I’ve written an essay about her, too, on my blog site: drknbryant.com. 
[28] Grandma Mary. My paternal grandma was the first entrepreneur I knew. She was, what we called then, a beautician, in Liberty City, Florida. Grandma seemed money rich: she owned several properties, drove a Lincoln, and traveled regularly; she and Grandaddy even went to Hawaii for one of their anniversaries when I was an elementary school student. Grandma’s 12 siblings, who were from Tunis, TX, insisted on yearly family reunions where mother love flowed through great aunts and uncles and a host of nick-named cousins. Of the many things I remember about Grandma Mary, my clearest memory is of her pulling a pan out of the oven with her bare hands—a pan of dressing, I think (or maybe a poundcake). I swear Bill Withers (1971) wrote “Grandma’s Hands” for her.  
[29] aka Cookie, my auntie, my mother’s baby sister, who has also regularly cheered my success, just as much as Mommy has
[30] aka Auntie Pump, my auntie, my mother’s middle sister; she passed in 2015 at 59 years old. 
[31] aka Darlene, my auntie, my daddy’s only sister. She took my twin sister and me to church, bible study, and vacation bible school, and regularly voluntold me for delivering the church welcome, reading the church announcements, and writing and reciting poems for various gatherings. She passed in 2022 at 68 years old. 
[32] Girl Scout Troop leader who treated (and still treats me) like her own.  
[33] fourth grade elementary school teacher who exposed me to poetry writing and assigned the first poem I wrote write, titled “Ants”; it won a blue ribbon at the Miami-Dade County Youth Fair & Exhibition.
[34] my mother’s colleague, who taught gifted students and was one of the first blue-Black women I can recall seeing who wore her hair natural and her lips fiery red. Whenever Ms. Bullard saw me sitting in my 5th grade class, she, an active member of Delta Sigma Theta Sorority, Inc., always told me how creative and smart I was. She’s been rooting for me since I was in elementary school writing poems about ants.    
[35] my 7th grade journalism teacher—a Cuban woman who’d pass notes with me in class when I was too afraid to speak up. During Bill Clinton’s Presidential Inauguration, which Mrs. Krane required my classmates and me to watch, I discovered Maya Angelou. Her reading of “On the Pulse of Morning” (1993) was mind-growing, so much so, Mrs. Krane gifted me Angelou’s (1969) I Know Why the Caged Bird Sings. I’ve been Angelou’s student ever since as well as Alice Walker’s whose (1982) In Search of Our Mothers’ Gardens Mrs. Krane gifted me for my 8th grade “graduation.” Mrs. Krane and I still exchange letters, but now I gift her books.  
[36] a mother-friend w/whom I became acquainted while on a middle school Black history trip to Atlanta, GA. I watched Mrs. Moore practice a loving-kindness to her two children (who were also on the trip) that seemed to be reserved for Rudy and Claire Huxtable. As a very involved school parent, Mrs. Moore selflessly extended her kindness and mother love to me whenever she saw me in school. She has been my mother-friend since.  
[37] a towering Black queer woman high school counselor who wore her natural afro shaped like a crown. Although I was not a student assigned to Ms. Clenance’s roster, she tended to me every time I showed up at her office door. Ms. Clenance, who I called “Sister Clenance,” introduced me to J. California Cooper, gifting me her (1984) A Piece of Mine. Sister Clenance knew I was lesbian before I did, gifting me April Sinclair’s (1994) Coffee Will Make You Black, whose main character Stevie is so much like I am.  
[38] Grandma Rose’s friend who also worked as an instructor at the high school I attended; she looked out for my sister and me, and I regularly stowed away in Mrs. Rodgers office in between classes and after school fretting about this and that teacher and/or assignment. When I graduated high school, Mrs. Rodgers told me I was a diamond in the rough, which first offended me; however, I have since come to understand the process required in refining diamonds. 
[39] a mentor-friend who attended the same church as I. Vickie used to sponsor church talent shows I participated in, and she graciously read my rudimentary poems—which was like a famous person reading them since she was a news reporter for South Florida’s Channel 10 WPLG local news station. Vickie, too, has been rooting for me ever since.  
[40] “talent scout” who managed the Miami-Dade ACT-SO [Afro-Academic, Cultural, Technological and Scientific Olympics] Competition in which I participated as a 11th and 12th grader. During ACT-SO rehearsals, Mrs. Hart required me and other competing students to perform in front of her and our peer audience, and she’d unapologetically tell us when, why, and how awful we might’ve performed. Mrs. Hart’s brutal honesty about students’ talents (or the lack thereof) was akin to Simon Cowell’s; however, receiving such criticism as a high schooler inspirited my ACT-SO peers and me to put in the kind of work that insisted on Mrs. Hart’s rounds of applause. My expectations for my classroom students are undoubtedly informed by Mrs. Hart’s expectations of my peers and me. Her honesty didn’t embarrass; it ignited, and under her guidance, the Miami-Dade NAACP ACT-SO chapter often brought home medals from the national competition, including the third place one I earned in the original poetry category (1994). 
[41] Miami-Dade ACT-SO coach who celebrated my poetry. Mrs. Daniels’ house, not too far from my parents’, looks like Miami Gardens’ Black Museum inside. It is filled with Black cultural artifacts from Black Cabbage Patch Kid dolls to copies of Negro Digest, Mammy replicas and hot irons; Black figurines are shelved on every other wall. Walking into Mrs. Daniels house is like walking into the National Museum of African American History and Culture’s level three community galleries.   
[42] Black speculative fiction writer who was assigned my high school writing coach during the Miami-Dade NAACP ACT-SO Competition for which I placed first locally in its original poetry category, and, after Tananarive’s mentoring, placed third nationally (1994). ACT-SO provided me my first national stage with seasoned writers who judged and advised my original poem, “De Chu’ ch,” written in a dialect mimicking Paul Laurence Dunbar’s writing style. Tananarive Due, who at the time of my mentoring had shelved her then unpublished first novel (1995) The Between, talked with me about rejection letters and how many she had received—was receiving. Unconsciously (or maybe hopefully), she was preparing me for a writing career—one at which I am still grasping.     
[43] my undergraduate English teacher at FAMU, who, like Mrs. Hart, told me the truth about my writing. I was not as excellent a writer as my white middle and high school English teachers would have me to believe as I composed college papers riddled with subject verb agreement and verb tense mistakes, comma splices, and fragments. Dr. Boston encouraged me to mindfully think about my writing, which is a lesson I attempt to pass onto my own writing students. Dr. Boston, too, illustrated the significance of Black students attending HBCUs where teachers are surrogate aunts and uncles, for when my father passed while I was a graduate student at FAMU, Dr. Boston mourned w/me—tears and all, she bowed on her knees before me, and she mourned. Dr. Boston and I still exchange handwritten letters, and she often gifts me journals and pens.     
[44] my advanced grammar teacher at FAMU who challenged my intellectual self more than any other teacher I had met before. Dr. Rauls was a straight up, no nonsense teacher who required students to go to the chalk board and diagram sentences. She became disillusioned about Black students and the significance of grammar instruction quite early—before the turn of the 21st century—often debating w/me and other English teachers the irrelevance of it all. Dr. Rauls and I exchanged handwritten letters and the made the occasional phone call until her passing in 2020.   
[45] my neighbor who lives down the street from my mother. Glo became my friend after she brought a pot of chicken souse to my daddy’s wake in 2002. During every holiday visit home since then, Glo invites me over for a cocktail. We laugh a lot, reminisce about parties my parents threw, and thank God
[46] my graduate school professor who exposed me to Africana spirituality, mindfulness practice, and (more of) Zora Neale Hurston. Dr. Plant is the most intellectual person I know, who encouraged me to go deeper into myself than I knew was possible. She also invited me to write a chapter essay for her (2010) The Inside Light”: New Critical Essays on Zora Neale Hurston, which became my first published work before earning a doctorate degree. Dr. Plant, who also edited Hurston’s (2018) Barracoon, is a cerebral giant whose insistence on serious scholarship and mindfulness writing inspire my own.  
[47] my graduate school professor who directed my dissertation and taught me everything I know about contemplative pedagogy and Toni Morrison. Dr. Grewal, and Indian woman, is a Toni Morrison scholar who expresses a loving-kindness and patience I am still growing to embody. I aim to apply her contemplative teaching practices to my own.  
[48] This section of my poem responds to Gumbs’ questions: Are there aspects of your teaching situation that feel like a waking nightmare?” (384); “Are we over, outside, on?” (384-385); “Where are you?” (385). According to Gumbs, where I am informs from where, about what, and how, I teach. “[T]he conditions of your teaching are specific in place and in time,” writes Gumbs, “and are shaped by the particular places you come from philosophically, geographically, and physically” (385). In other words, teaching is intimate and personal. Gumbs also asks: What questions will you craft to protect and honor your spirit?”; “What will you be remembered for?”; “What do you need to say as an educator?” (386); “Is there a ‘they’ you feel separate from in your work as an educator?”; and “Is there something in your teaching setting that seems large enough to destroy you?” (387).
[49] In 2020, a few months before the COVID-19 pandemic, I was teaching a class of senior English students in a course called Senior Seminar. This course, designed as a survey course intended to assess students’ knowledge of the various literary time periods to which they had been exposed throughout their college tenure, was populated by about eight Black cisgendered female students and one cisgendered white male student; about half of the female students identified as queer. Because we are situated in an HBCU, I thought I’d quiz my predominantly Black student class on their Black literary history; after all, each of them had already taken the required African-American Literature course. This quiz, which ended up being my course diagnostic determining how and with what materials I’d instruct the course, included questions like: Name one Black playwright and her or his title work. Name a novel centered on religious ideas. Name an author from the Harlem Renaissance. Excepting the obvious Langston Hughes response to the Harlem Renaissance question and the Tyler Perry response to the Black playwright, my Black students could not recall Black for most of the questions I posed. Instead, they called on writers and books like William P. Young’s The Shack and C.S. Lewis’s The Chronicles of Narnia. And when I asked about a children’s author, one student named her favorite white-authored vampire series. To make matters worse, the one lone white male student in the class did recall Black for each of his responses, which did not make my Black students shamefully shrink; instead, they damn near dapped him up. When I expressed my disappointment with my Black students re: their Black negligence, they claimed to be so inundated with whiteness that even after attending an HBCU for four years and taking courses like African-American Literature, their first thoughts are still white-washed. They practically Kanye-shrugged it off and told me not to be mad at them; be mad at the system, they said. I am mad at both.   
[50] an Egyptian vizier—the highest official who serves the pharaoh. Ptah Hotep served in the Fifth Dynasty of Egypt and is credited for composing a literary manual, The Teachings of Ptah Hotep, instructing young men on behavior. This text, too, is considered by some scholars to be the oldest book in the world; for rhetoric and composition scholars, it provided the instruction for rhetoric that informed Greco-Roman ideas re: argumentation. I introduce Ptah Hotep and African rhetoric to my graduate students who take the Practices in Contemporary Grammar & Rhetoric course I teach. Although the course has been traditionally taught via a Greco-Roman lens, I begin with Africa, reminding my Black students that she is the cradle of civilization—the beginning of all intellectual genius.  
[51] direct quote from Alice Walker’s (1982) The Color Purple (167). Undoubtedly, Shug Avery’s conversation with Celie re: spirituality informs my own walk with God. Before reading Walker’s Pulitzer Prize-winning work, I, too, was Celie, imagining God as a white man I was trying to get off my eyeballs; sometimes I’m still throwing rocks (168). Nonetheless, Shug Avery is my spiritual teacher who I think of every time I see a fallen or severed tree, feeling like I might be bleeding, too (167). But, as I explain in (2016) “‘Heaven last all ways’: Examining Celie’s ‘suchness’ in Walker’s The Color Purple” (122-132), ultimately, Celie’s spirit—her Buddhist being—transforms herself and the novel’s other characters. Thus, it is Celie’s quiet compassion I strive to embody in and outside of the classroom. Each new year I teach, however, mustering compassion gets more difficult, which is probably why I reference Walker and The Color Purple throughout my instruction; they remind me to stay the course—to keep my eyes on the prize.  
[52] In the Writing, Science and Technology course I teach to STEM students, I invite them to compose a mid-term self-assessment letter wherein they specifically address their work ethic; they also compose questions to me re: their progress and my instruction. One student wrote to me in her assessment letter that she finds the questions I pose while commenting on her written assignments offensive. According to her, if she knew, for instance, that she should have written a long sentence as two shorter ones, then she would have, and so, my inquiries felt like a questioning of her intellect. To this student, and to many others who have referenced my commenting as “throwing shade,” my questions about their writing are not Socratic inquiries inviting them to think more deeply about their writing as they entered the revision stages but were efforts at making them feel inferior; they neither felt safe nor brave in my classroom. As a result, during next class session, and thereafter in every class I have since taught, I explain to students my intentions around posing questions when offering them feedback for their writing. While many of them expressed their “aha” moment re: my Socratic teaching methods, others, unfortunately, admitted to preferring I tell them exactly what to write over prompting their own thinking—to continue the banking system of education that got them thus far.       
[53] direct quote from Toni Morrison’s (1987) Beloved during a conversation Paul D is having with Sethe re: her murdering her daughter Beloved (164). This line is one of my favorites, for, in Toni Morrison fashion, it begs readers to theorize about love, particularly mother love, and to contemplate to what ends one might go to express love. This quote also invites readers—it invites me—to question how I love and to really consider love as love despite to whom I am rendering it. “Love is or it ain’t,” says Sethe (164), which supports bell hooks’ ideas re: the fallacy in unconditional love she explicates in her (1999) All about Love.  
[54] his section of my poem responds to Gumbs’ questions: “What is the collective you feel accountable to as an educator? The students? Your fellow educators? Your institution? (387); What are the visions you want to express and how must they be expressed for the victory?”; and “What needs to be changed in your approach to your work as an educator?(388) The last question is inspired by Gumbs’ exploration of Lorde’s (1989) essay, “Hugo Letter: On Generators and Survival.” In it, says Gumbs, Lorde discusses the transformative power of wind, having written, “‘but wind is our teacher’” (388).  
[55] In 2016, after spending four years at FAMU, one year before going up for tenured associate professor, I resigned from its English Department. I had gotten so wrapped up in the university and department’s politicking that I lost sight of my classroom responsibilities and the students for whom I was accountable. When I first began teaching, Mommy told me teaching is innate, and as a teacher, I am responsible to my students first; neither the institution, nor my colleagues—both about whom I care—are my priorities. “Keep your eyes on the prize,” Mommy reminded me. The struggle continues.   
[56] Media mogul, Oprah Winfrey, gifted Angelou the navy-blue Chanel peacoat she wore during the 1993 Presidential Inauguration.
[57] title of Angelou’s 1993 presidential inaugural poem
[58] This final section of my poem responds to Gumbs’ questions, posed only in her “Y is for young” section. Here, I also include reflections on letters “X” and “Z” for which Gumbs writes no text: Who are the ancestors, elders, and mentors that can put whatever you are facing as an educator into perspective? What tools might you need to create to strengthen your connection to them? (389). In this final paragraph, Gumbs reminds readers that what might be “triggering” for today’s classroom teachers pales in comparison, if you will, to Lorde’s classroom experiences wherein her students wore loaded guns on their hips. Although I do not have gun-toting students enrolled in my classes, often, my students’ white-washed conditioning, coupled with their consumerist behaviors, riddle me like bullets. All I have these days is hope, and barely that. I don’t see how the ancestors, elders, and mentors who’ve brought me this far can go the rest of the way w/me. Seemingly, I, alone, must “rise to the occasion,” and still I rise.
[59] At my students’ loud and wrong declarations, I sang, Fred Hammond’s (2000) “Jesus, Be a Fence around Me,” a gospel song I often hum to myself during long silent stretches of students’ apparent lack of preparedness for class discussion.
[60] the generation between Millennial and Gen Z, born between 1993 and 1998
[61] Here, I am referencing Gumbs’ Undrowned wherein she encourages readers, especially Black ones, to be like marine animals who learn to breathe under water despite daily threats to and attempts at their lives. Recalling our ancestors who survived the middle passage journey, Gumbs claims their breathing is not separate from their captured kinfolks’ drowning and the ocean’s breathing. She says their breathing contextualizes undrowning: “Breathing in unbreathable circumstances is what we do every day in the chokehold of racial gendered ableist capitalism,” writes Gumbs, who suggests we take notes from marine mammals who “are amazing at not drowning” (2). 
[62] I don’t profess an ability to save my students nor anyone thru Biblical verses (or w/#blackgirlmagic); however, after a class of homophobic Black students attempted to use Bible verses to support their anti-gay rhetoric, I countered their hate speech with specific Biblical verses re: love, all of which fell on deaf ears. I write about this classroom experience in (2016) “Gays are going to hell: A Lesbian Teacher Tries To Teach Compassion” (23-33).
[63] I end my poem w/one tanka that marks the entire alphabet. While the alphabet song concludes w/the singer claiming knowledge of her ABCs and inviting listeners to join her in the next round of singing, this final stanza invites readers into my human teaching experience. Although I do not teach composition in a classroom populated by student police officers of whom I am afraid, like Lorde, I do have “layers of fear to face” (Gumbs, “17th Floor” 376). As a Black lesbian teacher instructing within a “particular historical and pedagogical moment” (375)—inside a global pandemic, post Presidents Barack Obama and Trump, during American race riots and Florida fascism, the overturning of Roe v. Wade, and the Russo-Ukrainian War, all while teaching at a historically Black university fixated on earning research one status, thus patterning itself after whiteness—I am afraid (and frustrated). I am afraid of two things: 1. many of my Black students are so whitewashed that they, claiming #woke while clad in natural hair and dashikis, are actually black faced minstrels; and 2. despite my instruction, I will not be able to awaken them. I am afraid for my students and frustrated by the systems reproducing a hegemony so normalized, my Black students treat me like a Juda. But still, I rise, calling on (the) Lorde—hoping such abrupt brevity lends itself to sounding as fervent and hopeful as Maya Angelou’s “Good morning” at the close of her (1993) “On the Pulse of Morning” poem.  
[64] For early Christians, the phoenix symbolized Christ’s resurrection. However, for Job, who said: “In my own nest I shall grow old; I shall multiply years like the phoenix” (Job 29:18), it also symbolized longevity. Having said that, Angelou’s mentioning of dinosaurs in the opening stanza of her (1993) “On the Pulse of Morning” poem brings me to birds, a few of which evolved from dinosaurs, according to some scientists. Although Angelou wrote, “Any broad alarm of their (mastodons and dinosaurs) hastening doom / Is lost in the gloom of dust and ages” [emphasis mine] (stanza 1, lines 7-8), I imagine the phoenix being as established as the crying rock, the singing river, and the speaking tree Angelou said are ours (stanza 9, line 18). Through them, these sentient (non-human) beings, Americans “[c]an give birth again / To the dream,” said Angelou (stanza 10, lines 3-4). If I am right/eous, then I, too, will have the longevity of Job to look upon each new day, to approach each new semester, as an opportunity to givebirth again to the dream—a dream our Black and brown students can manifest if I remain brave enuf to share it and they woke enuf to receive it. The children are our future, sang Whitney Houston (1985). I’m hoping.  

“Opening A Door”: Resisting Institutional Closeting in the Writing Classroom 

Introduction 

At the beginning of 2023, Oklahoma’s state legislature introduced Senate Bill 129, which would strip access to trans-related care for people under the age of 26. This is just the latest in a wave of bills that strip away access to bodily autonomy for transgender people. Already, Oklahoma bans trans student athletes from sports that correspond with their gender identity in state schools and bans trans people from using the bathroom that aligns with their gender. In the classroom, book bans overwhelmingly target texts which deal frankly with gender and sexuality, presenting a threat to education: when LGBTQ+ perspectives are not present in the curriculum, LGBTQ+ students can be further isolated or othered, made to feel as though they do not belong as writers or as students (Harris, Wilson-Daily, & Fuller; Munro, Travers, & Woodford; Kosciw et al; Snapp et al.). In every sense, legislators paint a target on the backs of LGBTQ+ students, presenting unequal treatment as law. 

Oklahoma is also my home.  

While I was presenting my work on LGBTQ+ inclusion at a major writing center conference, a member of the audience raised their hand and described the climate towards LGBTQ+ inclusion at their private university. “We’re not even allowed to show LGBTQ+ flags, let alone an allyship sticker,” they told me. “How can we demonstrate our allyship for students who may be struggling alone?”  

I return to this question in this short essay to ask: in this anti-trans atmosphere, how can educators and allies partner alongside students? In this contact zone, how can we show up for LGBTQ+ students? When we can’t visually signal allyship, how can we make sure that LGBTQ+ students are not isolated, are not struggling alone? 

Drawing from my experience of designing courses in topics from women’s, gender, and sexuality studies in the writing classroom, I offer a series of concrete takeaways and reflections for teaching in this environment, from first-year writing to Writing Across the Disciplines. I reflect on using feminist digital archives, along with my experiences in referencing broader concepts of gender and sexuality in writing classrooms.  

Think Outside the Circle 

When I taught for the first time at Oklahoma State University, I knew I would be teaching students who had grown up in rural and conservative areas. I was determined to define the ground rules for my classroom and make sure that all interactions created an atmosphere of shared respect, where students took accountability for their own work and writing. Towards this goal, I allowed all students to introduce themselves. This may seem a small form of resistance, but in providing students with tools to define who they are, we can all be what feminist scholar Sara Ahmed calls “feminist killjoys” (“Killing Joy: Feminism and the History of Happiness” 582). Ahmed argues that the apparent “feminist killjoy” exposes the “bad feelings that get hidden, displaced, or negated under public signs of joy” (“Killing Joy: Feminism and the History of Happiness” 582). In our current exigence, laws which attempt to erase LGBTQ+ students from the university and from public life negate any avenue for LGBTQ+ students to express bad feelings. In effect, these laws attempt to silence feminist killjoys before they even have the chance to articulate themselves. These same laws dissuade teachers from affirming their LGBTQ+ students in the university. If we are to affirm students, we must, in effect, be willing to kill joy by exposing potential bad feelings, exposing how these laws erase and erode complex human experiences. As feminist killjoys, then, it is our role to partner with our students to make sure that they are offered the tools to express themselves.  

At the time, I worked in a front-facing position at the writing center, where I noticed that the forms to schedule a writing center session included a space titled “name you prefer to be called.” This scripted form of prompting allows students to introduce themselves in a manner which may differ from the name on their official registration, offering a more personal form of communication. I drew on this form to create my introduction strategy. 

At the beginning of the first class held on campus, a class on expository writing, I prepared a stack of index cards, which included space for names which students preferred to be called, majors, and current aspiration students hoped to achieve in the class.  I explained that these index cards would serve as an aid for our introductions, and then used the board to fill out my own version of an index card for students to follow: I wrote out my name, my pronouns, my prior major, and my current aspiration for the class (which was to introduce students to the tools of expository writing for the college classroom). I then passed out the stack, gave students time to fill out the cards, and suggested they introduce themselves, first to their fellow students on either side, then to the class. In creating this introduction script, I talked with my fellow writing professional Christina Lane, who suggested the idea of the index card as a means of offering a means for students to assert their own identity. As students introduced themselves, if they included pronouns, I made sure to repeat those pronouns, along with their names, to affirm how they referred to themselves.  

This first class is instrumental in creating an atmosphere of mutual respect between my students: we go over my code of conduct for the class, which is listed in my syllabus and includes the following clause:  

A classroom is a community. Thus, all members of a community should respect the work and dignity of others. A community founded on mutual respect and good faith will be much more conducive to the conversations which we will have throughout the semester. As a community, this space should promote an environment of mutual respect regardless of gender, sexuality, race, disability, etc. 

First, I read this code of conduct aloud to my class. Then, we go through it and define each term, from dignity, to mutual respect, to good faith. We discuss what it might look like to treat one another with respect, especially in evaluating one another’s writing. I usually write out two statements on the board, one as an example which offers respectful criticism, and one which does not engage in good faith. The first statement usually reads something like this:  

“I thought your use of imagery was really effective throughout this essay. However, I had some trouble tracing your argument in your second and third paragraphs, especially your use of evidence.” The second statement usually reads something like this: “I didn’t like your essay because I don’t think you know what you are talking about.” Together, we underline portions of the statements which indicate respect or disrespect.  

So much of our work as writing professionals is based in showing up for our students through our physical outreach, as Eileen Schell argues, “leading through presence as well as understanding” (322). In this way, establishing an inclusive atmosphere affirms the right of students to express themselves, without insulting or disrespecting one another, and works through the presence of the writing professional to provide an example. If forbidden to ask students what their pronouns are, allow all students to introduce themselves, and establish a code of conduct for the class. For transgender students, this provides the opportunity to express their identity. As we face growing backlash towards trans lives and identities, educators can still support their LGBTQ+ students. These activities promote an atmosphere of shared respect, setting the standard for the classroom.  

“Our Life On the Page” 

I wanted to create opportunities for students to encounter diverse voices on the page, including LGBTQ+ voices. Our first assignment was a literacy essay, which asks students to consider a time in their lives in which literacy played a significant role. In this assignment, students reflect on their first experiences with literacy, whether on the page or learning a skill. As writers, this assignment provides students with a means of explaining how their understanding of literacy has changed, and how their identity continues to affect their experiences.  One student commented when we were first discussing what makes an essay a literacy narrative, “It seems like we’re supposed to put our life (sic) on the page.” This is an astute observation, since in this assignment, students often confront their own identities as writers on the page, and how they negotiate that identity while trying on the notion that they might also be writers.  

In introducing this assignment, I was determined to offer students a wide variety of literacy narratives to discuss. I wondered how students would respond to a discussion on the work of Alison Bechdel, whose work as a cartoonist graced the pages of gay and lesbian newspapers in the long-running comic strip Dykes To Watch Out For. Today, she is better known for her coming-out story in her graphic memoir Fun Home, now a Broadway musical. I had a particular piece by Bechdel in mind, her short comic “Compulsory Reading,” which deals with the act of reading and writing, especially dealing with what we are supposed to read, versus what we do read and enjoy. I knew students would connect with its themes of feeling guilty over not reading.  

We even had a copy of the comic in our digital textbook, so access would not be a problem. Our textbook had image descriptions of Bechdel’s comic “Compulsory Reading,” intended to contextualize the visual aspect of comics for sight-impaired readers. I was pleased to see this feature, since digital editions of textbooks have unique opportunities to provide accessibility for all students, and image descriptions are underutilized as a means of providing access. However, there was a glaring issue: in the caption, Bechdel’s comic persona was described as a man with spectacles. I knew this presented a conflict, and I would need to explain why the discrepancy existed. As comics scholar Hillary Chute argues, “Comics is largely a hand-drawn form that registers the subjective bodily mark on the page; its marks are an index of the body… Comics works are literally manuscripts: they are written by hand” (112). As a form, comics presents embodiment as a form of manuscript, and here, the caption served to override Bechdel’s queer authorial presence on the page. 

As I flipped to the introductory panel on the projector, the caption stood out in bold font. A student near the front, who never ceased to have questions, raised an eyebrow as he pointed to the caption. “While that’s the caption,” I said, “Alison Bechdel is a woman cartoonist. This just goes to show that fact-checking can always help everyone, no matter how advanced they might be!”   

The students chuckled at this comment. And we moved on. Rather than dwelling on a moment of anxiety or discomfort, the conversation branched into the reasons why the captioner might have assumed that Bechdel was a man, from the short hair of her comic persona to the overwhelming gender discrepancy in comics, a field heavily dominated by men. One student offered the fact when a field is dominated by men, people tend to assume that people within it are all men as well.  

I explained to my students that Alison Bechdel also lent her name to the Bechdel test, which allows critics to evaluate how a piece of media can avoid gender stereotyping of women. As depicted in Bechdel’s 1985 comic “The Rule,” a work which passes the Bechdel test must feature two women who talk to each other about something other than a man. In the comic, Bechdel’s character remarks, “Last movie I was able to see was Alien…the two women in it talk to each other about the monster.”) In naming this visual form of queer complaint in our class, I offer students a means of reading against the grain, reading against intended meanings of a text, which helped to frame our discussion of reviews as critical texts where queer complaint can thrive. 

In this same class, students went on to write literacy narratives on diverse topics. One student described the first time he went duck hunting, while another student described the literacy needed to read a driver’s manual and the experience of learning to drive for the first time. Yet another student described the time she wrote a letter to a traveling member of her family, and described the process of learning how to properly address and send a letter through the mail. In a reflection, one student shared, “I thought writing this [literacy narrative] was going to be difficult, but with the examples and the parts we wrote in class, it wasn’t that hard.”  

In the discussion which unfolded from this stray moment in our first-year writing class, we discussed how different identities can be expressed across media and how such depictions make a difference. When we see our own identities represented, we might also feel empowered to express ourselves as we attain further literacy. As I think back, I wonder how discussions like this one might be halted or stopped altogether, if those in favor of silencing LGBTQ+ voices have their way. 

Digital Archives As Diverse Research 

As I introduce students to methods for academic research, I draw on digital archives as a method of bringing diverse voices into the writing classroom. This assignment was informed by the work of scholar-teachers Jess Enoch and Pamela VanHaitsma, who have argued “it is crucial to pause before asking students to leverage digital archival materials in their writing projects and prompt them first to read these archives carefully and critically” (217). Students should first achieve a basic level of archival literacy to draw on digital archives in an effective manner.  As Charles Morris shows, archives are “dynamic sites of rhetorical power” (115). In understanding archives as a site of critical rhetoric, digital archives can provide potent case studies for students as they understand what research can look like. Moreover, in a mediated encounter with digital archives, students can respond to an ongoing conversation through carefully addressing the rhetorical situation of a chosen archive, understanding its overall rhetorical purpose, and then addressing how a particular archival entry addresses an unfolding conversation. In this way, students situate their own critical voices to express rhetorical purposes and perform research within the exigence of digital archives.  

Informed by Enoch and VanHaitsma’s work, I have found that this assignment is readily adapted for writing classes, as well as classes which focus on introducing students to the basic frameworks of gender and sexuality studies. In providing these resources, I draw from feminist frameworks, such as bodily autonomy and intersectionality, to consider who is included in archives and who is left out. In utilizing digital archives, I focus on a series of outcomes:  

  • Students will be able to define and identify digital archives and their rhetorical purpose. 
  • Students will be able to navigate a digital archive through either a Boolean search or through a finding aid. 
  • Students will be able to identify criteria of organization for a given archive. 
  • Students will critically consider questions of curation: whose voices are involved? Whose voices are missing? How are these sources contextualized through text like metadata, keywords, and captions? 
  • In class, we will connect feminist frameworks such as intersectionality and bodily autonomy to contextualize archival entries within a larger context of political activism. 

Many of these digital archives fall neatly into Kate Theimer’s definition of a digital archive: “online groupings of digital copies of non-digital original materials, often comprised of materials (many of which are publications) located in different physical repositories or collections, purposefully selected and arranged in order to support a scholarly goal.” Others fall into Enoch and VanHaitsma’s inclusive definition of digital archives: “any digital resource that collects and makes accessible materials for the purposes of research, knowledge building, or memory making” (219). The latter provided the guiding definition for my assignment. After identifying a list of digital archives, I pull up several of these archives onto the projector, and ask students to tell me where to go on the archival page. Through most classes, we examine the “About” page, any contextual menus or navigational aids on the homepage, or any disclosed institutional affiliations, and other explanations provided for the archive’s curation and general archival standard.  

Students particularly liked the Queer Zine Archive Project digital archive, which catalogs zines from the riot grrrl movement, along with contemporary queer and transgender zines. This archive often limits the metadata provided to explain the context of these zines, which offers students a chance to research for themselves. In keeping with K.J. Rawson’s argument that environment and language can obscure portions of archives, providing creative means of imagining archival inquiries, we discuss how this apparent lack of context offers new entryways into research for future projects. In our class, we reference the article “Zines, Art Activism, and The Female Body: What We Learn from Riot Grrrls” by Dr. Rebekah Buchanan (author of Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics) to offer historical context for this art as a form of activism. Through texts like “Awkward at the Doctor,” a zine which discusses the experiences of queer, trans, and gender-nonconforming patients as they negotiate complex interactions with medical practitioners, students read through a mode of archival queer complaint. 

Figure 1. Screenshot of the QZAP Zine Archive homepage. Image description: the title QZAP Zine Archive in black and hot pink all caps at the top, a black navigation bar across the top of the image under the title, sections of the website (Browse, Advanced Search, About, Help, Blog) in all caps in a sans-serif hot pink font. The center of the screenshot has an image of a zine, with handwritten words and phrases as well as a collage of some typography. The right side has a brief text description of the archive. 

Figure 1. Screenshot of the QZAP Zine Archive homepage. Image description: the title QZAP Zine Archive in black and hot pink all caps at the top, a black navigation bar across the top of the image under the title, sections of the website (Browse, Advanced Search, About, Help, Blog) in all caps in a sans-serif hot pink font. The center of the screenshot has an image of a zine, with handwritten words and phrases as well as a collage of some typography. The right side has a brief text description of the archive.

 

In the feminist writing classroom, digital archives can form a gateway for students, as educators demonstrate the research process in class, assessing these archives as sources. In our class, we discussed this archive as a source, considering who assembled the archive and where its limits lie. Whose voices are included, and whose voices are missing? What gaps exist in the archive, and how might research fill in those gaps? In offering diverse voices in the classroom,  educators can offer new methods of introducing students to academic research and analysis.  

Conclusion 

For teachers of writing, especially in fraught times like ours, questions of how to introduce students to diverse identities in the classroom have only become more difficult. As I sit here writing this essay, I learned that The Hill We Climb by poet Amanda Gorman has been banned in Florida, a choice made by a single person (Holpuch). Pictures of shelves stripped of books proliferate, and  teachers are constantly facing obstacles that interfere with the jobs we are hired to perform.  

As educators consider how to ally with LGBTQ+ students and diverse students in the classroom, we can provide opportunities for students to introduce themselves, and thus support their identities. We can still provide opportunities for students to read and learn from diverse voices. And in drawing from diverse digital archives as opportunities for research as feminist killjoys, offering critical means for students to question and assess sources, educators can also engage students in critical thought enriched by feminist frameworks.  

If institutions do not support us as workers, then our work suffers. But dispensing with reliance on institutional support, in the 2019 Peitho Journal: Special Cluster on Gendered Service in Rhetoric and Writing Studies, Jennifer Heinert and Cassandra Phillips, Michelle Payne, and Eileen Schell show how feminist writing program administrators contribute to institutional change, despite its challenges. And as Anicca Cox and Rachel Riedner show, coalition building takes place across national, institutional, gendered differences, tenure-track and non-tenure track faculty, graduate student educators and advanced scholars alike, as we look to our growing labor union movement throughout higher education as a model for coalition building, that is, working towards “horizontal, coalitional practices within institutional structures,” dismantling our hierarchical places within institutions in favor of solidarity (18). Beyond the university, library professionals, like Martha Hickson, fight an onslaught of attempts to limit the right to read (Peters). Through reaching out to supportive communities, these library professionals mobilize public support for free exchange of information, despite efforts to ban books.  

As a means of organizing, coalition building is deeply relational, bridging institutional divisions based on rank or status to create partnerships. I was only able to offer these assignments and activities for students because writing professionals in my graduate program supported me and offered feedback, sharing their own statements of mutual respect and introductory assignments, which served as a model for my own. Similarly, I have partnered with graduate students and professors alike in designing classes on digital archives, which seek to increase visibility of LGBT+ history, the struggle for racial equality in the United States, the history of feminist struggle, and more. Solidarity with one another as educators fosters greater support in the classroom, and in all other aspects of our profession. 

Solidarity also looks like working with, not against, the needs of our students. As bell hooks urges in Teaching To Transgress (1994), we must view our students as “whole human beings with complex lives and experiences” (15). In her retrospective piece on the legacy of bell hooks and the feminist writing classroom, Patti Duncan reflects, “I was also able to bring my full self to our classes. In the process, we were able to care for one another, learn from each other, and create a sense of community and commitment to our shared space” (2). During a recent community dialogue on public education in Rockingham County, Virginia, high-school students expressed that mental health is one of their greatest stressors, especially in the aftermath of the COVID-19 pandemic (Hagi). Community dialogues, like the one held in Rockingham County, can bridge seemingly insurmountable gaps between educators and the public, and allow us to work with our students to promote further solidarity. 

As feminists, we as writing professionals can work together to bridge the barriers of homophobia and transphobia, which stifle our students’ ability to meet each other on equal footing, while realizing, with the Combahee River Collective, that “the major systems of oppression are interlocking”: that we all approach our work through intersecting oppression, which we must seek to dismantle (n.p.). We can work together in refining our methods of fostering inclusivity in the classroom, through mentoring emerging scholars in the field, through sharing methods which worked in our classroom, and by being open about the methods which did not work for us. This might look like creating space at conferences for mentorship, or reaching out to graduate students who express interest in establishing a feminist classroom. Beyond support, solidarity must be the driving force for ensuring that students (LGBTQ+ or otherwise) are able to interact as equals within classrooms and meeting rooms alike. We must all be Ahmed’s “feminist killjoys” (“Killing Joy: Feminism and the History of Happiness” 582). We must work together to design pedagogy which allows LGBTQ+ students to see themselves in curriculum, even as institutional voices clamor for their closeting, attempting to render them invisible.  

As Sara Ahmed suggests in her lecture “Complaint as Queer Method,” we must attempt to create “a conversation that can open a door, just a little, just enough, so that someone else can enter, can hear something.” In drawing upon queer practices of complaint in the classroom,  we can create critical space for students to engage in rhetorical experimentation as they express critical arguments. These methods may be in our classroom organization, in the texts which we choose, or in our intertextual engagement with archives. By providing students with a critical method of queer complaint as feminist killjoys, we can open the door for our students- and for ourselves.  

Works Cited 

Ahmed, Sara. “Killing Joy: Feminism and the History of Happiness.” Signs: Journal of Women In Culture And Society, vol. 35, no. 3, 2010, pp. 571–94. https://doi.org/10.1086/648513  

—. “Complaint as a Queer Method.” Feministkilljoys, 24 Mar. 2022, https://feministkilljoys.com/2022/03/24/complaint-as-a-queer-methodb/ 

Bechdel, Alison. “Compulsory Reading.” Edited by Lunsford, Andrea A., et al. Everyone’s an Author with Readings, ebook, second edition, W.W. Norton, 2016. 

—. “The Rule,” Dykes To Watch Out For, vol. 1, Firebrand, 1986, p. 22. 

Busby, Jennifer, Lance Heisler, and Kari Odden. “Awkward At the Doctor.” Queer Zine Archive Project, 2010, https://archive.qzap.org/index.php/Detail/Object/Show/object_id/229 

Bullard, David, et al. “Oklahoma SB129: 2023: Regular Session.” LegiScan, https://legiscan.com/OK/text/SB129/id/2623314 

Chute, Hillary. “Comics form and Narrating lives.” Profession, 2011, pp. 107-117. https://www.jstor.org/stable/41714112  

Combahee River Collective Statement: Black Feminist Organizing in the Seventies and Eighties. Kitchen Table: Women of Color Press, 1986. 

Cox, Anicca and Rachel Riedner. “Persistence, Coalition and Power: Institutional Citizenship and the Feminist WPA.” Peitho Journal, vol. 25, no. 2, 2023, pp. 14-28. 

Enoch, Jessica, and Pamela VanHaitsma. “Archival Literacy: Reading the Rhetoric of Digital Archives in the Undergraduate Classroom.” College Composition and Communication, vol. 67, no. 2, 2015, pp. 216–42. 

Hagi, Randi B. “Rockingham County students weigh in on their needs, pitch solutions.” WMRA, 13 Mar. 2023, https://www.wmra.org/2023-03-14/rockingham-county-students-weigh-in-on-their-needs-pitch-solutions  

Harris, Richard, Ann E. Wilson-Daily, and Georgina Fuller. “‘I just want to feel like I’m part of everyone else’: how schools unintentionally contribute to the isolation of students who identify as LGBT+.” Cambridge Journal of Education, vol. 52 no. 1, 2022, pp. 155-173. 

Heinert, Jennifer and Cassandra Phillips. “Transforming the Value of Gendered Service through Institutional Culture Change.” Peitho Journal: Special Cluster on Gendered Service in Rhetoric and Writing Studies, vol. 21, no. 2, 2019, pp. 255-78.   

Holpuch, Amanda. “Florida School Restricts Access to Amanda Gorman’s Inauguration Poem.” The New York Times, 24 May 2023, www.nytimes.com/2023/05/24/us/biden-inauguration-poem-florida-ban-amanda-gorman.html. 

Kosciw, J. G., Clark, C. M., Truong, N. L., & Zongrone, A. D. “The 2019 National School Climate Survey: The experiences of lesbian, gay, bisexual, transgender, and queer youth in our nation’s schools.” Gay, Lesbian and Straight Education Network (GLSEN), 2020,  https://www.glsen.org/research/2019-national-school-climate-survey 

Morris, Charles. “The Archival Turn in Rhetorical Studies; or, The Archive’s Rhetorical (Re)turn.” Rhetoric & Public Affairs vol. 9, no. 1, 2006, pp. 113–15. 

Munro, Lauren, Robb Travers, and Michael R. Woodford. “Overlooked and invisible: Everyday experiences of microaggressions for LGBTQ adolescents.” Journal of Homosexuality, vol. 66, no. 10, 2019, pp. 1439-1471. 

Payne, Michelle. “Administration, Emotional Labor, and Gendered Discourses of Power: A Feminist Chair’s Mission to Make Service Matter.”  Peitho Journal: Special Cluster on Gendered Service in Rhetoric and Writing Studies, vol, 21, no. 2, 2019, pp. 308-33. 

Peters, Carol. “Rutgers Alumna Who Fought Book Ban as School Librarian Receives National Award.” Rutgers University. www.rutgers.edu/news/rutgers-alumna-who-fought-book-ban-school-librarian-receives-national-award  

Queer Zine Archive Project, https://archive.qzap.org//. Rawson, K.J. “Accessing Transgender // Desiring Queer(er?) Archival Logics”. Archivaria, Vol. 68, Jan. 2010, pp. 123-40, https://archivaria.ca/index.php/archivaria/article/view/13234. 

Schell, Eileen. “Is it Worth It to ‘Lean In’ and Lead? On being a Woman Department Chair in Rhetoric and Writing Studies.” Peitho Journal: Special Cluster on Gendered Service in Rhetoric and Writing Studies, vol 21, no. 2, 2019, pp. 308-33.  

Snapp, Shannon D., et al. “LGBTQ-inclusive curricula: Why supportive curricula matter.” Sex Education vol. 15 no. 6, 2015, pp. 580-596. 

Theimer, Kate. “Archives in Context and as Context.” Journal of Digital Humanities, vol. 1 no. 2, 2012. https://journalofdigitalhumanities.org/1-2/archives-in-context-and-as-context-by-kate-theimer/  

 

 

Addressing the Barriers between Us and that Future via Deep Rhetoricity

In our CCC 2022 article, “Deep Rhetoricity as Methodological Grounds for Unsettling the Settled,” we (Gesa and Romeo) preliminarily sketched out deep rhetoricity. We acknowledged in that essay rhetoricity can convey a doing such as historiographic, archival, feminist rhetorical, and decolonial research, among other forms. At the onset, however, it was deliberated and determined that in the next iteration of conversations on doing what needed to be reemphasized was the unsettling of the settled. Our hope, as appealed by indigenous scholars such as Linda Tuhiwai Smith, was for an unsettling of self-being anchored by identity politics or benevolent lexicography; knowledge production organized by axes of academic theories-values inextricably linked to modern/colonial projects of territorial and epistemological expropriation; and politics of critical positioning detached from location and disengaged from the particularities and specificities in which power unfolds. Deep rhetoricity was our attempt to intervene in a doing undaunted by the hauntings, unscathed by the haunting situations, and unfazed by the wounded/ing spaces-places of a modern/colonial world system.[1] The actor-agent of this doing recognizes nobody exists outside of such and thus has it figure prominently in returns to spaces-places where one does and thinks.[2]   

We advance a doing accountable and responsible to self(ves), others (broadly conceived), and communities. In the spirit of Gayatri Spivak, we set out to think of a doing not purely academic, situated squarely as a responsibility to what is formalizable (e.g., responding – being answerable to a call to action), what must endure (e.g., the ungraspable), and to the trace of the other (radical contamination). Such a doing underscores an ethos unhinged from an allegiance to a proper name or finality and grounded instead in being present to self(ves), others (nonliving, nonhuman), and the infinite demand for getting caught up. In the vein of Donna Haraway and Linda Alcoff’s work on epistemology, situated knowledge, and truth, we also conceived of a doing unseated from automatic equations between a postion/ality and disposition. Herein lies its formation as praxis insofar that it is a doing grounded in becoming ready to be answerable for how one has come to walk and see the world and interact and exchange meaning with others. Deep rhetoricity was our wager all doing demands as a starting point the corporeal exercise of addressing oneself to hauntings, inheritances, and dwellings as obligation-responsibility. The actor-agent of this doing would embody an ethos and praxis of unsettling the settled. 

Deep rhetoricity is our attempt to situate ethos and praxis in the elsewhere and otherwise. Alcoff argues we need to relearn how to make truth claims and reconstruct epistemology. That is a course-of-action, however im/possible, we accept, and one that demands the language of constellations and coalitions. A truth: our stories-so-far are a cosmo of constellated hauntings, inheritances, and dwellings. The racist Arthur de Gobineau understood the world was being staged for a haunting-and-ghostly totality to become a structure of feeling: “so long as even their shadows remain [e.g., monuments], the building[s] stands [e.g., economic, authorial, educational, political, and knowledge], the body seems to have a soul, the pale ghost walks” (33). Though not all feel equally the haunt in their bones, we argue in our essay, we are all in this palimpsest narrative—Raymond Williams’ structures of feeling or Michael Taussig’s public secret—of settler sites, haunted/ing communities, and wounded/ing spaces-places. It will take a coalition to unstage such a totality. In the spirit of Karen Barad, Walter Mignolo and Catherine Walsh, and others then, deep rhetoricity is about the staging of an epistemic doing that fractures barriers between us (living, nonliving, nonhuman) to make visible invisible structures of feeling that attune us. [3] The actor-agent of this doing is driven by an ethic of being-and-thinking-with others otherwise that underscores critical frameworks of feminist rhetorical practices and coalition-building. This doing is animated and facilitated though by the epistemic principles of returns, careful reckonings, and enduring tasks to ensure a responsibility beyond mere representation.   

The focus of our previous essay is on the inward process of deep rhetoricity. By couching ethos and praxis in hauntings, inheritances, and dwelling as language, rhetoric, and corporeal exercises of address we are afforded the opportunity to deliberate an-other set of choices, options, and responsibilities. We concur with scholars such as Jacques Derrida, Avery Gordon, Sylvia Wynters, and others that an-other epistemological framework for the living is needed; one predicated on an ontology of truth not instituted by an epistemology that dehumanizes and devalues human beings (coloniality of knowledge) but one that strives to liberate, however im/possible, pluriversal truths and constellated truths; one that partakes in responsible and accountable knowledge production instead of idealized reconstructions of knowledge; one that underscores a humanness in the service of others, a being human as praxes. What continues to be at stake in our inability to live or have something in-common is the possibilities of new stories. The actor-agent of this doing foregoes the given-ness and peels back the layers of what is constituted as settled. To begin every conversation on doing with hauntings, inheritances, and dwellings is to station self-being within that intermediary stage between what is formalizable and what must endure as an ongoing task. This is the very space-place of deep rhetoricity. [4]   

We acknowledge that deep rhetoricity can be aligned with the Modernity/Coloniality Collective’s prospective task and feminist and coalitional work. A return to hauntings, inheritances, and dwellings is a return to where one does and thinks; a careful reckoning with the settled-ness of self-being is a learning how to unlearn cultural and thinking programs to relearn how to be-and-think-with self(ves), others, and communities otherwise; and the enduring task of getting caught up is a commitment to hope-struggle. But because the impetus for deep rhetoricity was to go beyond mere critique of Western epistemology and advance a doing attuned to the messiness of life, agency, and coalitional work, we did not advance it as a decolonial project.[5] For anything with a proper name, and the irony is not lost on us here, prescribes a proper method of seeing, being, and doing.[6] The same goes with feminist-coalition work and the advancement of a certain form of agency. Deep rhetoricity emerges in the vein of Saba Mahmood and Kenna Neitch, where agency is not a synonym for resistance, subversion, and/or resignification of hegemonic norms but rather reflective of a capacity for action that haunting(s)-situation(s) enable and create. It neither portends to be a panacea nor a mechanized application of a proper method but rather a commitment to/wards unsettling the settled. The actor-agent of this doing engages reconstructive work in epistemology to surrender formal representations of proper names, producing a rupture, creating a clearing, and initiating an opening. This must remain most vital within feminist rhetorical practices and coalitional work where the door must remain open to anyone, wherever they may be (Fanon) and in the non-name of all (Acosta).  

The reconstruction of epistemology that we forward in this essay is based on the outward-facing aspects of deep rhetoricity. Its epistemic principles-as-heuristics are not a panacea but build on that hope for a future of mutual wor(l)ding animated by a struggle to unsettle “the barriers between us” (Lorde 57). Like our previous essay, our goal is to open up a conversation, this time on being-and-thinking-with others otherwise. The relational framework we advance in this essay is informed by feminist and coalitional work as well as scholars such as Audre Lorde, Jim Corder, Joy, Ritchie, Frantz Fanon, María Lugones, bell hooks, Jacqueline Jones Royster, Andrea Riley Mukavetz, and Ana Ribero and Sonia Arellano. We tentatively outline three epistemic principles that are introductory and subject to revision. They are not carried out evenly in this essay but figure prominently throughout. The principles are as follows: 

  • Returns to our ways of walking and seeing the world. 
  • Careful reckonings with our understandings of being-and-thinking-with and exchanging meaning with others.  
  • Being-with, or a commitment of being-and-thinking-with others (past-present-future; environment; living, nonliving, nonhuman) otherwise. 

Though incomplete, we believe the above epistemic principles are points-of-references that can put feminist rhetorical practices and coalition-building on pathways towards the possibilities of new stories amid troubling times and pedagogical challenges. In this context, deep rhetoricity will remain quite ambitious in what it strives for, intervention through the unsettling of the settled and (re/co)-invention for the sake of relearning how to see and walk the world and interact and exchange meaning with others otherwise. [7] The modification to rhetoricity here is less about achieving rhetorical effect and more about making visible the work of doing before us all. Such doing will echo the undertones of love, care, healing, and learning that are so important to and within frameworks of feminist rhetorical practices and coalition-building work.  

Feminist coalition-building, as we envision it, is rooted in principles articulated and advocated by feminist scholars and activists over several decades. While it is beyond the scope of this essay to discuss those principles in detail, we list a number of them below to situate our work and to acknowledge the important work and legacies of feminist activist scholars, scholars who have charted multiple paths for us; have insisted on making commitments to community, collaboration, and coalition-building; and have created/ claimed spaces for women (and women-identified people) whose voices and perspectives that have long been missing, ignored, silenced, or erased from public memory (Applegarth, Buchanan & Ryan, Enoch, Glenn, Logan, Ratcliffe, Royster). Among the feminist activist principles that ground our work are the following:  

  • questioning the status quo of gendered, hetero-normative, social, political, cultural, economic systems that privilege small groups of people while disempowering/alienating a large number of others, whose stories, lived experiences, and communities have been deemed unimportant, marginal, or deliberately omitted from public narratives (Butler; Duplessis and Snitow; Hanish; Rich).  
  • questioning epistemological/ontological assumptions of research methods and methodologies and the ethos/ethical practices of researchers. While it is now commonplace among rhetoric and writing studies scholars to reflect on their membership in and commitment to the communities they are studying, early feminist scholars and activists were the ones who insisted on and argued for the importance of these principles (Bizzell, Gilligan, Jagger, Harding, hooks, Lorde, Spivak, Royster, Smith, Sandoval).  
  • reflecting on one’s own ethos as scholars, teachers, community members, and activists (Ryan, Myers and Jones) while working toward reciprocity and collaboration among researchers and community members (Alcoff; Chilisa; Cushman; Powell and Takayoshi; Riley-Mukavetz). That means scholars engage in shared knowledge-building, work with community members who set priorities for the research agenda and for best use of (re)sources–in contrast to Western research practices steeped in traditions of gathering/extracting/exploiting information from community members that can–and have–caused great harm (Caswell; Hughes-Watkins; McCracken and Hogan; Cushman). Reciprocity and collaboration involve listening to community members and centering their needs, values, and perspectives rather than imposing the researchers’ agenda, questions, and values on the community. It also involves protecting the dignity, respect, and autonomy of those we study with an emphasis on fair, ethical, dignified portrayals of research participants and building communities of solidarity.
  • developing new tools, frameworks, and methodologies for conducting research, such as the analytical frameworks articulated by Royster and Kirsch (critical imagination, strategic contemplation, social circulation, and globalization/ transnationalism). It entails efforts to disrupt/unsettle supposedly “neutral /objective points of view” which tend to reflect white western male perspectives. Moreover, it comes with efforts to narrate a greater variety of stories and more complex, diverse representation of human experiences (Graban, Gutenson and Robinson, McDuffie and Ames, Logan, Royster, Schell, VanHaitsma).
  • working toward a sense of care, well-being, and love towards those we work with (Corder, hooks, Lorde). Feminist scholars have long recognized that relationships of care can and do create unequal power relations, yet rather than avoiding those inequalities, feminist scholars and activists have challenged researchers to acknowledge potential power differentials and apply an ethics of care to support those who might find themselves in vulnerable positions (Gilligan, Noddings, Tronto). 

Embracing deep rhetoricity as an intervention into the settled can be helpful to feminist activist and coalitional principles. First, because an ethos and praxis of unsettling the settled remains oriented to power structures and hierarchies based in Western settler colonialism, coloniality, patriarchy, and capitalism. Second, because the epistemic principles of deep rhetoricity as heuristics underscore deliberative intentions to produce ruptures, create clearings, and initiate openings. Joy Ritchie warned experiences are not universal, strategic essentialism is only a temporary point of departure, and self-analysis and reflexivity are vital to collective work. Uninterested in hand-waving or “virtue signaling,” we advance a doing that incessantly grounds a question, where are the lessons of ethos and praxis being proposed from? If we are where we do and think then hauntings, inheritances, and dwellings must figure prominently in doings. And third, because embracing deep rhetoricity is about standing at the nexus of an-other’s stories-so-far and possibilities of new stories as an ethic of love, care, healing, and learning.  

The goal of this essay is to animate each facet of the outward-facing aspects of deep rhetoricity some of which occurs within the classrooms in which we teach. Our essay below is organized into two sections. In the first section, we explore the barriers between us and a future otherwise; the hope-struggle that underscore both possibilities as well as the complexities, complicatedness, and messiness of doing human work and carrying out human projects. Such reflections are necessary because sometimes theory and theoretically informed praxis do not easily translate or bode well in practice. This section includes case studies drawn from Kirsch and García’s research and teaching at two different institutions. The second section offers a reflection by all four co-authors, guided by two questions: one, what does feminist coalition-building mean? And two, what does feminist coalition building look like? Such a reflection is necessary given an essay that aims to illustrate how feminist coalition-building might work among a group of four co-authors with diverse backgrounds, lived experiences, and academic standing/privilege.  

The Barriers Between Us and that Future 

The discussion that follows draws on examples from undergraduate and graduate courses that Kirsch and García teach. We share examples of how we resist palimpsest narratives that aim to normalize haunted/ing structures of feeling (Williams; Gordon), smooth frictions (Lueck and Nasr), hide fissures (Mignolo), and keep the dark corners (and secrets) of history out of sight and out of mind (Bunch). The discussion aims to animate our attempts at implementing the outward epistemic principles of deep rhetoricity amid troubling times and pedagogical challenges. 

Kirsch reflects on one question that animates this essay: How can we learn to practice being-and-thinking-with others otherwise in and out of the classroom? Drawing on an undergraduate course, “Writing the Archives,” Kirsch offers a discussion of her feminist commitments and coalition-building practices by working with two student authors, Valeria Guevara Fernandez and Nicole Salazar, who reflect on their own experiences of working with primary sources, conducting archival research, and engaging in feminist coalition-building and activism. Rather than speaking for or about students, Kirsch decided to invite students to be-with/in this essay as coauthors, sharing their insights, reflections, and challenges of unsettling settled histories. Kirsch imagines and enacts a pedagogy that invites pathways of learning to unlearn as being-with, highlighting the possibilities of the outward-facing principles of deep rhetoricity and the opportunities that can arise when we find a productive tension between intervention, our current sets of stories-so-far, and invention, the possibilities of new stories. 

García reflects on a recent experience in Tokyo and then segues by recalling work he does with students at the University of Utah (UoU). He then contends with a coloniality of instruction-and-curriculum (broadly conceived) in Utah. García proceeds by making an argument for the utility of settler archival research as place-based pedagogy that invites students to return to and carefully reckon with how their stories-so-far and everyday adhere to, interact with, and carry out the histories, cultural memories, and literacy-rhetorical practices settler archives represent. He reflects on failures and minimal successes in an undergraduate course, “Intermediate Writing,” that marks the interplay between a hope for wor(l)ding a future otherwise and the struggle to unsettle “the barriers between us and that future” (Lorde 57) through the human work-projects of unsettling the settled, being-and-thinking-with, and mutual deliberation-determination of an-other set of choices, options, and responsibilities. 

Standing at the Nexus of Stories-so-far and the Possibilities-of-New-Stories  

In this section, I [Gesa] explore the outward-facing epistemic principles of deep rhetoricity against the backdrop of pedagogical challenges and opportunities. In many ways, deep rhetoricity resonates with the challenge posed by Audre Lorde:  

… looking out and beyond to the future we are creating, [recognizing that] we are part of communities that interact, … and arm[ing] ourselves with accurate perceptions of the barriers between us and that future” (57). 

Lorde’s call anchors the three inward epistemic principles of deep rhetoricity as an ethos and praxis of returns to our local histories of hauntings, inheritances, and dwellings; careful reckonings with self as the place of multiple returns and becomings; and enduring tasks of this work. What prompts me to continue exploring deep rhetoricity is the potential of the outward journey: the epistemic principle of standing at the nexus of another’s set of stories-so-far and possibilities of new stories. 

When we envision “standing at the nexus” of these two spaces, we invoke movement, fluidity, change–all enduring tasks. Drawing inspiration from Lorde and from hooks, who reminds us that “solidarity requires sustained, outgoing commitment,” I invite students, in an upper division course on “Writing the Archives” to explore what it means to unsettle settled histories, to confront hauntings and inheritances, and to establish an ethos and praxis that address the barriers between us and another future via a praxis of being-with others, otherwise. In the course, we study–and contribute to–many different kinds of archives, including personal and family archives, community archives, digital archives, ephemeral archives, and archives-in-the-making. In the syllabus, I describe the course goals as follows:  

This seminar explores archives as sites of cultural interpretation, civic engagement, and social change.  We will explore a broad range of archives, including family archives, community archives, digital archives, and institutional archives. Drawing on feminist, rhetorical, indigenous, decolonial, and other perspectives, we will focus on what stories, social memories, and public histories can emerge from archival research, and just as important, what remains hidden, missing, silenced, or erased in archival collections.  We will also study how archives in your concentration can illuminate the histories, intellectual frameworks, and methodologies of your field of study. 

The course readings are interdisciplinary and include work by feminist and feminist rhetorical scholars, Indigenous scholars, and African American scholars, amongst others. We read chapters from Unsettling Archival Research (Kirsch, García, Allen and Smith), articles from a special issue of the digital journal Across the Disciplines with the theme Unsettling the Archives, and articles by critical archival scholars. One of the articles that became a powerful touchstone in class was Michelle Caswell’s “Seeing Yourself in History: Community Archives and the Fight Against Symbolic Annihilation.” Caswell explains that she adapted the term symbolic annihilation from “feminist media scholars in the 1970s” who use it to “describe what happens to members of marginalized groups when they are absent, grossly under-represented, maligned, or trivialized…” (27). Caswell deliberately calls out the willful erasure, disremembering, and omission of records that are part and parcel of many institutional “capital-A” archives, archives that represent on a limited version of history: that of the powerful, wealthy, often white-identified men. She cautions: 

“If archives are to be true and meaningful reflections of the diversity of society instead of distorted funhouse mirrors that magnify privilege, then they must dispense with antiquated notions of whose history counts and make deliberate efforts to collect voices that have been marginalized by the mainstream” (p. 36). 

In class discussion the term “symbolic annihilation” resonated as both a powerful and haunting concept, offering students an entry point, a measure, a criterion for assessing what happens when “stories-so-far” are missing entirely from public discourse/memory and thereby negate the “possibilities of new stories.”   

The first half of the semester we focused on readings and case studies that illustrate how researchers can engage in reciprocal work, contribute to the communities they are studying, and produce narratives that unsettle settled histories. Students undertake three assignments: an “archival adventure,” a low-stakes exploratory assignment that invites discovery of personal or family archives and reflection on what constitutes an archive, how collections are created, and how memory/ meaning are attached to artifacts. The second assignment explores the conventions of a research proposal and asks students to articulate an original research project that draws on primary sources housed in a digital archive and/or one that builds on the archival adventure. The third assignment asks students to conduct the research they proposed in the second assignment. That is, students follow through on the research goals they set, including analyzing and interpreting primary sources from digital archives, and/or creating original sources via conducting interviews/collecting materials, and/or examining artifacts in small-a archives.  

In all three assignments I invite students to see themselves as researchers who reflect on stories-so-far and, in the process, work toward the possibilities of new stories that might evolve, challenge, or amend stories-so-far. I ask students to practice reciprocity, a being-and-thinking-with, to make a contribution to the community(ies) they study and/or the archives they work with, so that the archival research they are conducting can enable the possibilities of new stories. One of the evaluation criteria for the final assignment, the original research project, addresses outcome, impact, and contribution.  

The writer clearly explains how conclusions are drawn, what contributions the research makes, and considers the impact of the research, including likely impact on intended audiences. The writer considers potential reciprocity, benefits, harms to participants/ community. Explains how the results will be disseminated and why these means are appropriate to the subject matter and audience. 

Finally, I invite students to articulate the contribution(s) they might be able to make to the communities they are studying. In many ways, this assignment sequence aligns with García’s portfolio requirements: constituted by returns home (archival adventure), careful reckonings with stories-so-far (research proposal) and a commitment to reciprocity, to being-and-thinking-with others, otherwise (original research project).   

In the hyperlinks below, readers encounter the words and work of Valeria Guevara Fernandez and Nicole Salazar who describe and reflect on their archival research projects and what that work means to them. Guevara Fernandez’s research project touches on the many ways in which archival materials can get flattened, homogenized, erased; her research focused on holdings in the University of Louisville (UofL) Oral History Center. What caught her attention were nine oral histories–testimonios actually (more on this below)–all classified with a single, generic description:  “Latin Americans – United States.” As she was about to embark on her research, Guevara Fernandez reflects: 

As I was browsing through the long list of subjects, a specific one caught my attention: “Latin Americans – United States”. The lack of detail in its title is what drew me in the most. Was this an archive about immigration? Politics? Xenophobia?” 

As Guevara Fernandez quickly discovered, issues of access, selection, power, and privilege are deeply intertwined with archival holdings. She deliberately positioned herself at the nexus of stories-so-far and the possibilities of new stories by making a critical intervention: engaging in archival labor. She contacted Heather Fox, the director of the UofL Oral History Center and started a fruitful collaboration, taking on the role of “activist archivist” (Wakimoto, Bruce, and Partridge) and serving as a vital contributor to the archives by creating new records, coding interviews in both Spanish and English, analyzing themes, and making visible the lost and hidden histories contained in these testimonios. Quite literally, Guevara Fernandez began creating presence from absence and sounds from silence with her research project. 

For Nicole Salazar, connections of stories-so-far and the possibilities-of-new-stories were invoked when she began her archival adventure by sorting through bins of her grandmother’s clothing, many of which were sewn by her grandmother, an accomplished seamstress who worked in factories that produced designer fashion. 

“My grandma worked many jobs as she was raising my mom and my aunts. All her jobs always had something to do with sewing, whether it be swimsuits when she worked at La Sirena, costumes while she worked at a factory called Clemente, or luxury purses and belts at the Louis Vuitton factory not too far from her house.” 

As Nicole sorted through the bins, she came upon a pair of well-worn, low-rise jeans, an item of clothing that she learns tells the story of intergenerational, border-crossing connections. Here, we see Nicole “bearing and being a witness to stories-so-far and embracing the possibilities of new stories that she is able to embody, a college student and athlete.” Nicole reflects: 

“The majority were memories of my mom since the clothes used to be hers with an occasional piece or two of my Nina’s but when I showed her a pair of light washed low-rise Levi’s, my grandma had lots to share… The low-rise Levi’s were hers when she was in her early 20s and later on she passed them down to my mom. To think that this pair of denim was over twice my age and had seen more of the world than I had was mind blowing. I was so excited to think that a pair of jeans that were once my grandma’s and then my mom’s could be mine, and that I could make my own memories with them. Once we finished running through the other items I selected, I rushed to try on my new pairs of jeans. I put them on and I immediately felt a sense of belonging. Not only because they fit like a glove, but also because I felt like I filled in the missing part of a puzzle. I had the opportunity to carry on the lineage of the Levi’s that had been well loved by my family before me; it felt like an honor to wear them.” 

Nicole’s discovery of her grandmother’s sewing skills and sense of fashion led Nicole to a research project focused on a community where fashion and style are used as elements of activism: the community of the Sisters of Perpetual Indulgence. Through exploring an archive in the making, that of the Los Angeles house of the Sisters of Perpetual Indulgence, and conducting interviews with current sisters, Nicole was able to reckon with stories-so-far, build solidarity across communities, and learn to be with/think with others, otherwise. 

 Creating Coalitions of Solidarity via Testimonios 

Creating Coalitions of Solidarity via Fashion Choices

An Experience of the Im/Possible  

Recently, I (Romeo) was in Japan with the family. We visited TeamLab Planets (Tokyo), an art installation that aims to unsettle barriers between self and boundaries, self and artwork, and self and others. Its theme, “Together with Others, Immerse your Entire Body, Perceive with your Body, and Become One with the World,” is aspirational, an invitation to learn how to be-and-think-with others otherwise—an archival impression. Activities peeled back layers of accessories (quasi bare-life), unsettled the grounds on which we walk (obscuring the senses), and simulated journeys from darkness to light (regeneration of life). [8] Feminist and coalitional principles were unavoidable. And a decolonial ethic, ethos, and praxis of learning-unlearning-relearning was not lost on me.[9] But the full-body immersive experience, for which I will call a decolonizing archival impression, was actually more emblematic of more to the inward and outward facing aspects of deep rhetoricity. Deep rhetoricity, conceives of our stories-so-far as archives, its epistemic principles the vehicle in which to engage in a slow and deep (de) and (re)-compositioning of self. Returns and careful reckonings reposition the contents of our archives so that we can reposition ourselves in relation to it otherwise while enduring tasks invite the ongoing process of initiating archival impressions otherwise.

Returns. The first installation, “Waterfall of Light Particles at the Top of an Incline,” invites participants to enter a space of darkness and water. Both are intended to unsettle the grounds by which one walks and sees; one is but walking into the abyss of darkness amongst other shadows. It was not lost on me either the significance of entering spaces-places as stories-so-far and the symbolism of water both in its ability to restore self(ves) and invite a re-connection with [We/arth]—we are all in and part of an archive. The second installation, “Soft Black Hole–Your Body becomes a Space that Influences another Body,” invites participants into an ever-changing space. The beanbags succumb to the weight of others and in turn affects the bodies of others; an archive and its archival impressions. It is meant to underscore how we always already stand at the nexus of an-other’s stories-so-far and the possibilities of new stories. How then, I wondered, do we become more intentional with the way we initiate such impressions?

Careful reckonings. Perhaps the most moving installations was “Floating in the Falling Universe of Flowers.” We laid down amongst other shadows and playfully world-traveled (Lugones) into the universe of the seasonal bloom, change, and de-composition (diastema). Individuality ceased to be, shadows coalesced, and in a moment in time the space was but the substance of humanity and air the song of [We/arth-ly] particles being-and-thinking-with others—archival impressions constellating an archive. The decentralization of self and other meant we were once again distributed of the same root and that all bodies (living, nonliving, nonhuman) were one heart reflecting its surroundings; [We] were all just Matter. It was in this moment that I came to realize that the story of life before us all was not that of the [I] or the [You] but of the [We/arth]. And in that story, being-and-thinking-with others no longer meant finding the proper words or identifying a proper way but rather what [We] hoped would live-on (sur-vie) in the wor(l)lding of a future of the [We/arth] after our own de-composition; a Matter otherwise.[10]   

Enduring tasks. Every installation immersed the senses in a way to illustrate the effects of presence and consequences of that presence. They amplified the ability for non-humans to (re)attune and of non-humans to alter the ambience. “The tragedy” of a human being, Fanon (echoing Neitzsche) would tell us, “is that [we were] once a child” (231). Yet, in the art installation I was like Chihiro in Spirited Away who could see, feel, and hear the wind of the [Earth] pull, once again; because all the years were inside of me. For a moment, I was a child again–before the interruption that unsettled my childhood–and existed within a cosmo of fleeting glimpses, borderless worlds, and endless possibilities beyond myself. Life, agency, and rhetoric shifted in register to shared values: where will we choose to stand in order to see, welcome, know, be present to, and be a witness to an-other? what will we have wanted from one another after we tell our stories-so-far? But then came the interruption that ended the exhibit and the question of whether I or a generous reciprocity will ever have arrived somewhere, someday?[11] The enduring task for me was (re)learning how to reconnect with a doing that I once knew. 

The exhibit was about stories-so-far and the possibilities of new stories. That is a feminist aspiration. Deep rhetoricity can help facilitate its principles in nuanced ways though by ensuring returns, careful reckonings, and enduring tasks remain at the fore. The exhibit was about hope-struggle. That is a coalitional longing. Deep rhetoricity can advance its principles in nuanced ways though with an ethic of being-and-thinking-with which assures in the words of indigenous and native feminist scholars such as Maile Arvin, Eve Tuck, and Angie Morrill that longing remains “people-possessed” rather than “individually self-possessed” (25). I thought to myself after the experience, “if an art installation that is a byproduct of human doings could create such dispossessions in me there is no reason to believe such im/possibilities are subject to a specific time frame in life.” Sandra Cisneros’ poem, “Eleven,” speaks to this: “all the years inside of me–ten, nine, eight, seven, six, five, four, three, two and one” (n.p.). I am both an archive, “repositories of feeling and emotions” (Cvetkovich (7), and an “archive in the making” (Browne 51). Perhaps, the tragedy of being human is forgetting we are self(ves), stories that are not fixed but always subject to change due in part to the initiating of archival impressions—that which acts on one’s archive rhetorically. My experience with TeamLab is what I strive for at the UofU amongst the undergraduate students I work with, which I have written about elsewhere (García and Hinojosa). 

Coloniality of Instruction-and-Curriculum

Utahans and Utah stand apart. I say this at the risk of homogenizing culture and reducing rhetorics of place to a monolith.[12] In Utah, K-12 education, religion, and group circles are a prism by which to see coloniality of instruction-and-curriculum, inseparable from coloniality of knowledge–the invisible constitutive side (and not derivative)–and being. Especially if by power we in part mean epistemic and aesthetic campaigns to hoard and produce knowledge in excess that feed a war to dominate information (and mediums of circulation) fought on the battlefields of ideas (Man), images (Human), and ends (Rights-to). It was during my first year at the UofU, and from both students’ strong sense of obligation-responsibility to and my own readings of church-settler discourse on work,[13] that I encountered the work of reestablishing Zion and instructing salvation, reeducation, conversion, and restoration (work-instruction). This, in addition to my readings of discourse by Spanish Friars and Jesuits, Kant, and Hegel of whom emphasized instruction, curriculum, and/or pedagogy,[14] would lead me to coloniality of instruction-and-curriculum. [15] In Utah, it unfolds as the idea of Mormon/ism,[16] land as inheritance, an Other-as-Same relation, and work-instruction, all of which produce images of empty landscapes from which the inhabiting bodies of the other vanish or disappear.  These are all archival impressions that feed into a much larger modern/colonial and settlerizing archive. 

In part, without the classroom of education (broadly conceived) and coloniality of instruction-and-curriculum, neither coloniality as a disputed logic of domination, management, and control nor the epistemological regime of modernity could have been consolidated and sustained so successfully across space-place and time. [17] Coloniality of instruction-and-curriculum is the medium in which knowledge becomes factual and the tool by which epistemic obedience is managed and controlled. It is a settler-centered instruction in which educators, like the “men of letters” of the past, are entangled in informing-giving form to coloniality of knowledge. They become complicit in naturalizing a colonial matrix of power and its modus operandi of modernity/coloniality–“The control of labor and subjectivity, the practices and policies of genocide and enslavement, the pillage of life and land, and the denials and destruction of knowledge, humanity, spirituality, and cosmo-existence” (Mignolo and Walsh 16)–cloaked by images of empty landscapes, narratives of land waiting to be discovered, owned, and transformed into fertile “resources,” and rhetorics of peaceful Man-Human possessing the masculinity and intelligence to transform land into fertile “resources.” For me, students’ stories-so-far that year were examples of what coloniality of instruction-and-curriculum has done to and made of them. Because stories are imbued with meaning and consequences insofar that they circulate widely, have structural underpinnings, and carry material consequences (Rohrer 189). Students that year were a testament that stories are political because they “mobilize” histories and geographies of power (Alexander and Mohanty 31). But that too is a story-so-far. 

Neither Utah nor the students I teach are inherent or essential to themselves. Coloniality of instruction-and-curriculum in Utah thus can be approached a racial matrix that peddles racist worldviews predicated on the pretext of epistemic and ontological difference; law of who can be in-common; and subtext for coloniality of power. It affords us a window, in other words, into discourse-about actions (Benoit 70; 75). Coloniality of instruction-and-curriculum plays a role, adjacent to the material forms of public memory and everyday human projects in Utah, in how the past and certain ghosts are kept alive in ways that rewrites Utah in modern/colonial ways. But again, that is but a story-so-far. This means that if space-place, language, and identity are made by the same token they can be remade. This experience allowed me to coalesce the interworking’s of deep rhetoricity, decolonial work, and feminist coalition-building. And what resulted my first year at the UofU was an archival approach, an effort to create a public record that would afford students the opportunity to view the contents of their archives as stories-so-far and initiate decolonizing archival impressions; the unsettling of the settled-ness of Self.

The Fly in the Elephant’s Nose 

My first year at the UofU was marked by racist fliers, not-in-Utahism, determined epistemic ignorance, and Utahn niceness-politeness. But to identify students as problems is in itself problematic. Corder claims we are all narratives of histories, dogmas, and arguments. Sometimes they crush up against each other (19). So, when students carried out rhetorics of epistemology through church-settler epideictic rhetoric–“they [the other] love when we bring them things [the gift]”–during the first week of my “Intermediate Writing” course I choose to see this as an opportunity. If coloniality of instruction-and-curriculum has informed how such students walk and see the world and interact and exchange meaning with others by the same token both can be the means to unsettle barriers between us and bring forth a future of being-and-thinking-with each other otherwise. Friction, in the vein of Anna Tsing, became part of my vocabulary and pedagogical praxis. It afforded one way to think about what happens when there is an opportunity for non-humans (people, stories, knowledge) to come together and get to work. Things, however, do not always go as planned, and sometimes friction is just resistance.  

 If the rhetoric of place and the everyday are outcomes of literacies, rhetorics, and human projects by the same token they can be the means for a new arrangement. That kind of human work, however, requires a public record, cultural (archives) and individual (self as stories-so-far). The racist fliers found on campus were part of it. And so, we began there. A public record can afford students opportunities to utilize hauntings, inheritances, and dwellings as categories of analysis that can point towards connections between the past and the present in terms of social activities. In Utah, those activities can be as small as partaking in a service mission and as large as views on race and sexual orientation shared by the Church. A turning point for me in the ways I teach about settler colonialism and coloniality came by way of an email from a student. They were bothered by their peers and appealed for “more accurate accounts” of Utah history. The student offered to “assist” me in “researching and planning” and therein emerged my archival research of church-settlers of Utah. The student introduced me to the Book of Mormon and the General Conference corpus which led me down a rabbit hole and to the Journal of Discourses and The Millennial Star (and Ensign).  

Now, students were not inclined to accept conversations about settler colonialism or coloniality much less if they were abstract. So, I turned inward to the haunting(s)-situation(s) I know while I acquainted myself with church-settler history in Utah. In my previous work with students at the University of Texas-Rio Grande Valley I had done archival research on settler-pioneers of the LRGV (see image below). This activity set in motion my endeavor to be vulnerable and be-and-think-with others, unsettling the distance and barriers between us. It animated Avery Gordon’s argument about how [We] are all part of and in this story. My hope was that settler archives would illustrate how ideas “dwell across the ages in the concepts and institutions human beings have built” (L. Gordon 13). Concept and institutions are what allow ideas to appear and become consequential within and beyond immediate settings and contexts (123). This reflected my effort to stand at the nexus of their stories-so-far and possibilities of new stories. 

 

Figure 1. Image description: a promotional poster with “The Beautiful Valley of the Lower Rio Grande” at the bottom in beige font on a black background. The image shows three men harvesting large baskets of fruit among palm trees. 

Figure 1. Image description: a promotional poster with “The Beautiful Valley of the Lower Rio Grande” at the bottom in beige font on a black background. The image shows three men harvesting large baskets of fruit among palm trees.

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Students, to my surprise, were receptive, given the friction I encountered early on in the semester. They demonstrated their intellectual capacities to explore, investigate, analyze, interpret, determine, and translate meaning. For example, one student wrote about how settlers had control over mass media production (left image). This stood out to me given the mass management and control over multiple mediums of media in Utah and the way the war of information has influenced how “people dehumanize/other individuals.” Another student documented what they saw: white women, old white angry settlers, and white mayor. This response stood out as well because Utah is notoriously White and the rhetoric of place is “the glorification of settlers/colonialism/manifest destiny” (right image). With this settler archive I was able to underscore the effects and consequences of settler colonialism and coloniality on land, memory, knowledge, understanding, feeling, and being. 

Figure 2. Image description: a piece of notebook paper with doodles of three cartoon figures at the top and a list of notes in blue ink.

Figure 2. Image description: a piece of notebook paper with doodles of three cartoon figures at the top and a list of notes in blue ink.

Figure 3. Image description: a piece of notebook paper with a doodle of an eye with long, thick lashes at the top right. The notes, written in black ink, have the heading “1910-1960” and a list of phrases.

Figure 3. Image description: a piece of notebook paper with a doodle of an eye with long, thick lashes at the top right. The notes, written in black ink, have the heading “1910-1960” and a list of phrases.

 

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Students were keen on what they encountered in the archives. One took note of key phrases that stood out to them: “rails brought civilization” | “men of integrity” | “destined to lead.” Their observation did not go unnoticed: “Everybody in the picture is white” (left image). I say this because the course was demographically majority white church members with only a couple of exceptions. I wondered, how did students internalize all this? Did it even cross their mind? Another student comments on the “dangerous aspect of this writing” because it “allows sentiments” about “Mexicans and Native Americans” to “silently embed themselves in society” (right image). The irony of this statement is not lost on me either particularly as it is read alongside the claim, “by only providing one viewpoint…it leads the reader to assume that the correct narrative is that of the author.” Because Utah is a case study in just how that has happened. I wondered here too, if they found irony in how they dismissed the racist fliers discussed at the onset of the semester. 

 

Figure 4. Image description: a photograph of a sheet of notebook paper with notes written in black ink: a numbered list 1 through 4 at the top, and phrases and quotations on the lower half of the page. 

Figure 4. Image description: a photograph of a sheet of notebook paper with notes written in black ink: a numbered list 1 through 4 at the top, and phrases and quotations on the lower half of the page.

Figure 5. Image description: a photograph of a sheet of notebook paper with notes written in black ink: a section at the top with the heading “Hear” and notes underneath, and a section in the lower half with the heading “See” and notes underneath. 

Figure 5. Image description: a photograph of a sheet of notebook paper with notes written in black ink: a section at the top with the heading “Hear” and notes underneath, and a section in the lower half with the heading “See” and notes underneath.

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But this activity reflects the extent of my success that semester. By week three the language of the everyday shifted from Texas/me to Utah/Utahns. The classroom environment changed. We focused on haunting(s)-situation(s) that marked settler arrival, settlement, and expansion in Utah: the various wars between church-settlers and American Indians/Native Americans (Battle at Fort Utah, Battle Creek Massacre, Black Hawk War, Wakara’s War, Tintic War); the multiple treaties (Treaty of Abiquiú of 1849, The Spanish Fork Treaty of 1865, Fort Bridger Treaty of 1868); and coloniality of instruction-and-curriculum (Intermountain Indian School, The Indian Placement Program-Lamanite Placement Program, and Relief Society). Friction was at work. But so were many of the students. Because friction cuts both ways. Such friction laid bare the public secret of Utah, the structure of feeling haunting Utah, and the function of Utahn niceness-politeness (and not-in-Utahism); a faux listening to the Other-as-Same.[18]

Corder anticipated moments in which people can be steadfast in convictions. Coloniality of instruction-and-curriculum had only ever underscored the structural underpinnings and material consequences of their stories-so-far. Returns to and careful reckonings with how stories-so-far and the everyday adhere to, interact with, and carry out the histories, cultural memories, and literacy-rhetorical practices settler archives represent amplify a threat to foundations of self, stories-so-far, and community. What happens in such cases? The image below comes from students responding to the Texas settler archives. Notice, the students refer to the settler as a “good man” and applaud the settler for taking risks and establishing a white school for children. Now, this comes off the heels, once more, of discussions on settler colonialism and coloniality. Utahn niceness-politeness, in this context, is the act of listening with no intention to have critique bear on the self while epistemic ignorance is the production of knowledge wielded to create distance-separation and maintain relations of power.  

Figure 6. Image description: a photograph of four lines of notes written in black ink on a sheet of notebook paper 

Figure 6. Image description: a photograph of four lines of notes written in black ink on a sheet of notebook paper

 

Figure 7. Image description: a photograph of four lines of notes written in black ink on a sheet of notebook paper 

Figure 7. Image description: a photograph of four lines of notes written in black ink on a sheet of notebook paper

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But I was persistent. We tried the privilege walk and privilege for sale activity. I invited colleagues (Christie Toth and Jon Stone) to attend class. We watched short documentaries. We listened to music. We read the words and ideas of their ancestors. I was still green in the world of teaching. And so, I tried everything. Because I refused to allow church-settler epideictic rhetoric to go unchecked; a wor(l)ding aspiration, which underscores students’ understanding of the ways words and worlding can take and make space-place. Overall, my goal was to utilize the language of the everyday, attending to the appeal by the student who emailed me, to both illuminate cultural and thinking program/ings and create friction. Hardly anything changed. But I did have four students who were doing shadow work; work behind the scenes without any guarantee or certainty for what it might yield (see Arellano et al.). By week 7 of the semester, I decided to scrap the final project and create a new one on the fly. I would call it, “Stories-So-Far and the Possibilities of New Stories.” The title would be inspired by the work of feminists such as Doreen Massey and Judy Rohrer. 

Figure 8. Image description: screenshot of an assignment description document for a multimedia portfolio 

Figure 8. Image description: screenshot of an assignment description document for a multimedia portfolio

Figure 9. Image description: screenshot of the second page of an assignment description document for a multimedia portfolio 

Figure 9. Image description: screenshot of the second page of an assignment description document for a multimedia portfolio

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The assignment description is rather long and imperfect but overall the goal for the final project was to create an opportunity for students to gather their ancestral stories-so-far and collect evidence to support the verisimilitude of them—demystifying and extending archival research to the elsewhere and otherwise. The inevitable friction would hopefully aid them in considering an-other set of choices, options, and obligations-responsibilities. The assignment builds on the ideas of griots, corridistas, and elders as keepers of history and knowledge, time benders, and canon makers entrusted with being the affective channels of rhetorical transmission of and for a politics of hauntings, inheritances, and dwellings. They operate under a simple premise that people can listen to know-learn complex issues if the intention is truly for them to understand. It is a portfolio assignment constituted thus by returns home, careful reckonings with stories-so-far, and the praxis of unsettling the settled. But again, things do not always go as planned. The assignment went to work, because what was at stake was a grade for students, but so too did students, because friction cuts both ways. 

Unlike the scenarios Corder plays out in his essay educators do not have the luxury to walk away, the right to blame students for past atrocities, nor are they entitled to create a culture of adversaries. Still, I find myself agreeing with Corder that argument is not just a noun but a praxis of being-and-becoming, reminiscent of Sylvia Wynter’s being human as praxes. Friction holds value for me because intervention is rooted in the specificities and particularities in which power unfolds; we must know where we are at and who we are teaching. It holds two truths, first, that there is an opportunity for some-things to be-with each other, get to work on un/settling grounds, and mutually co-invent in friction in ways that can take and make place otherwise; power is un/made through friction. And second, friction can be like the fly in the elephant’s nose, which is to say, that at the very least we can be the wrench in the assembly line of normative stories-so-far. [19] The goal is not a totalistic rejection of religion nor is it to deliver conversion-type of education but rather it is to create solidarity in and around deep commitments to unsettling the barriers between us and that hoped-for future.  

Sometimes neither a theory (a decolonial option) nor concept (deep rhetoricity) will go as planned in the classroom. The entirety of the semester was not all marked by failure. I was able to reach four students. The student below was affected by classroom conversations, the behavior of their classmates, and the unwillingness within group circles to have critical dialogue. So, they decided to lead blog posts anonymously which culminated into an end of the year presentation.  

Figure 10. Image description: a screenshot of a slide deck with six thumbnail images on the left and the title slide on the right. The title slide is a blue-green background with “Race in Salt Lake City” in a serif font.  

Figure 10. Image description: a screenshot of a slide deck with six thumbnail images on the left and the title slide on the right. The title slide is a blue-green background with “Race in Salt Lake City” in a serif font.

 

Figure 11. Image description: a photograph of notebook paper with notes. Some words and phrases are scribbled out, and lines and arrows are drawn to indicate moving some words from one place to another.  

Figure 11. Image description: a photograph of notebook paper with notes. Some words and phrases are scribbled out, and lines and arrows are drawn to indicate moving some words from one place to another.

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It is our hope, as educators, that when we offer an-other set of choices, options, and responsibilities students will pick it up, hold onto it, learn from it, and even pass it along. Sometimes, however, the work of our work will only be felt after the fact. So, perhaps, a reconceptualization of failure is in order, because the students I taught that semester will never be able to truly claim they never knew. And that for me is the power of being-and-thinking-with. Stories from faculty of color advancing the projects of unsettling and a decolonial option at PWIs are few and far between in WRS. So, I wanted to share a story of tension, frictions, adjustments, and failures from within the classroom. 

Still, I believe feminist activist and coalitional work can benefit from deep rhetoricity. Fanon to Mahmood warned about the predicament of contaminating life questions and questions of agency with reductive, dichotomous, and oppositional rhetorical structures. There is almost a sense of simplicity that underscores the aims to unsettle the settled-ness of systems of hierarchy, patriarchy, and other forms of oppression-repression. But at the moment life and agency get reduced to binaries (black/white; good/bad; right/wrong) and options (confront; resist; re-signify hegemonic norms) that human work-project becomes unsuitable for anyone, even if resistance is what is happening. Because it presupposes the proper grounds and name for knowledge, understanding, and being; speaking the proper words and identifying a proper way, reproducing a story of the [I] and the [You] instead of the [We/arth]. Feminist activist and coalitional work still have some unsettling of the settled to do, and deep rhetoricity can aid in such endeavors. 

Feminist coalitional work can benefit from deep rhetoricity insofar that it thrives in the complexities, complicatedness, and messiness that comes with friction. In fact, the epistemic principle of enduring tasks underscores the anticipation of that. For me, the wor(l)ding of a future of the [We/arth] complements Fanon’s vision for a building of the world of the [You]. [We/arth] unsettles the barriers between us and that future by embracing how [W]e all need to give an [E]ar to what lives in our bones [/] and both re-introduce (co/re)-invention as [A]rt and be receptively generous to each other and the [Earth]. [20] And yet, it nuances the [You]. First of all, wor(l)ding is what we do in WRS, because wording is human work and worlding is a human project. [We/arth], second of all, unsettles the settled-ness of proper words and identifying a proper way. It holds that rhetoric matters because it demands an engagement not just with human beings but with everything that surrounds us—[Earth]. To have [We/arth] in common is to value the possibility for commonality and radically reframe the worth (intentional homonym) of a gift in the non-name of all and for the sake of all Matter living-on [sur-vie] and flourishing otherwise 

Feminist Activist and Coalitional Work 

In this section, we, the coauthors of this essay, reflect on what feminist activist and coalitional work means to us and what it can look like. Our reflections do not attempt to settle on [A] definition of feminist coalition-building but rather underscore the importance of thinking-and-being-with others (inheritances, dwellings, ghosts, people, non-humans) otherwise. Our reflections below highlight feminist Ribero and Arellano’s concept of comadrismo at best and at the very least our aspirations for the wor(l)ding otherwise.  

Gesa: The feminist activist principles we describe in the introductory section of this essay have become integral to all courses I plan, design, teach, revise, or re-envision. For example, in the course discussed here, Writing the Archives, I center the readings, assignments, research methods, and research projects in feminist pedagogical principles. Although the class did not have an explicitly feminist theme, feminist activist principles inform my course design and presentation, including readings selected, questions raised about research methods, emphasis on reciprocity, respect, collaboration, and dignified relations with participants, as well as discussions of differences between stories-so-far and the possibilities of new stories. Moreover, my goal is to invite students to make meaningful contributions to new or existing archives; to consult, collaborate, and build coalitions with community members whose stories and lived experiences became the subject of their inquiry; and to contribute to conference panels or scholarly publications (such as this article). 

Valeria: Coalition-building means and manifests itself through many different ways in my life. I am the start of a new generation in my family, I was the firstborn of the fourth living generation. Every time I go home it is essential to me to come to where my family started. I ask to be taught about the struggle, the sacrifice, and all the work done. I constantly visit the house where my grandmother was born. That’s where everything started. To me, it is the house that reminds me of why I need to keep going. Feminist activist and coalition work to me is paving a path for all the women in the world who are underrepresented and come from similar backgrounds as me. We are incredibly hidden in important professional sectors such as the finance field. I emphasize this because the journey I am currently on has not been easy. Coalition-building to me is sitting down and listening to the several two-hour interviews I worked with and making sure every experience was documented correctly on the UofL’s Oral History Center website because I know what it is like to have your story be told incorrectly by others. Voices are important, and making sure experiences are transmitted correctly is even more essential to advocacy, inclusion, and trust. Coalition-building is the reason why the organization Pathways to Citizenship, a 501(c)3, is now a priority in my life. Pathways to Citizenship’s mission is to help undocumented individuals navigate the complicated legal and cultural pathway to citizenship in the United States. It is essential to give back to my community and contribute to the success of the Latinx community in the United States as well as in Latin America. Every year, I distribute educational resources, food and clothes to my community in Pereira, Colombia. It is important for me to take the time to invest in others who were born into my same struggles. My success is measured through how many lives I impact, not how much profit I can make. Coalition-building to me means I do not win unless the people around me do too. 

Nicole: What feminist coalition-building means to me is to be able to build not only strong but also meaningful connections with the people and communities I am working with which in my case were the Sisters. Feminist activist and coalition-building work means you’re able to find common ground and help each other in a mutual way, although sometimes you may be working with diverse communities and/or people. This was how it was with me while working with the Sisters that although a community themselves, as individuals they were extremely diverse and complex in the best of ways. I was able to learn from the Sisters while also being able to help them add to their digital archives. It was a mutual exchange and was a building of feminist coalition from both ends. To have successful feminist activist and coalitional work I wanted to represent and advocate for the Sisters. While carrying out my work this meant being able to make sure not to speak for but on behalf of the Sisters, what they shared with me was their truth and stories that I was granted access to share with others; the Sisters held the power in their voices and what I shared. I wanted others to see the more intimate side of the Sisters they don’t always get to share, and what made this feminist coalition-building really special for me is that because the Sisters are so diverse, they advocated for many other communities along with the feminist community which meant we were able to do some coalition-building for those communities as well. I always wanted to make sure that everything I did with the Sisters was done with dignity and respect. 

Within my project feminist coalition-building looked like working continuously with the Sisters and constantly asking them for their feedback. With everything I did I worked closely alongside Professor Caldwell who gave me honest and very useful feedback. As a Professor and Sister themselves, their feedback meant a lot to me as they saw both perspectives and were the blend within the two parties involved. While interviewing the Sisters I made sure to not only ask my own questions but also give them the opportunity to share what they wanted to say and allow them to have liberty within the project so it wouldn’t be just a script. The coalition-building did not only come off from my end but it was a collective effort to do what was best for all involved; most importantly, the Sisters and their individual stories were the center of it all.  

Romeo: At the heart of feminist rhetorical practices is an ethic, ethos, and praxis of unsettling the settled-ness of societal, cultural, and/or communal mechanisms of oppression, repression, exclusion, and erasure. Several examples in English and Writing and Rhetorical Studies come to mind that speak to coalition-building and efforts to undertake the [R] project (rescue, recover, recognize, reinscribe, and represent) in order to restore women to rhetorical history and rhetorical history to women: Walking and Talking Feminist Rhetorics (edited by Buchanan and Ryan), Rhetorica in Motion (edited by Schell and Rawson), Available Means (edited by Ritchie and Ronadl), and Feminist Rhetorical Practices (Kirsch and Royster) among others. I think Ribero and Arellano capture the connecting threads across these projects when they advocate for comadrismo. If coalition-building is going to mean anything it must include networks of care, mindsets of no te dejes, relations of trust, reciprocal empathy, and most of all love. I think of my Grandma and her comadres in this case, who exhibited for me an awaiting (“ojalá”): a hope without guaranteed predicate, a hope for that which may or may not arrive.[21]  

Grandma and her comadres were more than ready to carry out work for an-other (me) without ever any certainty or guarantee for what it might yield. Not only does this speak to the ethic of paying it forward but also underscores the ethos and praxis of (rhetorical) poder y fuerza. Royster might refer to this as rhetorical prowess, but a more appropriate phrase might be a no te dejes mentality. It is best captured by the words of my Grandma, “¡No dejaremos (terconess) que cualquier cosa o persona nos trate comoquiera. Porque si lo dejas, ya valio!” That is the personification of poder y fuerza, which is not predicated on pre-commitments to idioms of resistance, subversion, and re-signification of hegemonic norms but rather reflective of the complexities of reality and to political realities; we do despite hauntings and in spite of gaining meaning from haunting situations. In other words, haunting(s)-situation(s) enable and create our capacity for action. I am not sure if the comadres I know would refer to themselves as feminist but that is not the point. Here, the point is the ethic, ethos, and praxis of coalition-building that strives to engage in a wor(l)ding of futures otherwise. And that is work worth undertaking. That is the work I hope can live-on [sur-vie] and flourish beyond our immediate settings and contexts. 

Concluding Thoughts, Visions for a Future, Otherwise  

Our goal in this essay is to open up a conversation on the outward facing aspect of deep rhetoricity and advance a relational framework of being-and-thinking-with others otherwise. The epistemic principles of a return situates us squarely on ways of walking and seeing the world; careful reckonings is a coming to terms with understandings of being-and-thinking-with others and reciprocity; and being-and-thinking-with is a commitment of unsettling the barriers between us and a future of mutual wor(l)ding. Our discussions strive to animate these outwards epistemic principles of deep rhetoricity amid troubling times and pedagogical challenges. In all sincerity, we have no remedy, nor do we offer a how-to guide to do this work. Yet, we believe that the concept we lay out and the outward principles we have tentatively sketched out amplify the demand to learn how to be-and-think-with each other otherwise.  

As the examples from García’s and Kirsch courses illustrate, instructors always already stand at the nexus of stories-so-far and the possibilities of new stories. As García illustrates, this is an enduring task, a call for an intervention, when we become too comfortable in the settledness of our assumptions and our communities. We must continually ask, where are the lessons of ethos and praxis being proposed from?  To be-and-think-with another, at least as conceived in this essay, is to engage in friction: an opportunity for non-humans (people, stories, knowledge) to come together and get to work. At times, to channel Corder, it will feel like we as educators are plunging on alone and that we might have to continue to do so as friction becomes resistance. In those instances, the barriers between us and a future of mutual wor(l)ding becomes muddy. But unlike the scenarios Corder plays out in his essay, educators do not have the luxury to walk away. In such instances, all we can do then is be the fly in the elephant’s nose. That too is a form of unsettling the barriers between us and a future,  

As Kirsch’s students so eloquently narrate, the enduring task is one of making ongoing commitments to relearn to be with ourselves, others, and communities otherwise, a call for invention and co-invention. As Salazar’s and Guevara Fernandez’s research projects illustrate, taking seriously questions of ethos and praxis–reflecting on our own commitments–and of reciprocity–how we might engage with and contribute to those whose lives we study and document–will lead us to co-create spaces/ places that allow for possibilities of new stories, for creating coalitions of solidarity, and for committing ourselves and our work to bold visions of the future. If the research, ethos, and commitments of up-and-coming scholars like Guevara Fernandez and Salazar is any indication, we are well on our way to overcoming the barriers that might stand between Us and that Future. 

 

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Endnotes

[1] See Till (6).
[2] See Mignolo, Darker Side of Western Modernity (xvi).
[3] See Brasher et al. (292-294); A. Gordon (184; 190); Maldonado-Torres (262); Rushdy (33; 57; 174).
[4] See Alcoff (70-71; 76); A. Gordon (190); Derrida (46); Mignolo and Walsh (170).
[5] See acknowledge Cusicanqui (98-104); Fukushima (14-15); Tlostanova and Mignolo (7). 
[6] But as Spivak would say, “all complicities are not equivalent” (63; 59).
[7] See A. Gordon (5); Maldonado-Torres (251);  Corder (23; 25; 31); Lorde (409); Fanon; Lugones; hooks (67).
[8] See Mignolo, “Epistemic” (3)
[9] See Tlostanova and Mignolo (7).
[10] See Derrida, SoM (xx); García, Making it Out (Under Contract, Utah State University Press).
[11] See Corder, “Argument as Emergence” (17; 23); Lorde, “There are no Honest Poems” (409); Maldonado-Torres, “On the Coloniality” (260).
[12] See Endres and Senda-Cook (260).
[13] See García (2022a); García (2022b).
[14] See Dussel, Quijano, and Mignolo for conversations on instruction, curriculum, and pedagogy.
[15] See García, “Personal and Collective Memory.”
[16] See Mignolo, The Idea of Latin America (151): “The ‘idea’ of America’ is not only a reference to a place,” but that which “makes it possible to transform an invented idea into ‘reality’” (The Idea 151). 
[17] See A. Gordon (10).
[18] See Dussel on Other-as-Same (12; 32; 34-36; 39; 44-45).
[19] See Tsing, Friction (4; 5; 6); Mignolo (“Delinking” 498); Tuck and Yang (21); Tsing, In the Realm (31); Tlostanova, “Can the Post-Soviet Think” (40); See Giddens (171); Villanueva, “Blind” (10); Villanueva, Bootstraps (121); Blommaert and Huang (271); Endres and Senda-Cook.
[20] Upon a Google search, and finding the project Wearth, I decided to align my acronym with theirs as it underscores my aim with [We/arth] (https://www.wearth.eu/).
[21] See García and José Cortez (105).

Rhetorical Resilience and Righteous Discontent in Eurasia: Female Students Leading the Way

On a sweltering July day in 2022, we had found refuge in the air-conditioned living room of Sona’s home in Yerevan. The Armenian apricot season was underway, and the table, elegantly dressed in red cloth with small, embroidered crosses, featured a fruit bowl as its centerpiece. The crystal vessel was overflowing with apricots, peaches, pomegranates, and last-year apples.  

We were getting together to talk about our feminist academic work. Four of us, women at different stages of our personal lives and professional development, felt connected because of the work we were doing at the American University of Armenia (AUA) and in the community. Lilit, a recent AUA graduate, had produced a feminist film that revisited ideas from Soviet Armenian cinema. Nairy, a Lebanese Armenian junior, had composed one of her final course projects on how traditional marriage practices in Armenia and Lebanon infringe on women’s rights and dignity. Sona, a Kuwait-born Armenian senior student, had developed and delivered a TED talk on women’s health and reproductive rights in Armenia. I, a professor at the English and Communications program, have been doing research on the rhetorical practices relative to gender roles of Armenian rural women who are left behind by their husbands for seasonal labor migration.  

Lilit, Nairy, Sona, and I felt connected over the work we have done together and the experiences we have shared. In the last years, we read, discussed, and wrote about feminism in the world and in Armenia in classes and outside them. We bonded during Covid-19 isolation using online platforms. We cried together at memorial ceremonies during and after the 2020 Artsakh War–a military conflict between Armenia and Azerbaijan over the beautiful mountainous region of Nagorno Karabakh. The war came upon us unexpectedly to steal thousands of young lives, our friends and students among the victims. We survived Covid. We survived war. These experiences made us stronger but also closer and even more connected through our common interest in issues related to women, despite our differences in age, origin, and professional development. We felt we were part of a community where everyone had the right and space to voice their own opinion. We felt empowered together. We read more, we discussed more, we did more for women’s rights in the unique context of Armenia and its history.  

The four of us had built a relationship over the years that offered a safe space to share stories and learn from each other’s experiences while also drawing connections to the scholarship. In our classes, we often combined autoethnography—analyzing our own personal narratives in relation to larger cultural phenomena[1] —with discussions of theory to effectively link the personal experience of students to a wider cultural experience and more abstract ideas. As a teacher, I always found this approach to work well—once students were allowed to share their own stories of oppression, it was easier for them to understand ideas that often remained abstract when presented in foreign social contexts. Lunceford also reminds us that people are unlikely to care about theory without emotional investment in the text, and autoethnography can bridge caring about a person to caring about an issue that is part of their lived experience.[2] As an instructor and moderator of conversations in the classroom, I thus follow the lead of Sara Ahmed who encourages us to start “close to home” in order “to open ourselves out.”[3] I try to create an environment which allows for a safe exchange of local experiences of struggle and resistance that we can then add to the chain of global histories of activism and thought. The conversation that follows, part of my autoethnographic approach to teaching, has the same goal—to add student narratives to the canvas of global feminist resistance and inscribe them into a wider activist movement toward resilience.  

Feminist activists in and outside the classroom, my students and I actively practice what social scientists call ethnomethodology—the study of real-life activity, including the study of discourse—to find connections to bigger cultural phenomena. Using a cognitive-process model in combination with a constructivist approach, [4] our conversations in the classroom intend to explore real-life situations and challenge, rather than perpetuate, the cultural norms that produce oppression. Deborah Brandt dubs an ethnomethodological approach to composition as sociocognitive, a much-needed empirical method that allows us to understand reading, writing, and (I would add) dialogue as aspects of the social structure of literacy while she views literacy as a cultural activity[5] . A hermeneutically trained scholar of composition, Brandt sees writing as interaction between context and cognition, society and the individual. [6]   

Feminist social science scholars have used ethnomethodology to see how women “do class,” [7] or to explore the social organization of race.[8] Black feminists[9] have used autoethnography as a method of resistance to challenge the American mainstream historical narrative. Furthermore, teachers[10] have seen autoethnography’s pedagogical possibilities as a critical method in the classroom allowing to explore race, ethnicity, gender and sexuality, religion, ability, class in order to “trouble boundaries,”[11] to challenge the borders of identity, [12] and to give voice to oppressive silences. [13] Using autoethnography in the classroom and beyond helps evoke reciprocal relationship with audiences, inviting participation and a sense of responsibility. [14] Finally, autoethnography can be rhetorical when it draws on experiences that are relative to a rhetorical transaction with the purpose of engaging the audience and seeking response and participation. [15]  

In this conversational piece, we employ rhetorical autoethnography as a critical method to embed personal lived experiences of female oppression within a larger sociocultural framework, thus connecting the local to the global, the personal to the political, and the private to the public. We believe that the shared stories will emotionally appeal to the audience in ways to make them partial to an argument relative to feminist resistance. We hope that our conversation will evoke engagement in two rhetorical transactions: one starting “close at home” and working “to open ourselves out” and the other (intended for those coming from other sociocultural contexts) offering a glimpse into a local manifestation of a global feminist project—coalition-building for feminist resistance to systems of oppression.  

—— 

On that hot July day, Lilit, Nairy, Sona, and I got together again to talk about some new ideas and see how they related to our current work. Sona’s mother had just served lemonade. I took a sip of the refreshing drink:  

Elitza: We proved we are resilient by making it to Sona’s lovely apartment without fainting with the heat. Our resilience was certainly fueled by a determination to fulfill our feminist mission. 

Sona: It is interesting you think of it this way. Your comment takes us straight back to our last discussion about feminist resilience.  

Elitza: Yes, you are right. We defined feminist resilience as a product of conscious and persistent feminist resistance, and we looked at its dimensions: physical, material, and even bodily, [16] as well as linguistic, [17] but also emotional. [18] We often can be resilient in one of these ways but then fail in the others. In all of your feminist projects you have shown how Armenian women can be resilient in material, linguistic, and emotional ways.   

Sona: Feminist scholars use the term resilience in a sense to describe communities taking action together toward addressing social injustice, inequality and oppression. With our work here in Armenia, we try to achieve all of the above. As we work with language, our resilience practices are within the scope of rhetorical strategies because we are trying to paint a picture about the ways women are oppressed and experience social injustice in the context of our culture.  

Elitza: As feminists, we have to be rhetorically resilient. As we were reading the book by Flynn and her collaborators, we decided to think of rhetorical resilience as a practice that is communal, relational, and social. How do you think your work and experience fits within our working definition of feminist rhetorical resilience? 

Lilit: I believe our projects resonate within our definition of feminist rhetorical resilience. Feminist scholars refer to the Greek term mêtis, which they define as a force that combines creativity, opportunism, and even deceit to create situations that allow for seizing chances and utilizing potential.[19]  

Sona: That’s right, Lilit. My personal story illustrates well the idea behind mêtis. A couple of years ago, I was diagnosed with Polycystic Ovary Syndrome (PCOS), a hormonal disorder that affects women’s reproductive health. At the time, research on this condition was relatively new in the medical world, so, naturally I went to different doctors to understand more about the effects this condition had on my health. PCOS is caused by an imbalance of hormones, and women struggle with infertility. In Armenia, women’s reproductive capacity has become the main marker of the Armenian nation’s survival and the primary measure of authenticity and traditionalism in maintaining national identity. [20] This is why infertility is seen as a huge struggle for a couple to have. In some families, if the couple struggles with infertility, women are blamed for it. After my diagnosis, what really caught me by surprise was the advice from my female doctor. She advised me to hide this condition from my future husband. As a woman, she was only looking out for me. When I asked why, I was told, “After learning about your condition, your partner will not want to marry you.” This followed countless stories I heard of married women secretly taking hormonal pills to conceive, or young women getting divorced, or breaking off their engagements because their partner and their families found out about their infertility struggles.   

Nairy: Actually, last year, I had to visit a gynecologist because of my irregular menstrual cycle, and the very first thing she asked me was if I was married. I believe this was a “safer” way for her to inquire if I was sexually active or not. Advice like that by your doctor, Sona, can be quite devastating, especially since you heard it from a professional, who is supposed to look at your case on a medical level and not on a cultural one. Hearing such advice from friends and family members is also very unpleasant—they are supposed to accept you no matter what. How were you able to stay resistant and strong after being urged to not disclose your condition to others? 

Sona: It was very difficult, Nairy. I was stuck with the uncertainty of not knowing what this condition appearing in my life meant for my future. Feminist scholars define that resilience recognizes the need for flexibility and adaptation in situations characterized by change and uncertainty (Youssef and Luthans). For me and my circumstances, it wasn’t just about dealing with the condition but facing the stigma around it, which is why I decided to talk about it in public. In Armenia, traditional perspectives hold a strong influence over Western notions of modernity and feminism. It is a society deeply rooted in patriarchal values. Women are regarded as mothers, caretakers, and protectors of their home.[21] Their roles in our society continue to be confined to their reproductive function. I decided to share my experiences with a wider audience. On April 30, 2022, I gave a TEDx talk about my condition and its effect on my life and tied it to being resilient when faced with uncertainty.  

Nairy: Telling our stories of vulnerability to anyone is challenging, let alone talking about them in a public setting. This is especially true in our culture where we are forced to stay silent about issues related to women’s health. Was there anyone who encouraged you to tell your story? Anyone you looked up to? 

Sona: Yes, of course. Growing up, I always associated resilience with my grandmother. She suffered from a spine injury, and she could barely walk. Despite that, no matter how difficult it was for her, she would get out of bed and help the family when she felt she was needed the most every single day. Feminist rhetorical resilience is seen as communal, relational, and social. It is often perceived as a psychological trait, not a rhetorical action.[22] But it is not simply about individual strength. In my case, it wasn’t just my grandmother’s strength that motivated me to tell my story, but the stories of so many young women who are ashamed of talking about their PCOS struggles. Popular understanding of resilience envisions heroic individuals performing acts of resilience. But I think it is not like that. Acts of resilience are more communal and relational. Also, it was emotionally very challenging for me to show this part of my life to the public. I didn’t know what the response would be. I didn’t know if it was the right move.  

Elitza: Not only that it is the right move, but it is a recommended move for all women who find themselves in precarious situations. This is how we develop rhetorical agency—though rhetorical engagement—and with that, you perform resilience. As Flynn, Sotirin, and Brady explain, resilience as a form of rhetorical agency “begins from a place of struggle and desire.” [23] You wanted to have your story heard and made it available to the community. I remember how difficult it was for you to open up about something so personal when even your family was not ready to hear you speak about your infertility issues in public. 

Sona: Yes, it was difficult. A couple of days before the TEDx talk, I was telling my mother about  my speech. She was worried about my reputation as a woman in Armenian society. 

Lilit: How did you deal with your mother’s concern about your reputation? Armenians live in tight-knit communities. It is very difficult for parents to see their daughter’s reputation compromised. This precludes her chances of getting married and threatens the future of the family line.  

Sona: You are right. It was not surprising that my mother agreed with the doctors because she was worried about my marriage prospects. She didn’t understand why it was so important for me to talk about it in public. I knew where her concern was coming from, but I also understood that if I didn’t speak about it, it was highly unlikely that anyone was going to do so because of the stigma around the topic. Feminist scholars think of resilience as seizing an opportunity even in the most oppressive situations. They see resilience in the form of a small step toward chance, acting in the face of impossibility, and finding strength in vulnerability [24] .   

Elitza: Your story is a great example of what female rhetors call righteous discontent. Shirley Wilson Logan borrows the term from historian Higginbotham—who developed it in her study of Black Baptist women movement at the turn of the 19th c.—and appropriates it to address contemporary women’s issues. Logan applies the notion to rhetorical situations in which women speak about social injustices with a moral authority, strongly believing that they are correcting these injustices. [25] She thinks that the rhetorical situation of women today and in the 19th c. are not that different, and therefore they use similar rhetorical strategies. [26] Logan recognizes three manifestations of righteous discontent: 1. Telling the stories of people, 2. Invoking the past, and 3. Establishing a common identification. Sona, you have managed to tell your story, invoke your past experience and, with that, the experiences of many other women. I’m curious now about the reaction of the community after your talk. Did any women identify with your story? 

Sona: After the TEDx talk was published online, many women in their twenties reached out to me. They warmly embraced me and thanked me for speaking about my condition so openly. “Not many women speak about this,” I was often told. Some shared that they were on different hormonal pills, while others, like me, were told by their doctors, “When you get married, your condition will disappear.” This was an indirect way of the doctors saying that your hormonal imbalance will fix itself if you are sexually active. The women I spoke to were frustrated and found it absurd that they had to wait until marriage to take care of their health. “What if I don’t want to get married?” one asked. I empathize with all of them because the stigma and shame around the condition forced them to hide that part of their lives. We have had conversations about different treatments and how we can help one another. I believe we established a form of identification in the same sense as Burke sees identification endemic to rhetoric. These women and I have established common ground and a shared understanding of what needs to be done. As I explain in my talk, resilience is bolstered by the identification with others, especially when we speak about what we, as women, struggle with the most.   

Resilience shapes the relationships among ourselves and others, speakers and audiences too. Before getting on stage to deliver my talk, the TEDx event organizer approached me and said, “If you get emotional on stage, pause for a moment, if you need to, and take it all in. Remember that the audience will appreciate your vulnerability.” I always get goosebumps when I think of the moment I had to follow her instructions and pause because all my emotions were welling up inside me. And then I heard the applause—the understanding and appreciation of the audience. That’s when I truly realized that the audience and I had established common ground. My fright disappeared. Instead, resilience became the stepping stone in my relationship with the listeners.  

After the talk was published by TEDx, the response completely transformed my life—I realized how many women like me empathized with me and felt empowered as a result of my public speech. Feminist resilience is transformative — it changes the way a life is lived. It can be creative and can come through a suitable rhetorical resource in the form of music, film, family narratives, performance and more. The stories women tell should also address wider audiences, not one’s immediate community. That’s how as feminists, we can develop a bigger rhetorical agency.  

Elitza: Telling our stories to transnational audiences is crucial. In her famous book Bananas, Beaches and Bases, Cynthia Enloe makes an important statement about international politics in relation to women’s issues across the globe: analyzing international politics must include the visibility of women and, even more importantly, their analytical visibility. That means that women affect politics even when they are not actively involved, but it mostly means that we should be aware of the ways in which governments depend on the control of women as symbols, consumers, workers, voters, etc. Enloe asserts that power is gendered and, therefore, women’s stories matter to the crafting of politics across national borders. I remember that a couple of years ago when I met Nairy, she was telling me about women in her Armenian village in Lebanon and how their stories of oppression were similar to those of women in Armenia.  

Nairy: Yes, it has been only recently that I realized how the cultural rites in my village of Anjar in Lebanon were similar to those in Armenia in the way they institutionalize female oppression. When I was a child, I was introduced to the Armenian tradition of Hinoum. The ritual takes place one night before the wedding as a major celebration and involves all guests. Central to the celebration is a tray containing henna, decorations, alcohol, and a red apple. Every unmarried woman is expected to take a bite from the apple. The red apple is a symbol of the bride’s virginity. By taking a bite of it, every girl is marked as a virgin, and later their pinky fingernails are also painted red to announce their purity as virgins to the community and maybe thus attract fellow suitors. As a child, it was all fun and games until I realized how the ritual was actually indoctrinating women into patriarchal society as it was teaching us children about its ideals–in this case, celebrating girls’ virginity as a critical part of the wedding ritual. And we were expected to accept it simply as a tradition in our culture. And we did accept it because we were children and not aware of its deeper meaning. And when I started asking my female friends about it, no one knew why they took a bite from a red apple. Some of my girlfriends were told that by participating in the apple-biting game they were receiving a blessing to get married. The response by itself reflects the patriarchal expectation of young women to be wed as unquestionable. 

Elitza: It is so interesting how cultures are political even in their rituals, and how girls are taught to behave within the norms of the traditional society from early childhood. From a rhetorical perspective, it is brilliant—the whole community teaches their female children how to be good daughters and good wives by having them participate in a ritual symbolic of ideal womanhood. I wonder what happens when women resist the traditional norms and engage in premarital sexual intercourse. What do their families do? 

Sona: The act of premarital sexual intercourse is seen as a violation of societal norms, religious beliefs, and traditional family values in Armenia. It leads to disapproval, conflict, and strained relationships within the family which may involve verbal abuse, isolation, or even physical abuse. In such cases, many Armenian women resort to surgical operations to reconstruct their hymen and safe face. This way they can go back to meeting the traditional requirements for the ideal woman and partake in community life with restored dignity.  

I remember that in my Gender and Social Change class we read a report on the first sexual intercourse of women and men in Armenia. The 2015-2016 United Nations Health Survey Report shows that Armenian women, if asked whether they had a sexual relationship before marriage, 99.3 % out of 1,830 surveyed women answered negatively. On the other hand, only 46.9 % out of 1,190 surveyed unmarried men claimed that they have never had an intercourse with a woman. It is significant that only 0.7 % of the interviewed women felt comfortable to admit that they have had sex before marriage. While the report does not analyze this data, I think the numbers suggest something about the bias of the female respondents to the question since a positive answer may harm their reputation in the community.   

Nairy: This data illustrates well the point we are trying to make, Sona. Women in Armenia don’t have the right to their own bodies. They seem to be fully aware of it. They know they cannot share in public anything that is not in line with the tradition’s rules. And traditions relative to virginity are not only endemic to Armenia. They are present in some other cultures as well. While reading about virginity rites, I came across an article by ethnographer Iklim Goksel on squatter settlements on the outskirts of the Turkish capital Ankara. In these poor neighborhoods, women undergo a procedure to reconstruct their hymen to “be a virgin again” in order to be able to get married. [27] These women are mostly illiterate—they cannot read or write. They must take different strategies in order to go on with their day-to-day activities which require reading and writing. I found it interesting that in order to get married, they need their index finger dyed black to be able to sign their marriage certificates with it.  

I could not help but notice the analogy between the Turkish case and the tradition in our culture of painting the pinky finger’s nail red during the wedding ritual. The colored mark becomes a symbol of women as illiterate in the first case and women as virgins in the latter. In both cases, it is about marking women or, rather, labeling them, or even branding them, like animals. Their bodily rights have been violated but—because the mark is already a symbol—they have been also labeled as incapable of communicating on their own using oral and written language. Empathizing with these women for the violations of their human rights, Goksel sees in their actions a different type of literacy. For example, she describes the process of searching for a place and physician to do a hymen reconstruction as a form of resilience as well as a form of literacy. However, like Western anthropologist Elizabeth Chiseri-Strater who was doubtful of Goksel’s argument, I also disagree that this can be considered a form of literacy. I’d rather refrain from referencing such practices as a literacy event. I see the actions of these women more as a survival strategy to which they resort in order to continue living respected in the community. 

Elitza: But isn’t that a form of literacy as well–learning how to read the culture so they can survive in it? Goksel lists all kinds of vernacular literacies related to everyday life activities –from going shopping, to organizing gatherings at their houses to gossiping. Women in such poor neighborhoods engage in all of them and, in this sense, are literate in these activities. In the case of hymen reconstructions, women need to find ways to seek a physician who can perform the surgery outside of their community for obvious reasons. With that, they need to invent strategies, discover how to engage in the given tasks, develop relationships, etc.  

Nairy: I fully understand Goksel’s point when she references Edward Said’s concept of Orientalism. She suggests that Western scholars, even those who study cultures, are tempted to essentialize and look at other cultures with a Western lens. Goksel accuses Chiseri-Strater of reinforcing an Orientalist paradigm on her ethnographic study, which Goksel explains was contextualized within a specific part of Turkish culture. However, I believe that Chiseri-Starter did not have these intentions because this is about violation of women’s rights to their own bodies, no matter where they live, in the East or West. And traditions of virginity should not violate women’s rights either. 

Elitza: Can the practices of hymen reconstruction among these Turkish women be considered an act of resistance to the norms that violate women’s rights? When they repeatedly resist the patriarchal rules, don’t they, in a sense, show resilience to the violation of their human right to make a choice regarding their own body?  

 Nairy: I think that their arduous endeavor can definitely be considered an expression of resilience. Flynn and her cowriters assert that “resilience suggests attention to choices made in the face of difficult and even impossible challenges.” [28] These Turkish women choose to get hymen reconstruction in order to be considered pure again as virgins and they meet the demands of a patriarchal society. 

Sona: What about the case of Lebanon? Have you noticed any form of feminist resilience there? 

Nairy: Actually, during my recent visit I was lucky enough to be invited to a wedding and took it as a chance to observe and think about the ceremony. During the ritual of Hinoum, the guests were offered an apple on a tray. I was shocked to see that everyone, regardless of their gender or marital status, took a bite from the apple! I do not know if it was because they were not aware of the hidden meaning of the tradition and did not see that the apple serves as a symbol of female subordination and oppression. They did not seem to understand that participation in the ritual indoctrinates one into patriarchal norms. I did not take part in Hinoum and thought of my resistance as a success story, a step toward resilience against traditions that perpetuate female oppression. 

Sona:  I do believe that resisting participation in such ceremonies could be a way toward gradual dismantling of these traditions either consciously or subconsciously. We have a similar tradition in Armenia. It is really concerning because women here, too, are deprived of the right to make choices regarding their own bodies. They need to follow specific social norms and traditions in order to maintain their reputation in society. When I first heard about the Red Apple, I was horrified. Nairy, can you tell us more about the Armenian version of this tradition?  

Nairy: In Armenia, people practice the Red Apple tradition as a rite of passage for women who are getting married. When I first walked into your apartment, Sona, I noticed the fruit bowl on the table, specifically the red apples. Before doing my project on marriage traditions in Armenia and Lebanon, the red apple was just a piece of fruit for me. Now it has changed its meaning.  

Elitza: What does the red apple mean to Armenians? 

Nairy: The Red Apple tradition is an Armenian tradition that celebrates a bride’s virginity by a basket of red apples. Armenia society, who is quite religious, has strict rules on virginity and premarital sex like the Christian doctrine stipulates. In the Bible, the original sin of Adam and Eve is represented through an apple—with one bite of the apple they lose their innocence, that is sexual innocence. The Armenian Apostolic Church has strict rules on sex before marriage, where they view virginity as a form of purity. In short, being good Christians, Armenians preserve the Biblical symbols in their traditions as they practice them today. On the wedding night, or sometimes on the second night, the newlyweds are expected to have a sexual intercourse for the first time. The following day, the mother-in-law inspects the sheets of the bed where the bride and the groom spent the night. The anticipated scenario is for her to witness blood stains on the white sheet signifying that the hymen of the bride was broken, hence she had been a virgin. The groom’s family then sends a celebratory basket of red apples to the parents of the bride to congratulate them on having a pure daughter. If the blood stains are not witnessed, the marriage could end without even properly starting, and the bride’s family is shamed. There are cases in which the marriage lasts only for a day because the bedsheets did not feature blood in the morning.[29] When I learned about this, I was so shocked until I saw the similarities between the Armenian red apple tradition and that in my town in Lebanon. 

Elitza: Your findings prove that women face similar issues across national borders, and to be resilient, they need to be creative in their rhetorical strategies. As Logan reminds us, the rhetorical situations of women are similar regardless of time and geographic differences. The contexts may differ significantly, and within that, the choices we make to develop an argument against patriarchal structures differ too, but the strategies remain the same. This reminds me again of Cynthia Enloe’s book on women’s importance in politics across borders. Her conclusion carries an important message: The personal is political. And vice versa, the political is personal. Enloe recommends that we pay attention to the fact that, in a globalized world, personal relationships have been politicized. Allegedly private personal relationships have been “infused with power that is unequal and backed up by public authority.”[30] In Armenia, women’s personal relationships with men have been governed by patriarchal norms but also by state politics, which has, in turn, been influenced both by the Soviets and by the West in recent years. When I was working with Lilit on her capstone project, she thought a lot about these influences. Lilit, can you tell us more about your film Section of Fairy Tales as you discuss why you chose to focus on the relationship between men and women in Armenia? 

Lilit: I’ve always thought that films have a lot to say about a country’s traditions and mindset in general. Movies can tell us about the relationship between men and women in a certain culture. Over the centuries, the role of women in respect to men in Armenia has changed dramatically, but in the last century, Soviet culture influenced it the most. During Soviet times, women were encouraged to partake in paid labor and participate in public life, but at the same time, the Soviets also promoted the image of women as mothers and household carers.[31] In the post-Soviet period since 1989, women were pushed back into their traditional roles. They were expected to be good wives, homemakers, and mothers—not only in the family but on the national level, too.[32] In her article “Motherhood as Armenianness”—you already referenced it earlier, Sona—political scientist Sevan Beukian observes that women were perceived within an ethno-nationalist discourse as “biological (re)producers of the nation as mothers.” [33] I was really interested in exploring how during the Soviet period in Armenia, traditional patriarchal and Soviet “modern” female ideals were enmeshed to govern women’s behavior in public.  

Nairy: I am always intrigued by films and specifically their language with regard to ideology. I believe that cinema is a very powerful medium that reinforces ideas for the better or, sometimes, for the worse. Actually, growing up in Lebanon, I didn’t learn much about Soviet Armenia even though I attended an Armenian school. I wonder how women were portrayed in Soviet films. Did their presence and presentation reflect the reality? 

 Lilit: Soviet Armenian cinema offers an array of memorable female characters. However, there are very few films that revolve around female protagonists. Women are often portrayed as secondary characters that complement male protagonists in their role as a mother, daughter, or love interest. For example, one of the most popular roles of the famous Armenian actress Verjaluys Mirijanyan is when she plays the wife and mother in Bride from the West (Harsnacun Hyusisic 1975) by Nerses Hovannisyan. The husband in the film feels proud every time Arusyak, his wife, manages to accomplish her household duties. Moreover, in the late Soviet period (1970-1990), women in Soviet-Armenian films were desexualized as a result of the Communist government’s normative ideology with respect to private life in combination with prohibitionist social-sexual mores prevalent in Soviet Armenian society during that time.[34] Scholars like Azatyan and Kaganovsky have pointed to the detrimental nature of desexualized portrayal of women to cinematic love stories. I myself was intrigued by these realizations: women were playing secondary roles in films, and they never actively engaged in a love narrative in Soviet Armenian cinema. And in those few cases that included an intimate loving relationship between male and female protagonists, oftentimes female characters were portrayed in an extremely innocent and pure manner. 

Sona: I’ve noticed this too, Lilit. While I grew up in Kuwait, my parents, who lived in Armenia during the Soviet era, often watched such films where women characters were always secondary to men. I know about them too—A Piece of Sky (1960), The Tango of Our Childhood (1984), Khatabala (1971), Bride from the West (1975), The Men (1972), to list a few. Even today, the films are often broadcast on Armenian TV channels, and people continue to watch them. I remember when we talked about Judith Butler and her theory of performativity, we discussed the power of repetition and citationality to our social identities. We talked about how if we make meaning within repetition, then agency comes with the possibility for variations. Lilit, I have seen your film and know that you wanted to develop rhetorical agency for the female protagonist as you challenge the portrayal of women in Soviet Armenian cinema. How did you develop the idea?  

Lilit: Just like with your TEDx talk, I decided to practice what we discussed as righteous discontent. With my project, I wanted to retell a story that portrayed Armenian women from a well-known film produced during the Soviet years, which you just mentioned, The Men (Tghamardik 1973). The plot of the original film revolves around the main character Aram who tries to win over his love interest with the help of his close friends. I wanted to make my female viewers think about it from a different angle as they identified with the main character, a modern woman. A sexually appealing female protagonist, she acts upon her feelings and is not afraid to be the first one to approach the opposite sex to initiate a love relationship. 

Nairy: From a rhetorical point of view, this sounds very interesting. Rhetorical resistance in the language of cinema—is this what you did?  

Lilit: Yes, in my film, the main character—a young girl—tries out all the possible scenarios in her head and never gets the courage to speak directly to the boy she loves. Although the girl acts only in her imagination, it is already a huge step toward feminist resilience. In her book Traces of a Stream, Jacqueline Jones Royster describes the phenomenon best. She dubs critical imagination the commitment to making connections and seeing possibilities where there are none. It is a tool to see and rethink what is not there and speculate about what could be there. Royster encourages us “to look at what we know and reconstruct with critical imagination the worlds that might have been.”[35]   I end my short film with a call-to-action encouraging those who identified themselves with the main character to act, not wait and observe patiently. I invite all Armenian women to “say something.” I tell them simply, “You can’t just live in your head forever.” 

Sona: That’s a great message, Lilit. I wish they showed your film on Armenian TV channels instead of repeatedly broadcasting Soviet Armenian movies, which many people, like my parents, have watched so many times that they know the script by heart. I wonder what would happen if they showed Lilit’s film. What would our society’s response be? What do you think, Nairy?  

Nairy: That would be great. The film invites people to rethink their traditional views on gender roles. I believe that initially there would be some criticism, as expected of anything that challenges the norm. Change doesn’t happen overnight, but we should not be afraid of taking the first step. Sitting right here, right now, and talking about these issues together is already a step toward change. Maybe we were scared to voice new ideas a few years ago, but now we have developed more confidence and I believe we can become change-makers. I hope that Lilit’s film will be aired on TV alongside the old Soviet films soon.   

Elitza: Lilit’s suggestion for change in the relationship between men and women in Armenia is certainly a step toward rhetorical resilience. It is more. It helps build rhetorical agency here and now. Your projects and ideas, Sona and Nairy, too are contributing to the common effort. Like you in your inquiries, we need to follow Enloe’s example and worry about the personal first, knowing that it relates to the political. The moment we learn how to better investigate our own personal position to gendered power, how to develop stronger arguments and how to act upon them, we will be able to change the political locally, regionally, and even globally. The personal is political, and we are together working on improving the rights of women in Armenia, and by proxy, across the globe. Building coalitions of solidarity here and now can positively affect the life of women elsewhere. This is what we all are here for.  

 — 

Sona’s mother called from the other room, asking if we wanted more lemonade. We did not. “Shnorhakalutyun!” we thanked her. She came into the room and looked at us, puzzled. Her expression revealed that we must have appeared thoughtful or somewhat detached from the reality of her living room. She tried to bring us back: 

“Would you like some fruit?”  

Her slender figure gracefully glided across the room. Her hand reached toward the fruit bowl. 

“Let me treat you to the best fruit before you leave.” 

She picked a fruit from the bowl and lifted it in offering toward us.  

It was a shiny red apple.  

  

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Endnotes

[1] See Elllis and Bochner; more recently Poulos.
[2] Lunceford 8-9.
[3] Ahmed 58.
[4] For cultural and textual criticism approach to composition see Cooper and Holzman, or refer to Berlin’s and Bizzell’s scholarship. 
[5] See Brendt 317.
[6] See also Flower and Hayes.
[7] See Scharff
[8] See Whitehead
[9] See Griffin, Rodriquez
[10] See Queer Communication Pedagogy, eds. Atay and Pensoneau-Conway
[11] Johnson 84
[12] See Alexander
[13] See Glenn.
[14] Holman-Jones et al.
[15] Lunceford 17.
[16] See Fleitz or/and Shellenberger.
[17] See Glenn.
[18] See Ahmed and Canter.
[19] See Flynn et al.
[20] Beukian
[21] See Beukian.
[22] Flynn et al.
[23] Flynn et al. 7. 
[24] Ibid.
[25] Logan 35.
[26] Ibid.
[27] Goksel 107.
[28] Flynn et al. 1.
[29] See Poghosyan.
[30] Enloe 348.
[31] Eichler.
[32] Beukian.
[33].Ibid 252.
[34] Dmytryk, Azatyan.
[35] Royster 84.