tag:blogger.com,1999:blog-211655752024-03-10T20:46:22.012-04:00In the Middlepeace love & the middle agesCord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.comBlogger2569125tag:blogger.com,1999:blog-21165575.post-34463099336602255502022-02-25T16:28:00.001-05:002022-02-25T16:30:17.126-05:00The Medieval Modern and Carrying on through Grief<div><span face="Calibri, sans-serif" style="font-family: inherit;">by Cord J. Whitaker </span></div><div><span face="Calibri, sans-serif" style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><span face="Calibri, sans-serif">I am trying to order my thoughts today. They have been disordered by the specter of global war in a world where democracy is dying in the face of fascism, where a pandemic continues to bring humanity to its knees, and where my beloved cat has died. To carry on with everyday normalcy is a bit of a struggle.</span><span face="Calibri, sans-serif"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">In the past, during times difficult for the world and for myself, I have turned to medieval history. <i>Well</i>, I have thought, <i>if humanity, or a given society, or an individual, survived X—say, the Plague—then humanity, the United States, my family, or I can certainly survive Y—say, Covid, the upheaval of 9/11, the passing of a beloved patriarch, the death of a darling feline.</i><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">But today I do not feel like being fiercely, optimistically medievalist. It’s raining terribly outside, and I’ve had to turn away from global news sources for a few hours at least. Perhaps for the rest of the day.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">It’s good to see that others have been waxing medievalist, though. Such as the US Embassy in Kyiv, who posted the following on Tuesday:</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg3dRHjbWTdvatCrcwhyUYop3Sm0TCWozy6P_1ygM_WdW3TclFPFye-1aCx2JbnwyLpOWwGyB6vltIrUaiGgGz_59sN6llvhKe8Q2IphKJnBBqWe575cZ-zGdyr7nH1DJ4pokxnygV6zCATacmW7FKXk3isLtaM51tD6c23Ssuonm3tA2e9bNE=s1206" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1086" data-original-width="1206" height="380" src="https://blogger.googleusercontent.com/img/a/AVvXsEg3dRHjbWTdvatCrcwhyUYop3Sm0TCWozy6P_1ygM_WdW3TclFPFye-1aCx2JbnwyLpOWwGyB6vltIrUaiGgGz_59sN6llvhKe8Q2IphKJnBBqWe575cZ-zGdyr7nH1DJ4pokxnygV6zCATacmW7FKXk3isLtaM51tD6c23Ssuonm3tA2e9bNE=w422-h380" width="422" /></a></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">I’m not a Russianist, so I can’t speak to the accuracy of everything in the meme, but it’s brilliant trolling nonetheless. Because there’s nothing an autocrat like Putin, who blatantly revises history to his own ends, hates more than when someone laughs in his face. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">And speaking of laughter, here’s a pic of someone who has given me great joy over the years. Rest in Peace, Contessa Marie Curtis-Whitaker (Jan. 14, 2007-Feb. 24, 2022). Your fierce, fiery, yet cute and joyful spirit will always be with us.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiEQUkF2-3hg6eazQbvX_b8OO7ucp__vsJlwfGM1lxS3YCis3WaekVQP55re6sehadE-9NTlBR6Wf2EomlFGCiDUnRKbKrCZgiLC8axzb_LU8JZSt8RQh8auWiMhsthBGyW3XKHKF5mSOdcVtEukvFIShW9S73EhHPpFkHPaxw0luWgU6omp3A=s4096" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3267" data-original-width="4096" height="278" src="https://blogger.googleusercontent.com/img/a/AVvXsEiEQUkF2-3hg6eazQbvX_b8OO7ucp__vsJlwfGM1lxS3YCis3WaekVQP55re6sehadE-9NTlBR6Wf2EomlFGCiDUnRKbKrCZgiLC8axzb_LU8JZSt8RQh8auWiMhsthBGyW3XKHKF5mSOdcVtEukvFIShW9S73EhHPpFkHPaxw0luWgU6omp3A=w349-h278" width="349" /></a></div><br /><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: inherit;">What, by the way, from our medieval past holds you up in times of trouble? Let us know in your comments.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p></div>Cord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.com1tag:blogger.com,1999:blog-21165575.post-41514853797286245422021-11-15T08:00:00.004-05:002021-11-16T12:55:54.474-05:00Speculum Call for Paper Proposals: "Race, Race-Thinking, and Identity in the Global Middle Ages"<p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><b style="font-size: 11pt;"><span face="Calibri, sans-serif" style="font-size: 11pt;"><br /></span></b></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3x30TCM6wp60XqLOpJ-W5jvghlE3troikgeL7CeNxrCATcoisoA_hPKNWkyw8lNtIyrHtWqFkHhjIjzHXmHVJFQl912gaWMU0pq97_wSaWjbbLmnr1P_Og41y5glanR_f-VPBXw/s1071/Letterhead+banner.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="1071" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3x30TCM6wp60XqLOpJ-W5jvghlE3troikgeL7CeNxrCATcoisoA_hPKNWkyw8lNtIyrHtWqFkHhjIjzHXmHVJFQl912gaWMU0pq97_wSaWjbbLmnr1P_Og41y5glanR_f-VPBXw/w631-h192/Letterhead+banner.png" width="631" /></a></div><b style="font-size: 11pt;"><span face="Calibri, sans-serif" style="font-size: 11pt;"><br /></span></b><p></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><b style="font-size: 11pt;"><span face="Calibri, sans-serif" style="font-size: 11pt;">By the Issue Editors:</span><span face="Calibri, sans-serif" style="font-size: 11pt;"> </span></b></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><i><span face="Calibri, sans-serif" style="background-color: white;">François-Xavier Fauvelle, Collège de France</span><span face="Calibri, sans-serif"><o:p></o:p></span></i></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" style="background-color: white;"><i>Nahir Otaño Gracia, University of New Mexico<o:p></o:p></i></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><i><span face="Calibri, sans-serif" style="background-color: white;">Cord J. Whitaker, Wellesley College</span><span face="Calibri, sans-serif"><o:p></o:p></span></i></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"><i> </i></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"><br /></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN">For far too long, scholarly consensus held that race and racism were mainly Enlightenment innovations, datable to no earlier than the seventeenth century. As long ago as the early twentieth century, some scholars pushed race’s origins to the sixteenth or even fifteenth centuries, but these scholars were few and far between. The Middle Ages and, with them, medieval studies were set off as a time and discipline innocent of race and racism. This remained generally true until the advent of critical medieval race studies in the late twentieth and early twenty-first centuries. Now, in 2021, special issues in major journals and no less than six full-length scholarly monographs have treated the imbrications of race with medieval art, literature, religion, and even the periodizing concept of the Middle Ages itself. Many more studies in medieval literature, history, art, religion, and culture have been conceptually informed by race, as have many studies in the modern perceptions and deployments of the Middle Ages. <i>Speculum: A Journal of Medieval Studies </i>calls for proposals for a themed issue, to be published as one of <i>Speculum’s </i>four quarterly issues, to recognize the intellectual value of the study of race to a comprehensive understanding of the Middle Ages. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"> <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN">We invite proposals for full-length essays (8,000-11,000 words) that interrogate race, race-thinking, and identity in the Middle Ages. For example, essays might consider the roles of race-making and racialization in the Islamic world; how race and identity, together with religion, was negotiated and navigated in border regions such as al-Andalus, Sicily or the Levant (between Latin Christendom and Islam), the Sahara and the Sahel region (between the Islamic world and Subsaharan Africa); how the dynamics of race-thinking informed relations between Latin and Greek Christendom and Islam or the Mongol Empire, or between the Muslim/Islamicate world and Christian, Jewish, Hinduist, and traditional-religious societies within it or beyond its reaches; how race intersected with the dynamics of trade and connectivity, religious affiliation and conversion, slavery and emancipation, peace and war. Essays may also take on the roles of race, race-thinking, and identity in the geography and periodization of the Middle Ages: Are historical moments that are quintessential to the history of race also relevant to medieval-and-modern periodizations? Essays may also consider how and why race, race-thinking, and identity have shaped modern concepts, uses, and scholarship of the Middle Ages.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"> <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN">The editors are open to essays that interrogate race, race-thinking, and identity in the Middle Ages by asking these and other deeply probing questions. Additionally, we are especially interested in essays that consider the globality of the medieval world: those that examine the networked interrelations and interdependences of Africa, Asia, the Americas, and Europe. In addition to scholarship in history and literature, we invite proposals using the tools and methods of anthropology, archaeology, art history, book history, historical linguistics, religious studies, sociology, and other fields germane to the studies of race, identity, and the Middle Ages.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"> <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN">The themed issue on race, race-thinking, and identity and the articles selected for it will be in keeping with <i>Speculum’s </i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">purview as stated in the Guidelines for Submission: “preference is ordinarily given to</span> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">articles of interest to readers in more than one discipline and beyond the specialty in question. Articles taking a more global approach to medieval studies are also welcomed, particularly when the topic engages with one or more of the core areas of study outlined above. Submissions with appeal to a broad cross-section of medievalists are highly encouraged.”<o:p></o:p></span></span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"> <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 15.693333625793457px; margin: 0in 0in 8pt;">Proposals should be no more than 500 words in length and should be submitted by email to <span style="color: #954f72;">cord.whitaker(at)wellesley.edu</span> with <b>SPECULUM PROPOSAL</b> in the subject line by <b>31 January 2022</b>. The authors of selected proposals will be notified by 28 February 2022. Completed essays will be expected by 1 December 2022.<o:p></o:p></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN"> </span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span face="Calibri, sans-serif" lang="EN">We look forward to your submissions!</span></p><p class="MsoNormal" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.866666793823242px; margin: 0in 0in 0.0001pt;"><span lang="EN"> </span></p>Cord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-44435416437490843982020-12-21T08:00:00.034-05:002020-12-21T08:59:19.206-05:00Why the Hate? The Invention of Race in the European Middle Ages, and Race, Racism, and Premodern Critical Race Studies Today<div style="text-align: left;">by Geraldine Heng</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEo6BJe3PvMVY7BEA6dP_DOVh0LBLJAN6cI_EnGhFAEcV6e7G5fPZ_t7IQwz0-mj0-wLSLdKrpscdM1xEzZQp2uIbKCGFwsJktJmoJ74TS9fC4EOVPgnUNmomLS6iehFy4TACQ2A/s640/Invention+Cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEo6BJe3PvMVY7BEA6dP_DOVh0LBLJAN6cI_EnGhFAEcV6e7G5fPZ_t7IQwz0-mj0-wLSLdKrpscdM1xEzZQp2uIbKCGFwsJktJmoJ74TS9fC4EOVPgnUNmomLS6iehFy4TACQ2A/s320/Invention+Cover.png" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 11pt; text-align: left;">The function, the very serious function of racism is distraction. It keeps you from doing your work. It keeps you explaining, over and over again, your reason for being…. There will always be one more thing [to explain].</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 14.666666984558105px; text-align: left; text-indent: 48px;">—</span><span style="font-family: Calibri, sans-serif; font-size: 11pt; text-align: left;">Toni Morrison, </span><a href="https://www.wweek.com/news/2019/08/07/one-of-late-writer-toni-morrisons-most-famous-quotes-about-racism-came-from-a-talk-at-portland-state-university-listen-to-it-here/" style="color: #954f72; font-family: Calibri, sans-serif; text-align: left;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">in her tribute to Chinua Achebe, 2008</span></a></div><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0.5in 0.0001pt 0in;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0.5in 0.0001pt 0in;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p></div><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">An extraordinary thing happened in the field of critical race studies this fall. A 46-page book review of my 2018 Cambridge University Press book, </span><a href="https://smile.amazon.com/Invention-Race-European-Middle-Ages/dp/1108422780/ref=sr_1_1?s=books&ie=UTF8&qid=1516274798&sr=1-1&keywords=Geraldine+Heng" style="color: #954f72; font-family: Calibri, sans-serif; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">The Invention of Race in the European Middle Ages</span></i></a><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">, appeared in the journal </span><a href="https://sites.lsa.umich.edu/ryanszpiech/editorial/medieval-encounters/" style="color: #954f72; font-family: Calibri, sans-serif; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Medieval Encounters</span></i></a><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">. The journal called the 46-page opus a “review essay,” though the review did not treat any other books or any larger subjects, as review essays do: it was just a sustained condemnation of a single book, mine. </span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">As I sought to understand the 46-page hatchet job, it slowly became clear that there were key issues at stake: issues involving what colleagues of color called “white privilege,” which facilitates attacks on scholars of color; the status and legitimacy of critical race analysis in premodern studies today; the vulnerability of junior scholars who want to undertake new work on race; and what race scholarship and pedagogy might look like in the foreseeable future. This essay is an attempt to address as many of these issues as possible.</span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">First, the book review: written by an S. J. Pearce, the 46-page opus condemns</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Invention of Race</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">on the basis of one chapter (my book has seven chapters and an introduction, and is 504 pages long), plus some sporadic sniping about features in another chapter. But that one chapter is so bad, the reviewer concluded, the entire book has to go. It can’t be improved, revised, or have a second edition: no,</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Invention of Race</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">needs to be erased.</span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">What was so terrible about this one chapter that the whole book must be canceled? For those who haven’t read it,</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Invention of Race</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">makes a case for how critical race analysis is pertinent to the study of the premodern past, and sustains its argument through studies on Jews, Muslims, Africans, Native Americans, Mongols, and the Romani as key examples.</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">The reviewer zeroed in on Chapter 2, which describes how the intensity, persistence, and comprehensiveness of state, church, and popular apparatuses marshaled against Jews in England produced England as the first de facto racial state in the history of the West.</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">Astonishingly, the reviewer damned the chapter through an extraordinary misrepresentation of Chapter 2’s archive and methods.</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">She claimed that, by using the archives of state, church, and popular opinion in medieval England to </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">critique</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">state, church, and popular actions against Jews—and not, say, Jewish archives—I was performing an inquisitorial, anti-Semitic, colonizing act. My chapter’s “over-reliance on the language of the Church and the English state” means that I “ally [my]self with the medieval Christian perspective of [my] sources” (p. 163).</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">Actually, the chapter critiquing the atrocities of English antisemitism uses</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">the same archive</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">used by decades of scholars, Jewish and non-Jewish alike, working on Anglo-Jewry—whether they are historians like Robert Stacey, Patricia Skinner, Joe Hillaby, and scores of others; or literary scholars like Anthony Bale, Kathy Lavezzo, Lindsay Kaplan, and a dozen others; or art historians like Asa Mittman, Deborah Strickland, and more. It’s a well-established scholarly tradition to critique England’s antisemitism through England’s state, </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">church, and cultural archives on Jews.</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; text-indent: 0.5in;">[1]</span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">Why doesn’t Pearce damn the many scholars who’ve worked in that tradition</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">also</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">as inquisitors, anti- Semites, and colonialists? How come</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">their</i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">work isn’t “borderline unusable,” and “cannot be trusted” (p.160 n.37)? What’s the difference between them and me? This was perplexing.</span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">But one clue is that the other scholars who have shared the same archive are white.</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">I am not.</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">My trifecta in scholarly vulnerability is plain to see: Not white, not male, not native-born. Just a formerly- colonized subject from the old British Empire, now accused of colonialism herself. The perfect outsider and scapegoat for everything you hate.</span><br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.666666984558105px;"><br /></span></span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">So, here’s one of many reasons for writing this essay: to tell young medievalists of color, who have watched with pain and horror as a senior woman of color is publicly savaged in print and on social media,</span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;"><i>not to be intimidated into fearing to attempt new work on race just because they, too, might be savaged</i></span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">. </i><span face="Arial, sans-serif" style="font-family: Calibri, sans-serif; font-size: 11pt; text-indent: 0.5in;">This essay is dedicated to them.[2]</span><br /><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></p></div><div style="text-align: left;"><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: center;"><b><span face="Arial, sans-serif" style="font-size: 14pt;">Outsiders and Insiders: The Politics of Race in Scholarship on England’s Jews</span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: center;"><span face="Arial, sans-serif" style="font-size: 11pt; text-align: left; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="font-size: 11pt;">More, later, about the hate. Next: why </span><i><span style="font-family: Arial, sans-serif; font-size: 11pt;">do</span></i><span style="font-size: 11pt;"> scholars of England’s Jews—historians, literary scholars, and art historians, Jewish and non-Jewish alike—all use state and church archives? Is this a plot to replace Jewish historiography with English historiography, as Pearce claims? </span><span style="font-family: "Times New Roman", serif;"><o:p></o:p></span></p></div><div style="text-align: left;"><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: center;"><span face="Arial, sans-serif" style="font-size: 11pt; text-align: left; text-indent: 0.5in;"><br /></span></p></div><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: left;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Everyone who studies Anglo-Jewry knows the answer, but Suzanne Bartlet and Patricia Skinner say it best: “Almost all that we know derives from sources produced by non-Jews, and much of what we know comes specifically from the judicial and fiscal records generated by England’s precociously bureaucratized government” (</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"><a href="https://www.amazon.com/Licoricia-Winchester-Motherhood-Anglo-Jewish-Parkes-Wiener/dp/0853038325" style="color: #954f72;" target="_blank">Licoricia of Winchester</a></i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, p.5). This is a finely exact description of the available archive.</span></p></div><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Medieval England simply doesn’t have a rich plethora of Jewish-authored archives. Again, Bartlet and Skinner put it succinctly: “Ultimately, the voices we hear of Jews in medieval England are filtered through non-Jewish, and sometimes overtly hostile, sources” (</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"><a href="https://www.amazon.com/Licoricia-Winchester-Motherhood-Anglo-Jewish-Parkes-Wiener/dp/0853038325" style="color: #954f72;" target="_blank">Licoricia of Winchester<span style="font-style: normal;">,</span></a></i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">p.10).</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">In fact, England’s governmentality, surveillance, and control of its Jewish population, as demonstrated in those sources, are so intensive and totalizing, it’s not difficult to argue for England’s characterization as a racial state.[3]</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Does Pearce know any of this? Apparently not. She’s not a scholar of Anglo-Jewry. Her specialization, and area of interest, is </span><span face="Arial, sans-serif" style="color: #954f72; font-size: 11pt; text-indent: 0.5in;"><a href="https://as.nyu.edu/faculty/sj-pearce.html" style="color: #954f72; text-indent: 0.5in;" target="_blank">“the Hebrew and Arabic literature of Iberia.”</a></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><i style="text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"><br /></span></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><i style="text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;">Invention of Race</span></i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> has won four book prizes, sold thousands of copies, and has been reviewed a dozen times, with virtually every reviewer possessing clear reviewing credentials for addressing the book—by virtue of their familiarity with critical theories of race, or previous scholarship on medieval race, or specialization in the countries, histories, and literatures treated in the book. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">By contrast, Pearce, lacking credentials in critical theory, or scholarship on race, or knowledge of the histories, literatures, and cultures of medieval England (cf. Iberia), substitutes a long teaching vignette (six printed pages) to fill the lacuna, as</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">her</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">credential for reviewing a chapter on critical race in England.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Pearce’s vignette claims she teaches students about</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">compassion</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">. Yet, despite the vaunt about teaching</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">compassion</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, the review is devoid of any of the usual professional respect common among academic colleagues, let alone compassion.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Instead, the</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">tone</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">of Pearce’s review is riddled with condescension, ridicule, and name-calling.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">My chapter is “a master class in how not to write” (p.154)—an insult most of us would not inflict on an 18-year-old attempting her first freshman composition, let alone address to a colleague. I am jeered at as an</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">inquisitor</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">(p.145, ff.) and likened to a</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">magpie </i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">(p.177)—a thieving bird, we note, that steals shiny junk, a mean bird notorious for its loud, idle chatter.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Loftily, she stands as accuser, testifier, and judge: to bear “witness,” she says, to my magpie behavior with her “academic</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">mesirah</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">” (p.181) that will “short-stop” the “neo-colonial, neo-Orientalist discourse” (p.182) that is my book.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></b></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: center;"><b><span face="Arial, sans-serif" style="font-size: 14pt;">So, Why the Hate? Critical Race Theory Today, and the European Middle Ages<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Why would anyone produce a</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">46-page</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">screed of such vitriol?</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">In addition to my not-whiteness, another difference separates me from the white scholars who have used the same medieval archive. The conceptual scaffold of my book, and its interpretive practices, are informed by a background in critical race theory (CRT)—or more accurately, critical race</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">theories</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, since there is a spectrum of theories, and more than a single genealogy of critical scholarship on race.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">In the past, critical race theories have maintained that race and racisms began only in the modern era—in tandem with, or resulting from, the rise of capitalism, or chattel slavery, or imperialism and colonialism, or class struggle and social war; or bourgeois hegemony, the rise of nations and nationalisms, modern state apparatuses, globalization and transnationalism, or any number of other constitutive factors.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">By contrast,</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Invention of Race</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">(and my earlier publications) make/s a sustained argument for the existence of race and racisms in the deep European past, before the modern eras, and before there was a vocabulary of race to name racial phenomena, institutions, laws, and practices for what they were.[4]</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">The book is thus not only an intervention in scholarship on the European Middle Ages; it is also an intervention in critical race scholarship. This is why</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Invention of Race</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">is used today not only by medievalists, but also by modernists teaching critical theories of race.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">For medievalists today, the subject of premodern race is sometimes confusing.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Some are eager to enter the new conversations on medieval race. Others are genuinely puzzled about how the scholarship today differs from earlier scholarship.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">I list below some useful books to consult, but there is one simple, primary thing to remember.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">The word</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">critical</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, here, in the study of premodern race marks an important watershed—it marks the difference between the premodern race studies of the past, and the premodern</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">critical</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">race studies undertaken today.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">Critique</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">is involved in the latter, but was often missing from the former.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Premodern</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">critical</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">race studies doesn’t just concern itself with marshaling descriptions of race, or compiling taxonomies of race, or producing summations of race (of the kind Pearce might approve, for instance), but</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">sustains the</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">critical analysis</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">of race</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">in the European Middle Ages.[5]</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Critical race scholarship on premodernity analyzes the sources, institutions, infrastructures, practices, technologies, and dynamics of race and racialization, in order</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">critically</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">to assess their ethical, political, and epistemological consequences and impacts.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">My old friend Margo Hendricks puts it her way, when she distinguishes premodern race studies (PRS) from premodern <i>critical</i> race studies (PCRS), in her keynote for the </span><a href="https://www.folger.edu/institute/scholarly-programs/race-periodization/margo-hendricks" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">RaceB4Race conference at the Folger Institute last year</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, and a forthcoming article in </span><a href="http://newliteraryhistory.org/" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">New Literary History</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">:</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="font-size: 11pt; text-indent: 0.5in;"></span></p></div><blockquote><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="font-size: 11pt; text-indent: 0.5in;">Premodern race studies, in my opinion, is fundamentally written by and for white academics….scholars whose publication history shows no attention to “race” have suddenly become experts….PRS assumes no foundational work to the study of race exists….If these scholars recognize the pre-existence of a cohort of Black, Brown, and Indigenous scholars working on the subject, this pre-existence is most often relegated to a footnote entry surrounded by whiteness. Or worse, this body of scholarship is ignored.</span></p></div><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0.4in 0.0001pt 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></p></div></blockquote><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0.4in 0.0001pt 0.5in;"></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt;">Or they might call for a scholar-of-color’s book to be canceled, as Pearce the new “expert” does. Thanks to Margo, and other colleagues of color, I’ve come to understand that this is what white privilege means—the right to bury, ignore, or cancel the work of scholars of color with impunity.[6] <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">No scholar of color, however senior, is immune from such treatment—especially if they perform “foundational work” in the critical study of race, as Margo Hendricks notes.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">After all, we’ve seen critical race theory that is trained on our own time attacked by those occupying the highest rungs of political power: </span><a href="https://www.bostonglobe.com/2020/09/21/metro/what-is-critical-race-theory-president-trumps-latest-political-target/" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">President Donald Trump in the US,</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> and </span><a href="https://www.theguardian.com/commentisfree/2020/oct/23/uk-critical-race-theory-trump-conservatives-structural-inequality" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">Ministers in the House of Commons in the UK</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">. Given such attacks, why wouldn’t intellectual conservatives in the academy also seize the opportunity to attack the critical analysis of race in premodernity?</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Of course they would, and they have. For instance: the people who run the Mediterranean Seminar made Pearce’s book review their </span><a href="http://www.mediterraneanseminar.org/2020-october-article-of-the-month" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">October 2020 article of the month</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, claiming that the race analysis in my book is a “flattening” of religion and ethnicity; praised her review; offered Pearce more space for further words of attack; and distributed it to their membership list.[7] </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Early-career medievalists of color have also seen their work censored. An anonymous reviewer for a university press told an untenured medievalist of color—an assistant professor—that if she wants her book for tenure to be published, she must take out every mention of race. Another junior medievalist of color had her article on race rejected out of hand at a journal by yet another anonymous reviewer.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Such hostility to critical race analysis in premodern studies is vicious, but not surprising. Vicious, because nobody is</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">demanding</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;"> </i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">that</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">every</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">medievalist</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">must</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">work on critical race. The right to perform critical race scholarship doesn’t force</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">every</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">medievalist to undertake critical race analysis. All that’s asked for is the freedom to choose</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">one’s own</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">scholarship.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">For medievalists who believe that to avoid critical race analysis is to sanitize what they see in their archive, surely the right to perform scholarship of their choice should not, ethically and politically, be denied them?</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Must new forms of scholarship that many consider valuable and want to undertake be prevented, attacked, or censored, just to appease those who want to conserve some old ways—</span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">their</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">old ways—of doing things? What gives them the right to place a stranglehold on the future?</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt; text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt; text-align: center;"><b><span face="Arial, sans-serif" style="font-size: 14pt;">What the Past Teaches Us about the Future: Feminism, Queer Theory, Critical Sexuality Studies<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">For those who want to undertake the new work on premodern race, here’s a reminder: feminism, queer theory, and critical sexuality studies also met with resistance in their early days. The hostility of those who want to conserve is thus not surprising: some may remember the harsh critiques levelled at John Boswell, when his </span><a href="https://www.amazon.com/Christianity-Social-Tolerance-Homosexuality-Fourteenth/dp/0226067114" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> first appeared in 1980, four decades ago. Four decades from now, critical race scholarship on medieval Europe may be as commonplace as queer theory, critical sexuality studies, and feminisms are today. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Because it really isn’t possible to turn the clock back. There are now</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">six</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">full-length monographs on race in the European Middle Ages, not to mention PhD dissertations.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">In addition to my book, there’s Lynn Ramey’s </span><a href="https://www.amazon.com/Black-Legacies-Race-European-Middle/dp/0813062071/ref=sr_1_1?dchild=1&keywords=Black+Legacies&qid=1606093402&s=books&sr=1-1" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Black Legacies: Race and the European Middle Ages</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, Cord Whitaker’s </span><a href="https://www.amazon.com/Black-Metaphors-Emerged-Medieval-Race-Thinking/dp/081225158X/ref=sr_1_1?dchild=1&keywords=Black+Metaphors%3A+How+Modern+Racism+Emerged+from+Medieval+Race-Thinking%2C&qid=1606093433&s=books&sr=1-1" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Black Metaphors: How Modern Racism Emerged from Medieval Race-Thinking</span></i><span face="Arial, sans-serif" style="font-size: 11pt;">,</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> Matthew Vernon’s </span><a href="https://www.amazon.com/Black-Middle-Ages-Race-Construction/dp/3030081745/ref=sr_1_1?dchild=1&keywords=The+Black+Middle+Ages%3A+Race+and+the+Construction+of+the+Middle+Ages&qid=1606093485&s=books&sr=1-1" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">The Black Middle Ages: Race and the Construction of the Middle Ages</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, Lindsay Kaplan’s </span><a href="https://www.amazon.com/Figuring-Racism-Medieval-Christianity-Lindsay/dp/0190678240/ref=sr_1_1?dchild=1&keywords=Figuring+Racism+in+Medieval+Christianity&qid=1606093515&s=books&sr=1-1" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Figuring Racism in Medieval Christianity</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, and Roland Betancourt’s </span><a href="https://smile.amazon.com/Byzantine-Intersectionality-Sexuality-Gender-Middle/dp/069117945X/ref=sr_1_1?dchild=1&keywords=Roland+Betancourt&qid=1607038256&s=books&sr=1-1" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">More than enough in number for someone to write a</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><i style="font-family: Arial, sans-serif; font-size: 11pt; text-indent: 0.5in;">real</i><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">review essay on the landscape of critical medieval race studies today.[8]</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Not to mention anthologies, articles, and essays, special issues of journals, and books in the pipeline at the new University of Pennsylvania Press series, </span><a href="https://www.upenn.edu/pennpress/series.html" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">RaceB4Race: Critical Studies of the Premodern</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">.[9] Conference panels, workshops, symposia, and </span><a href="https://newenglandmedievaldotorg.files.wordpress.com/2020/12/schedule.pdf" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">whole conferences</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> on medieval and premodern race are increasing, not decreasing.[10]</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">For those who consider studying religion as a matrix of race-making to be a “flattening” of religion, there are excellent studies by scholars of color who serve up trenchant responses, such as Terence Keel’s </span><a href="https://www.amazon.com/Divine-Variations-Christian-Thought-Science/dp/0804795401" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Divine Variations: How Christian Thought Became Racial Science</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">, and Willie James Jennings’ </span><a href="https://www.amazon.com/Christian-Imagination-Theology-Origins-Race/dp/0300171366/ref=sr_1_2?dchild=1&keywords=The+Christian+Imagination%3A+Theology+and+the+Origins+of+Race&qid=1606093677&s=books&sr=1-2" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">The Christian Imagination: Theology and the Origins of Race</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Nor is Christianity the only matrix for race-making. </span><a href="https://cmems.stanford.edu/events/keynote-lecture-race-archives-michael-gomez-nyu" style="color: #954f72; text-indent: 0.5in;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">Michael Gomez</span></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> offered richly layered arguments in his lecture on how Islamic sources on the Hamitic Curse, along with climate and zonal theories, enabled Arab and Persian authors of the 10<sup>th</sup> to the 17<sup>th</sup> centuries to racialize Black Saharan Africans and slavery in West Africa, in the </span><a href="https://cmems.stanford.edu/events/upcoming-events" style="color: #954f72; text-indent: 0.5in;" target="_blank"><i><span face="Arial, sans-serif" style="font-size: 11pt;">Race in the Archives</span></i></a><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> series organized for the Center for Medieval and Early Modern Studies at Stanford by CMEMS director Ali Yaycioglu.[11]</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Critical work on medieval race is moving beyond Europe and Christendom, as more and more scholars, from distinguished senior academics of color like Mike Gomez to graduate students and early career researchers excited about new work, choose to be part of the collaborative process of co-building, and co-creating, new knowledges, new methods, and new ways of looking and thinking.[12]</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">It often takes a couple of decades in medieval studies to entrench paradigm-shifting work, but perhaps the paradigms will make way more quickly this time.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">Therefore, to the early-career scholars—and others not-so-early in their careers—who are anxiously wondering if they, too, will be savaged if they undertake critical work on race; if they will be prohibited from publishing in journals and by university presses; and who fear a cancel culture initiated by hostile and powerful gate-keepers who are tenured, senior faculty, I say to you: there are some of us working hard to bend the arc of the intellectual universe slowly, but incrementally, toward greater freedom in academic publishing and academic intellectual life, so that you will have shelter and support.</span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><span face="Arial, sans-serif" style="font-size: 11pt; text-indent: 0.5in;">The journey may be long—though I predict, this time, it won’t take a generation to entrench the new work—but you’ll see that the company is good.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt; text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt; text-indent: 0.5in;"><span face="Arial, sans-serif" style="font-size: 11pt;"><br /></span></p><div><div id="edn12"><hr align="left" size="1" width="33%" /><div id="edn1"><p></p></div></div><div id="edn12"><i>About the Author</i></div></div><div id="edn12"><i><br /></i></div><div id="edn12"><div class="separator" style="clear: both;"><span face="Arial, sans-serif" style="color: #954f72; font-size: 11pt;"><a href="https://utexas.academia.edu/GeraldineHeng" style="color: #954f72; font-family: Calibri, sans-serif;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://utexas.academia.edu/GeraldineHeng" style="color: #954f72; font-family: Calibri, sans-serif;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuW9_SBIo9S3DCbyOTkbg7oLqONmnkv0JpN5aThotgVlYTHXT-CHCRj3qTMaZby23T2NdFXOJRe2RhIP0LRslwmBApVK1LfJzoWpszvQo9MgfNemMR_4nFGPv62iBvG3KPY9fkg/s639/Heng+Profile+Pic.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="480" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuW9_SBIo9S3DCbyOTkbg7oLqONmnkv0JpN5aThotgVlYTHXT-CHCRj3qTMaZby23T2NdFXOJRe2RhIP0LRslwmBApVK1LfJzoWpszvQo9MgfNemMR_4nFGPv62iBvG3KPY9fkg/w150-h200/Heng+Profile+Pic.jpg" width="150" /></a></div><a href="https://utexas.academia.edu/GeraldineHeng" target="_blank">Geraldine Heng</a></span><span face="Arial, sans-serif" style="font-size: 11pt;"> is Perceval Professor at the University of Texas at Austin, and founder and director of the </span><a href="http://globalmiddleages.org/" style="color: #954f72; font-family: Calibri, sans-serif;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">Global Middle Ages Project</span></a><span face="Arial, sans-serif" style="font-size: 11pt;">. In addition to her books and articles, she coedits the University of Pennsylvania Press series, </span><a href="https://www.upenn.edu/pennpress/series.html" style="color: #954f72; font-family: Calibri, sans-serif;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">RaceB4Race: Critical Studies of the Premodern</span></a><span face="Arial, sans-serif" style="font-size: 11pt;">, and the 40-title </span><a href="https://www.cambridge.org/core/what-we-publish/elements/global-middle-ages" style="color: #954f72; font-family: Calibri, sans-serif; font-size: 11pt;" target="_blank"><span face="Arial, sans-serif" style="font-size: 11pt;">Cambridge University Press Elements series on The Global Middle Ages.</span></a><span face="Arial, sans-serif" style="font-size: 11pt;"> Her MLA Options for Teaching anthology, <i>The Global Middle Ages</i>, and coauthored Cambridge Element, <i>The Global Middle Ages: An Introduction</i>, appear in 2021-2. She has begun a fifth book, <i>Early Globalisms: The Interconnected World, 500-1500 CE</i>. She deeply thanks those who helped to shape this essay—for their perspectives, wisdom, and words.</span></div></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt -2.7pt;"><br /></p><div><hr align="left" size="1" width="33%" /><div id="edn1"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[1]</span></span></span></span></a><span face="Arial, sans-serif"> In fact, my book explicitly declares it stands on the shoulders of giants: the generations of scholars of Anglo-Jewry, Jewish and non-Jewish, who have shown us, over decades, how to think about this archive, and how to analyze it. One of the scholarly giants—the eminent historian of Anglo-Jewry, Bob Stacey—recently revealed that he’d been an enthusiastic anonymous reviewer of the manuscript for Cambridge. <o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn2"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="color: black;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif" style="font-size: 11pt;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 11pt;">[2]</span></span></span></span></a><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></span><span face="Arial, sans-serif">Michael Gomez’s advice to <i>all </i>junior scholars who want to undertake critical race analysis, during </span><a href="https://cmems.stanford.edu/events/keynote-lecture-race-archives-michael-gomez-nyu" style="color: #954f72;" target="_blank"><span face="Arial, sans-serif">his recent lecture on race in premodern Africa</span></a><span face="Arial, sans-serif">, bears repeating: you should power through, and do the work you want, and not let others intimidate you. In recent years, job ads for academic positions in medieval studies have increasingly listed race and early global studies as desiderata in applicants’ scholarship and teaching. <o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif" style="font-size: 11pt;"> </span></p></div><div id="edn3"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[3]</span></span></span></span></a><span face="Arial, sans-serif"> Jonathan Boyarin reminds me that Anglo-Jewry used to be excluded from English historiography altogether, through sanitized narratives about England’s formation. See, e.g., Colin Richmond’s “Englishness and Medieval Anglo-Jewry,” in Sheila Delany’s </span><a href="https://www.amazon.com/Chaucer-Jews-Contexts-Meanings-Multicultural-ebook/dp/B00FVTSFWK" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Chaucer and the Jews: Sources, Contexts, Meanings</span></i></a><span face="Arial, sans-serif">. More scholarship on the miniscule number of Jewish-authored documents in medieval England would be wonderful to have, even if it doesn’t pertain to race or racisms. <o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn4"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[4]</span></span></span></span></a><span face="Arial, sans-serif"> My book doesn’t call this the “origin” of race. An <i>origin</i> is the coming-into-being of what has never, ever, existed before. By contrast, my work—whether on race, or something else—focuses on the convergence of forces, and fields of force, that coalesce into new patterns at a particular historical moment. Inventions can thus be re-inventions-with-difference across macrohistorical time. Classicists like Denise McCoskey (</span><a href="https://www.amazon.com/Race-Antiquity-Legacy-Ancients-Moderns/dp/0195381882" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Race: Antiquity and Its Legacy</span></i></a><span face="Arial, sans-serif">) show that medieval race and racisms are <i>preceded</i> by race and racisms in antiquity, while early modernists like Kim Hall (</span><a href="https://www.amazon.com/Things-Darkness-Economies-Gender-England/dp/0801482496/ref=sr_1_1?dchild=1&keywords=Things+of+Darkness%3A+Economies+of+Race+and+Gender+in+Early+Modern+England&qid=1606093906&s=books&sr=1-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Things of Darkness: Economies of Race and Gender in Early Modern England</span></i></a><span face="Arial, sans-serif">) show how medieval race and racisms are <i>succeeded</i> by early modern race and racisms. Cedric Robinson (</span><a href="https://www.amazon.com/Black-Marxism-Making-Radical-Tradition/dp/0807848298" style="color: #954f72;" target="_blank"><span face="Arial, sans-serif">Black Marxism: The Making of the Black Radical Tradition</span></a><span face="Arial, sans-serif">) stitches together both medieval race and early modern race by theorizing racial capitalism as continuity-with-difference.<o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn5"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[5]</span></span></span></span></a><span face="Arial, sans-serif"> Cord Whitaker views the implications this way, in an email exchange: “summations of race leave intact the white supremacy that has pervaded the modern academy and its practices at least since the Enlightenment.” </span><o:p></o:p></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn6"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[6]</span></span></span></span></a><span face="Arial, sans-serif"> “Pearce’s bibliography cites only white scholars in Jewish studies. It completely ignores William C. Jordan’s </span><a href="https://www.amazon.com/French-Monarchy-Jews-Augustus-Capetians/dp/0812281756" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">The French Monarchy and the Jews: From Philip Augustus to the Last Capetians</span></i></a><i><span face="Arial, sans-serif">,</span></i><span face="Arial, sans-serif"> a famous book by a famous Black medievalist. And it condemns <i>Invention of Race</i>, a book by another senior medievalist of color. Draw your own conclusions from that” (Dorothy Kim, in an email exchange).<o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn7"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[7]</span></span></span></span></a><span face="Arial, sans-serif"> Like Pearce, they too sloppily treat my work on race<i> in</i> <i>Europe</i> as identical to my work </span><a href="https://online.ucpress.edu/jmw/article/1/1/11/51038/An-Ordinary-Ship-and-Its-Stories-of-Early" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">on early globalism</span></i><span face="Arial, sans-serif">,</span></a><span face="Arial, sans-serif"> so as to indict me of the eurocentrism I devote energy to contesting in my work in critical global studies. This, despite the fact that the title of my book is The Invention of Race in<i> </i>the<i> European<b> </b>Middle Ages</i><b>,</b> and not The Invention of Race in<i> </i>the<i> </i></span><a href="http://globalmiddleages.org/" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Global<b> </b>Middle Ages</span></i></a><b><i><span face="Arial, sans-serif">. </span></i></b><span face="Arial, sans-serif">You’d think signaling that <i>Europe</i> is the focus of the book, with a title like that, would be enough.<o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn8"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[8]</span></span></span></span></a><span face="Arial, sans-serif"> This list doesn’t even include premodernists who study antiquity, or Judaism, or Islam: from Denise McCoskey’s </span><a href="https://www.amazon.com/Race-Antiquity-Legacy-Ancients-Moderns/dp/0195381882" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Race: Antiquity and Its Legacy</span></i></a><span face="Arial, sans-serif">, to Benjamin Isaac’s </span><a href="https://www.amazon.com/Invention-Racism-Classical-Antiquity/dp/0691125988/ref=sr_1_1?dchild=1&keywords=The+Invention+of+Racism+in+Classical+Antiquity&qid=1606800085&s=books&sr=1-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">The Invention of Racism in Classical Antiquity</span></i></a><span face="Arial, sans-serif">, to Denise Kimber Buell’s </span><a href="https://www.amazon.com/Why-This-New-Race-Christianity/dp/0231133340/ref=sr_1_1?dchild=1&keywords=Why+This+New+Race+Buell&qid=1606800118&s=books&sr=1-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Why This New Race</span></i></a><span face="Arial, sans-serif">, to David M. Goldenberg’s </span><a href="https://www.amazon.com/Curse-Ham-Slavery-Christianity-Christians/dp/0691123705/ref=sr_1_1?dchild=1&keywords=The+Curse+of+Ham%3A+Race+and+Slavery+in+Early+Judaism%2C+Christianity%2C+and+Islam&qid=1606800150&s=books&sr=1-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">The Curse of Ham: Race and Slavery in Early Judaism, Christianity, and Islam</span></i></a><span face="Arial, sans-serif">, to Miriam Eliav-Feldon, Benjamin Isaac, and Joseph Ziegler’s </span><a href="https://www.amazon.com/Origins-Racism-West-Miriam-Eliav-Feldon/dp/1107687268/ref=sr_1_1?dchild=1&keywords=The+Origins+of+Racism+in+the+West&qid=1606800185&s=books&sr=1-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">The Origins of Racism in the West</span></i></a><span face="Arial, sans-serif">, among others. <o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn9"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[9]</span></span></span></span></a><span face="Arial, sans-serif"> Bloomsbury Press will publish two large anthologies on medieval race, one edited by Tom Hahn and introduced by Cord Whitaker, and the other by Dorothy Kim and Kim Coles. Dorothy Kim has also edited a special issue on medieval race for </span><a href="https://onlinelibrary.wiley.com/toc/17414113/2019/16/9-10" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Literature Compass</span></i></a><span face="Arial, sans-serif">, and Cord Whitaker a special issue for </span><a href="https://link.springer.com/journal/41280/volumes-and-issues/6-1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">postmedieval</span></i></a><span face="Arial, sans-serif">, both of which join Hahn’s 2001 issue of the </span><a href="https://read.dukeupress.edu/jmems/issue/31/1" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Journal of Medieval and Early Modern Studies</span></i></a><span face="Arial, sans-serif"> on medieval race. Kim and Michelle Sauer, members of the </span><a href="https://medievalistsofcolor.com/" style="color: #954f72;" target="_blank"><span face="Arial, sans-serif">Medievalists of Color</span></a><span face="Arial, sans-serif">, are also editing the <i>Cambridge Companion on Christianity and Race</i>. <i>RaceB4Race</i>, the Penn series Ayanna Thompson and I coedit, publishes work extending from antiquity to the 18<sup>th</sup> century: monographs, anthologies, sourcebooks, and translations. <o:p></o:p></span></p></div><div id="edn10"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref10" name="_edn10" style="color: #954f72;" title=""></a><span face="Arial, sans-serif"> </span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 10pt;">[10]</span></span></span></span><span face="Arial, sans-serif"> The </span><a href="https://acmrs.asu.edu/RaceB4Race" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">RaceB4Race</span></i><span face="Arial, sans-serif"> conferences</span></a><span face="Arial, sans-serif"> take place twice a year for five years, thematizing premodern race and contemporary racism in the academy, and creating a community of support for scholars of color and our allies and collaborators working in early critical race studies. The recent international conference, </span><a href="http://monitoracism.eu/centring-race-in-history-antiquity-to-the-present/" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Centring Race in History: Antiquity to the Present</span></i></a><span face="Arial, sans-serif">, organized by the International Centre on Racism, also shows how conferences are now featuring premodern race alongside modern race.<o:p></o:p></span></p></div><div id="edn11"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref11" name="_edn11" style="color: #954f72;" title=""></a><span face="Arial, sans-serif"> </span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="font-size: 10pt;">[11]</span></span></span></span><span face="Arial, sans-serif"> Bruce S. Hall’s earlier </span><a href="https://www.amazon.com/History-Muslim-1600-1960-African-Studies/dp/1107002877" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">A History of Race in Muslim West Africa, 1600-1960</span></i></a><span face="Arial, sans-serif"> importantly discussed the racializing of Black Saharan Africans in 13<sup>th</sup> century West Africa by Arabic- and Amazigh-speaking groups who used Islamic sources and histories. Gomez’s important new work theorizes the racialization of Black Saharan slavery, and how climate and zonal theories became part of the racializing matrix of religion.<o:p></o:p></span></p><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span face="Arial, sans-serif"> </span></p></div><div id="edn12"><p class="MsoEndnoteText" style="font-family: Calibri, sans-serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><a href="applewebdata://5CC3ED5C-395F-4360-8C70-C7D4F3F0C656#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference" style="vertical-align: super;"><span face="Arial, sans-serif"><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="color: black; font-size: 10pt;">[12]</span></span></span></span></a><span face="Arial, sans-serif"> In that spirit of co-creation, Jonathan Hsy’s </span><a href="https://www.aup.nl/en/book/9781641893145/antiracist-medievalisms" style="color: #954f72;" target="_blank"><i><span face="Arial, sans-serif">Antiracist Medievalisms: “Yellow Peril” to Black Lives Matter</span></i></a><i><span face="Arial, sans-serif"> </span></i><span face="Arial, sans-serif">examines “how communities of color and Jewish diaspora communities have long acted in solidarity against global white Christian supremacy” (Hsy).</span></p><div id="edn1"><p></p></div></div></div><div id="edn12"><div class="separator" style="clear: both; text-align: center;"><br /></div><i><br /></i></div></div>Cord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.comtag:blogger.com,1999:blog-21165575.post-49936111879349384882020-06-08T16:23:00.000-04:002020-06-08T16:24:08.260-04:00In Support and Solidarityby the ITM team<br />
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As members of ITM, we stand in unshakable support of the Black Lives Matter movement and the urgent demands for social justice in our present. In that spirit, we ask all of our readers to read and share <a href="http://medievalistsofcolor.com/statements/medievalists-of-color-statement-regarding-the-violent-murder-of-george-floyd-breonna-taylor-tony-mcdade/?fbclid=IwAR3m6yu9fNx1p2VmLh8PuJK5LwoDsRuJ3J2S69dTk4dWDLoAgFnkN5xarxY">this statement by Medievalists of Color</a> in support of the uprisings that have followed the murders of George Floyd, Tony McDade, Breonna Taylor, and other victims of police violence. As the statement authors stress so well:<br />
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<span style="font-family: "times" , "times new roman" , serif;">"<span style="background-color: white; color: #333333; font-size: 16px;">The intensity and political clarity of the protests reflect a lengthy history especially of Black struggle against systematic structures of racism and oppression that have been part of the settler colonial and racial capitalist projects of the United States since its inception. The movement’s demands to abolish the status quo of militarized policing reflect a growing awareness of the police as violent agents of a U.S. state invested in upholding white supremacy, capitalist inequality, and ruthlessly suppressing dissent.</span><span style="background-color: transparent;"> </span></span></blockquote>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: #333333; font-size: 16px;"></span>As medievalists we know that a world without police is not only possible but the norm for most of human history.<span style="background-color: transparent;"> </span><span style="background-color: transparent;"> </span></span></blockquote>
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<span style="font-family: "times" , "times new roman" , serif;">It’s time to act. We ask that you donate to <a href="https://docs.google.com/document/d/1X4-YS3vFn5CLL9QtJSU0xqmTh_h8XilXgOqGAjZISBI/preview?fbclid=IwAR2trHe9Uh9WA6R1l_KagmyNVnpG0m157YKe9gwWFesRwOoHUlr6GKhlFxQ&pru=AAABcopMPQU*K_puEnU-cBUGKdR1iGi4tA" rel="noreferrer noopener" style="background-color: transparent; box-shadow: rgb(15, 15, 15) 0px -1px 0px inset; box-sizing: inherit; color: #222222; text-decoration-line: none; transition: color 80ms ease-in 0s, box-shadow 130ms ease-in-out 0s, -webkit-box-shadow 130ms ease-in-out 0s;" target="_blank">relief funds</a>, to <a href="https://docs.google.com/document/u/1/d/12y7-Wa4gi8HUeFTv17gPcbMGuVX5cqIudLJmhOrq1-k/mobilebasic#id.q43zflf1m3lp" rel="noreferrer noopener" style="background-color: transparent; box-shadow: rgb(15, 15, 15) 0px -1px 0px inset; box-sizing: inherit; color: #222222; text-decoration-line: none; transition: color 80ms ease-in 0s, box-shadow 130ms ease-in-out 0s, -webkit-box-shadow 130ms ease-in-out 0s;" target="_blank">Black community mutual aid organizations</a>, Black students, and to Black businesses, and Black community groups."</span></blockquote>
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<span style="font-family: "times" , "times new roman" , serif;">MOC has generously attached an array of resources and educational materials to this statement -- we urge you to read them and take action within your communities (academic and otherwise) in all ways that you can. </span></div>
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<a href="http://breonna.jpg/"><img alt="Breonna.jpg" height="200" src="https://images.squarespace-cdn.com/content/v1/5bfae2ab697a98225c358cf0/1591107785380-3PQK8LDMPDK6KMHMPXWC/ke17ZwdGBToddI8pDm48kHiAksn4XLxw-JNV7eDmeMd7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1URX3xuOU2Zek4cceAF0her1uu_Lv_AxAwCihOsyxjSzR2rmoRJjJpfMVBb0CMwp8Fw/Breonna.jpg?format=2500w" width="200" /></a><img height="200" src="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Black_Lives_Matter_logo.svg/1200px-Black_Lives_Matter_logo.svg.png" style="background-color: transparent;" width="200" /><img alt="George.jpg" height="200" src="https://images.squarespace-cdn.com/content/v1/5bfae2ab697a98225c358cf0/1591107786459-QR81BJZK2R48R17LPO54/ke17ZwdGBToddI8pDm48kO6t_FIigFZlD-2ukJs68NZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UdQnRCmyfmE32mt8hf8jTbpNOvskeoRv-ygqK_y0NLe3pygZMNSAPtQr-kV0SxGO-A/George.jpg?format=2500w" style="background-color: transparent;" width="200" /></div>
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Portraits by<a href="https://www.arielsinhaha.com/"> Ariel Sinha</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-65276883054229357202020-03-03T14:35:00.001-05:002021-06-04T17:27:59.945-04:00Open Letter from Medievalists In Support of the Wet'suwet'en Protectors <span id="docs-internal-guid-6d13ca6a-7fff-91fe-2cf4-e92ee3127c4e"><div dir="ltr" style="line-height: 1.4; margin-bottom: 12pt; margin-top: 0pt;">
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<div dir="ltr" style="line-height: 1.4; margin-bottom: 12pt; margin-top: 0pt;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Over the past month, the hereditary chiefs of the Wet’suwet’en Nation have opposed the construction of the Coastal GasLink pipeline on their unceded lands. Protectors have organized mass demonstrations and have blockaded ports and railways in an effort to ensure that government officials respect their rig</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">ht to dictate whether or not the pipeline can be built on their lands. They have faced severe pushback from the government, which in one case sent armed police to halt a peaceable assembly of Wet’suwet’en women who were holding a ceremony in honor of missing and murdered i</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">ndigenous women; the police interrupted their ceremony, arrested, and forcibly removed several</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> <span style="background-color: white; white-space: normal;">Unist’ot’en matriarchs—</span></span><span style="background-color: white;">Freda Huson (Chief Howihkat), Brenda Michell (Chief Geltiy), and Dr. Karla Tait</span><span style="background-color: white;">—from their ancestral lands.</span><span style="white-space: pre-wrap;"> While possible agreements are in the works, the outcome is still very much uncertain, and the threats to Wet’suwet’en sovereignty over their lands remain very real. </span></span></div>
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<span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In support of the Wet’suwet’en protectors, and inspired by our colleagues in Classics, a group of medievalist scholars have collaboratively crafted the following </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">open letter, which we encourage our colleagues in medieval studies to sign. As we state in the letter:</span></span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">"We express our support as scholars and students of the medieval world, which has too often been defined in purely Eurocentric, Christian terms, and presented as a stepping stone on the teleological course of Western civilization. As our discipline confronts its colonial origins and continued involvement in nationalist projects that have sought to essentialize race and justify settler colonial violence, including the recent mobilization of medieval tropes in the service of white supremacy, we seek to re-ground our field in a respectful awareness of the layered histories of the land we inhabit, wherever we are situated on Turtle Island. We understand our roles as educators, researchers, and organizers to have specific responsibilities to Indigenous peoples’ efforts to protect their lands, waters, cultures, and peoples."</span></span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Profound thanks goes both to Wallace Cleaves and to Adam Miyashiro for their invaluable guidance and labor during the drafting process. We would also like to extend our thanks to our colleagues in Classics, whose open letter inspired us to craft one for our field, and whose wording we were invited to draw from as needed. Our gratitude extends as well to the University of Toronto geographers whose letter also proved helpful in the crafting of our own. </span></span></div>
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<span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">You can read and sign the medievalist letter by clicking <b><a href="https://docs.google.com/forms/d/e/1FAIpQLSfSJylBB4JwfrvVbcRPL7VKtg6VlxmbJu0SA8Pck7ktSOhpcQ/viewform">here</a></b>.</span></span></div>
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<span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">N.B.: We encourage you to identify and acknowledge the tribal lands on which you live and work when signing the letter. Many universities now provide this information by way of land acknowledgments, but if you have a hard time locating the information on your own university or college website, the following digital project is a good place to start: </span><a href="https://native-land.ca/" style="text-decoration-line: none;"><span style="color: #0000e9; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">https://native-land.ca/</span></a><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. As the pop-up will tell you, however, the map is a work in progress and does not at this time represent official legal boundaries—that information, as the developers state, is best acquired by contacting the tribes in question directly. </span></span></div>
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</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-49599258355480200422020-02-28T10:31:00.001-05:002020-02-28T10:31:22.531-05:00A Graduate Student in the (Farmers') Marketplace of IdeasA Guest Post by Abby Ang<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9-tlmDwYzqwD0erc4NL4_FHd8_CSpoRjnJF1fGvkueuiSyObV_ok01UrvhVfziOFuNyzvZ5j2S2-6XshWeYo8hCCxiyTIHvTMFQocFGW9g290DPjsEODWh1hG2EYCtMhhurChA/s1600/The+author+buying+bao+at+the+farmers+market.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1104" data-original-width="1104" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9-tlmDwYzqwD0erc4NL4_FHd8_CSpoRjnJF1fGvkueuiSyObV_ok01UrvhVfziOFuNyzvZ5j2S2-6XshWeYo8hCCxiyTIHvTMFQocFGW9g290DPjsEODWh1hG2EYCtMhhurChA/s320/The+author+buying+bao+at+the+farmers+market.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The author buying bao at the Farmers' Market</i></td></tr>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Every
Saturday morning in summer 2019, from 8 AM-12:30 PM, I sat twenty feet away
from white supremacists selling vegetables. As the founder and lead organizer
of </span><span lang="EN"><a href="https://www.facebook.com/nsfhbtown/"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">No Space for Hate
(NSFH)</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">,
an organization that seeks to counter white supremacist recruitment and
organizing in the local community, I challenge, on a daily basis, community and
local government toleration of white supremacy in my community of Bloomington,
Indiana. Our organization employs multiple tactics on multiple fronts,
encompassing policy changes, educational workshops, direct action,
collaborations with local food pantries, and more. Besides my activism, I study
insects in 12th to 15th century literature, focusing specifically on insect-human
encounters through critical animal studies lenses. I’m working on my second
chapter. To add to the conversation about what it means to be a public facing
medievalist who is also Asian American, I offer my perspective as a graduate
student who has been involved in extremely dangerous and intense anti-racist
work. This blog post is about being a graduate student, a medievalist, and an
activist in my local community. I discuss the importance of academic engagement
in social justice causes outside the academy, and challenge its members to
support graduate students as they do dangerous, anti-racist work outside the
academy, and not just inside it. </span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Nazis at the Farmers' Market</span></b></div>
<div class="MsoNormal">
<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">In
May 2019, local activists revealed that Sarah Dye and Doug Mackey of Schooner
Creek Farm were members of the American Identity Movement (AmIM), formerly
known as Identity Evropa. Despite initial denials (they’re not <i style="mso-bidi-font-style: normal;">Nazis</i>, they’re <i style="mso-bidi-font-style: normal;">identitarians</i>), the farmers confirmed in August that they were
indeed members of AmIM. </span><span lang="EN"><a href="https://bloomington.in.gov/market-FAQ"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">City government professed an inability to
deplatform them from the market, claiming that white supremacy was a matter of
belief, rather than actions.</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> Since I mobilized the community in response to the news
that they were white supremacists, the Bloomington, Indiana Farmers’ Market—the
main site for their business—has become a hotbed of “controversy.” Sarah Dye
granted multiple RedIceTV interviews and used her farm’s Facebook page to
disseminate propaganda, invited AmIM president Patrick Casey to the market,
collected local armed </span><span lang="EN"><a href="https://www.thethreepercenters.org/about-us"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Three Percenters</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> to support the cause, and staffed
her stall with a rotating array of violent white supremacist organizers. </span></div>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">As
the founder and facilitator of the NSFH movement, I’ve been extremely visible
and in the forefront of the fight against normalizing white supremacy in
Bloomington and increasingly beyond it. Because I have been so public and so
visible, I’ve been featured in all of Sarah Dye’s RedIceTv interviews, with all
of the ensuing calls to violence. My picture has been posted on-line and in the
community, alongside racial slurs. National Vanguard, a neo-nazi group called
me a full-time anti-white activist and a non-Jewish front for Jewish groups. A
group called “Hoosier Anti-Antifa” circulated a call on Facebook to get me
deported. I’ve gotten death threats over email. The Youtube comments on the
RedIceTV page, not to mention the Schooner Creek Farm page itself, always post
death threats. I regularly learn a fascinating array of creative ways to be
murdered. I’ve had to shut down my Twitter account. </span></div>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">To
a certain extent, none of that is surprising or new, as the constant white
supremacist backlash to recent moves in medieval studies has shown. I’ve been
lucky to have the support of my department as I navigate these threats.
However, I was and am surprised by the silence from many academic communities
and from scholars who have job security - both at Indiana University and at
other institutions. I am surprised by their fear of venturing any public
support, based on their desire not to attract white supremacist attention,
opting rather to have the brunt of white supremacist hostility fall on me and
other public-facing activists of color disproportionately. I am surprised by
the constant claims from inside the academy that Sarah Dye was too attractive,
too nice, too normal to be the face of white supremacy. In fact, some faculty
have been openly hostile. But while I write my dissertation, teach my classes,
and go to conferences, I continue to show up at the Bloomington, Indiana
Farmers’ Market every Saturday morning to challenge the acceptance of white
supremacists in our community. This uncompensated labor is an indescribable
burden. </span><span lang="EN"><a href="https://www.indianagradworkers.org/faq"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Indiana
University-Bloomington has one of the lowest stipends for graduate students in
the humanities in the country, leading my colleagues to organize around issues
of working conditions.</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Town/Gown Connections</span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8TZuG0lurW18IwaEbqa4o4p-IDYr7YSFleBgtSzGUkv7KlzDWSfziccff4TneqcU1DSIzF9Np_cNTumaJesMtpFy9SohYQdJzTMng82yP3NT9mhfGcr7ZMHhRKebRrfbsz0vVw/s1600/Handmade+Buttons.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="527" data-original-width="537" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8TZuG0lurW18IwaEbqa4o4p-IDYr7YSFleBgtSzGUkv7KlzDWSfziccff4TneqcU1DSIzF9Np_cNTumaJesMtpFy9SohYQdJzTMng82yP3NT9mhfGcr7ZMHhRKebRrfbsz0vVw/s320/Handmade+Buttons.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Handmade Buttons</i></td></tr>
</tbody></table>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">I
admire how many medievalists advocate engaging the public through social media
and in the comments of news articles. My priority, in addition to working on
the ground to defend my local community from white supremacists, is training
new activists for in-person work. Being a member of an academic institution
means also being a member of the community in which it is located. Getting
involved in local activism is a way to avoid the town/gown division. Activism
in the Midwest, something that folks in Bloomington view as one of the</span><span lang="EN"><a href="https://www.in.gov/library/2848.htm"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> strongholds of the Klan</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">, involves cultivating a lot of
well-meaning white people into becoming better allies. Related to the legacy of
the Klan activity in Bloomington, overtly racist actions are not a new feature
in Bloomington, either: </span><span lang="EN"><a href="http://collections.libraries.indiana.edu/iubarchives/exhibits/show/studentdemonstrationsatiu/1968blackmarketfirepart1"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">I recently learned
that a market and cultural center founded by black student activist Rollo
Turner was firebombed by the Klan in 1968, and that there has been nothing of
its type in the city since</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">. Members of No Space for Hate, most of which were grad
students, initiated a program called </span><span lang="EN"><a href="https://www.gofundme.com/f/funds-for-farmers-no-space-for-hate"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">CRiSP</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">, which helps connect leftover
produce from Saturday farmers’ market sales to food pantries. We’re proud to
help support one of the only food pantries in the area, </span><span lang="EN"><a href="https://pantry279.org/"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Pantry 279</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">, that comes up with creative ways to help people who would
otherwise slip through the cracks of bureaucracy. Unlike the Salvation Army,
they do not require birth certificates or citizenship paperwork to help
families with holiday gift-giving, and are therefore better able to serve
undocumented immigrants, families escaping domestic abuse situations, or anyone
who doesn’t have the “right” papers. </span><span lang="EN"><a href="https://docs.google.com/forms/d/e/1FAIpQLSez3jZrjM0s-nHV8SVT8bhCtp8SS_VSZbbcngXV1FFsO1JCtg/viewform?usp=sf_link"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">We’ve fundraised for
local indigenous communities and immigration causes</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">. In a predominantly white
community, I am helping my friends establish a </span><span lang="EN"><a href="https://www.facebook.com/El-Mercado-An-Artisan-Market-for-the-People-101222894559930/"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">market for and by
people of color</span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">. </span></div>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">These
material actions have facilitated countless positive community connections and
activism. Seeing what can be accomplished by facilitating these connections, I
thus advocate for meeting people where they are, with compassion and empathy.
It is important to recognize my tactics as both a personal choice and also one
that’s born out of precarity. I cannot afford to look “uncivil” as a graduate
student, but that does not stop the accusations of incivility. Beyond my lack
of “civility,” I have been accused of carrying coronavirus and have undergone
threats of deportation. I have been told that I will never get a job in
academia. I have been made to feel as though I have to give up those dreams and
make a choice between academia and anti-racist activism. </span></div>
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<span lang="EN" style="color: #1c1e21; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Fighting Nazis in Indiana/in the Midwest/in a former stronghold
of the KKK that is still predominantly white has taught me that the work of
combating white supremacy involves real generosity of spirit: of meeting people
where they are, of including as many diverse perspectives as possible, of the
value of incremental change, of collaboration rather than dictatorship, of
building rather than burning, of long, sustained progress, of forming unlikely
alliances, of doing the behind-the-scenes work and labor that doesn't
"happen" on social media. Week after week, I sit twenty feet away
from Nazis in refusal to normalize their presence in my community, but I also
congregate with people that I would never imagine could sit in the same room
together. I do this in order to build deep,<span style="mso-spacerun: yes;">
</span>often painful but productive connections with individuals who would have
never envisioned themselves equipped to do anti-racist work. </span></div>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">There’s
a cost. It’s impossible to understate the toll it’s taken on my personal and
intellectual life. There are no rewards or accolades for my bravery. I have
lost my health, my friendships, my relationships, and job opportunities. </span><span lang="EN"><a href="http://www.inthemedievalmiddle.com/2019/10/the-monster-they-have-created-tone.html"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">We’ve seen how many
senior scholars in the community exhibit some ugly flexing towards graduate
students. </span></a></span><span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">There’s
a difference doing this highly intense and potentially violent (for me)
anti-racist work as a graduate student in Indiana, and not as a tenure-track or
tenured professor. <span style="background: white; mso-highlight: white;">Therefore,
I ask: How do we support graduate students as they do dangerous, anti-racist
work outside the academy, and not just inside it—work that incurs real dangers
but also cultivates town-gown relationships and communities?</span> How do we
empower them to do very visible and public anti-racist work while doing
research, teaching, and trying to pay the rent? For me, who has been told to
“stop organizing around white supremacy,” keeping silent is not an acceptable
answer. What kinds of public support can academics who have job security,
better health insurance, and higher salaries than a grad student stipend,
provide to graduate students of color who have chosen to stick their necks out
to protect their communities? What kinds of public statements of support? What
kinds of intellectual resources can or should be brought to bear on outreach
about the issue? What kinds of material options exist for support? </span></div>
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<span lang="EN" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">These
are urgent questions. While we consider them, I will be helping other artisans
and community members of color in Bloomington build a market that models values
of inclusivity and belonging while working towards racial justice. I urge you
to join me. </span></div>
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<span lang="EN"><a href="https://patreon.com/abbyang"><span style="color: #1155cc; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Please consider
subscribing to my Patreon.</span></a></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhckF_hVhLDLg379FCgT7fq9gh_29ozla3Z6zgEGgTVbH3CRsbvg7lE19rRTqPNwmwds7qmCClFzGxT-DRG79DvnBuhTVD3YoOi_ODn5nXWHCqnGXjNulJnDPOhRZe8b29KOiMqEQ/s1600/74597646_151457746250223_1303054586109493248_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="415" data-original-width="750" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhckF_hVhLDLg379FCgT7fq9gh_29ozla3Z6zgEGgTVbH3CRsbvg7lE19rRTqPNwmwds7qmCClFzGxT-DRG79DvnBuhTVD3YoOi_ODn5nXWHCqnGXjNulJnDPOhRZe8b29KOiMqEQ/s640/74597646_151457746250223_1303054586109493248_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thedailybeast.com/unicorns-arrested-at-protest-of-white-supremacy-at-bloomington-indianas-farmers-market?ref=home" target="_blank">Cops Bust Unicorn Protesting White Supremacy at Indiana Farmers' Market</a></td></tr>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 125%;">Resources</span></u></b><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 125%;">: </span></b></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">No Space for Hate website: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=259ad21852&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://nospace4hate.btown-in.org/</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">○<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">NSFH Report #1: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=be0299a070&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://nospace4hate.btown-in.org/report/</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">○<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">NSFH Report #2: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=2d592d3f96&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://nospace4hate.btown-in.org/report-2/</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">○<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">NSFH Report #3, response to Patrick Casey: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=2739f2fa42&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://nospace4hate.btown-in.org/report-3/</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Southern Poverty Law Center report, Identity
Evropa rebrands to American Identity Movement: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=744a57c304&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://www.splcenter.org/hatewatch/2019/03/12/white-nationalist-group-identity-evropa-rebrands-following-private-chat-leaks-launches</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">Unicorn Riot, exposed private Identity Evropa
messages: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=33de3c78b6&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://unicornriot.ninja/2019/neo-nazi-hipsters-identity-evropa-exposed-in-discord-chat-leak/</span></a></span></div>
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<span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN" style="color: #202020; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">NBC, October 2018 report on Patrick Casey: </span><span lang="EN"><a href="https://democracyformonroecounty.us10.list-manage.com/track/click?u=300b11bddb1b3686c25b46b9e&id=e8305390d6&e=5fb167145a"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;">https://www.nbcnews.com/politics/immigration/white-nationalist-leader-plotting-take-over-gop-n920826</span></a><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span lang="EN"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="color: black;">__________ </span></span></span><br />
<span lang="EN"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="color: black;"></span></span></span><br />
<span lang="EN"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="color: black;"><i>About the Author</i></span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTs0RrrJLQYkfHLVWrqbTqQN-ZKIQk8tOON9W6ZR0Ih6w_aESbNvpOq-Kc1kpsUD3KqMaddYhJtOEeRZtpqUmsFR8EzrYMPvN2hn7fdj3yRbxANoGzChQkLE35fIXW1xAXwwyK2w/s1600/Ang+Headshot.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="410" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTs0RrrJLQYkfHLVWrqbTqQN-ZKIQk8tOON9W6ZR0Ih6w_aESbNvpOq-Kc1kpsUD3KqMaddYhJtOEeRZtpqUmsFR8EzrYMPvN2hn7fdj3yRbxANoGzChQkLE35fIXW1xAXwwyK2w/s320/Ang+Headshot.png" width="211" /></a></div>
Abby Ang is the founder and lead organizer of No Space for Hate, a coalition of community members who confront and expose local white supremacist activities through education, direct action, and community building. She co-organizes an Indiana chapter of National Asian Pacific American Women's Forum, and is the vice president of Monroe County National Organization for Women. <br />
<br />
An alum of Providence College, Abby moved to Bloomington 7 years ago to attend Indiana University as a full time PhD Candidate in the Department of English. She is working on a dissertation focusing on 12th-15th century human-insect encounters across medieval literary genres through ecocritical and animal studies lenses. In recognition of her public service, Indiana University awarded her with the Martin Luther King Jr. Building Bridges Award (2018) and the John H. Edwards Fellowship (2018-2019). <span lang="EN"><span style="color: #007c89; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="color: black;"><i><br /></i></span></span></span><br />
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Mary Kate Hurleyhttp://www.blogger.com/profile/14892991966276345782noreply@blogger.com2tag:blogger.com,1999:blog-21165575.post-69418955282645100592020-02-20T16:00:00.000-05:002020-02-20T16:00:04.844-05:00On hidden scars and the passive voiceA Guest Post by Nahir I. Otaño Gracia<br />
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Last time I wrote a public piece, I wrote about </span><a href="https://medium.com/the-sundial-acmrs/movements-of-exclusion-on-constructing-borders-and-building-anxiety-f03b964b809e" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">borders</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">: the borders of my new home state, how I see borders in my research, and how we can dismantle borders. Now I would like to talk about other borders, the borders of our field.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">On September 19, 2017, when we felt the first winds of Hurricane Maria, I was a day shy of turning 37 weeks pregnant. My daughter Enora Maya was born a month after the hurricane on October 18. I sing to her that she came with the waters and the winds—que vino con los vientos y las aguas y se lo canto al ritmo de “Feel it Still” de la banda Portugal, “The Man”—that she is strong, patient, and brave because she waited for us to get her; and that we had to rescue her. These comments are not exaggerations. But they also downplay everything—just like everything I write here downplays everything. The passing of Hurricane Maria radically changed me; encounters change us, we are not immune to them.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I would like to tell you a memory.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I was watching Spike Lee’s documentary </span><a href="https://www.nytimes.com/2006/08/21/arts/television/21leve.html" style="color: #954f72;"><i><span style="font-family: "Times New Roman", serif; font-size: 12pt;">When the Levees Broke</span></i></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">. The most powerful scene for me was when Lee shows footage after footage of news anchors calling the people of New Orleans “refugees.” The men and women interviewed in the documentary expressed pain at being described in this way because to be a refugee means that you are coming from another country. So, months after hurricane Maria hit my Island home, when I finally had internet and electricity and water and I was able to engage with colleagues and friends from the United States, I was not surprised to hear people calling the thousands of Puerto Ricans leaving the Island “refugees.” I was not surprised to see friends, colleagues, and medievalists call Puerto Ricans “refugees.” I was surprised to see how many academics could, in theoretical terms, discuss Puerto Rico and the traumas of the Island while, at the same time, forget that I am one of the Puerto Ricans that was living on the Island—as if trauma is a theoretical exercise and not a lived experience. In fact, I am certain that most academics do not even realize that I, like other thousands of Puerto Ricans, left my home because I felt I had no choice. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Let me make something clear, I am not a refugee; I am displaced. This country in which I reside cannot escape the fact that Puerto Rico was made a colony of the United States, forced Puerto Ricans into citizenship (and into every single US war since WWI), and created the conditions of neglect that led to the aftermath of Hurricane Maria. People often speak to me about climate change as if it is in the near future. It is not. I know firsthand what it means to be the victim of climate change, of the greediness of disaster capitalism, and I know firsthand what it means to be dehumanized and rendered invisible. Invisible to the institutions that consistently deny the island aid, and invisible to my colleagues who have made it very clear that they have moved on and therefore I should too.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Most of the time that I bring up the most traumatic aspects of what happened to me, people either change the subject or look so horrified that I change the subject. You see, it is now also part of my job to protect you from my trauma, make it invisible to all of you. And I have always felt invisible as an academic. I have felt invisible because Latinx scholars are perilously underrepresented in Academia and even more so in Medieval Studies; because Medieval Studies has tall walls in place to keep PoC out; because almost every year someone forgets that I sent an abstract for a panel or that I applied for a committee; because I am mis-gendered; because most of the people I meet at University campuses assume I am an undergrad (if they assume I belong in academia at all), and they are shocked to find out I’m a professor (let alone a professor in an English department and of Medieval Literature). Now that I am in many ways through the walls that keep so many PoC out—because I made colleagues, because I belong to the Medievalists of Color group, and because I have institutional affiliation—I am still invisible because the field is not ready to accept the fact that I am a Medievalist, that I am Puerto Rican, that I am also displaced, and that I am displaced because </span><a href="https://www.miamiherald.com/news/nation-world/national/article217659345.html" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">the United States doesn’t give a shit about Puerto Ricans.</span></a><span class="MsoHyperlink" style="color: #0563c1; text-decoration-line: underline;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;"></span></span><u><span style="color: #0563c1; font-family: "Times New Roman", serif; font-size: 12pt;"><o:p></o:p></span></u></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I am definitely a part of the field of Medieval Studies and I study the Middle Ages. This should be enough for me to belong to my field of study but it is not. I am only accepted conditionally, just like the United States makes Puerto Ricans citizens but not true citizens, I am only accepted if I follow the unspoken rule of making no one uncomfortable and keep my trauma invisible. But as climate change, disaster capitalism, and anti-migrant policies continue to displace us, perhaps we should expand the tenets of our field to accommodate what makes us uncomfortable and disorients us from our center. I don’t know about you, but that is part of what I love about studying the Middle Ages, that it won’t allow us to be comfortable or settled. It is after all an almost unimaginable past. Perhaps we should allow for that kind of unsettledness to be part of the field and not just of the texts we study.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">***<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I woke up on September 20 at 3:00 am to the wind howling! It sounded like a fierce dragon bent on destroying us. I have never heard anything that loud, let alone the wind. The wind screamed at us, the windows opened and closed, they banged at us with anger, they threatened to jump at us as if they were alive, as if they were Old Irish weapons ready to fight against us. And the water was coming in, so much water was coming in.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">My family and I spent the hurricane at my parents’ house, and I remember my dad holding the door because we thought it would fly off. The rest of us where trying to stop the water from coming in. My mother says that she will never forget the image of me with my big belly trying to get rid of the water. I will never forget having to climb over downed trees heavily pregnant so that I could get back to my home, just so that I could find all of my possessions wet, just so that I would lose half of it to mold, just so that I would lose the rest because I had to leave.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">But during the hurricane I was calm because I did not want my baby to feel the stress. I managed to keep myself calm that first day, but I was not prepared for the second day. I was not prepared for the wind to continue screaming for a second day. Beowulf did not endure the dragon for two days, at least I don’t remember that he did, and just like Beowulf I was defeated. On that second day, I started having contractions. They were ten minutes apart and we went to the hospital. I did not give birth that day, but I continued to have contractions every day until my daughter’s birth a month later. Every day I was in pain—feeling my belly contract and relax—and every day that I was in pain, was a day that my baby was safer. I didn’t mind the pain even though I still feel it sometimes.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">***<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Yes, the passing of Hurricane Maria radically changed me, and as I write this, in the first week of the New Year, the fires in Australia and the possibility of war heavily weigh on me. A week later, as I revise this, earthquake after earthquake hits my home, my Island. And more and more medievalists come out with their own pains and traumas. I am in pain for others, and that pain manifests physically. My sadness pools on my belly, low and heavy, like it did in my pregnancy and at my daughter’s birth. But also, my article “</span><a href="https://doi.org/10.1111/lic3.12545" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Towards a Decentered Global North Atlantic</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">” was just published in a special volume of Literature Compass, “</span><a href="https://onlinelibrary.wiley.com/toc/17414113/2019/16/9-10" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Critical Race and the Middle Ages</span></a><span class="MsoHyperlink" style="color: #0563c1; text-decoration-line: underline;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">,”</span></span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> edited by Dorothy Kim. I am so proud and humbled to be in the volume, to see my work alongside the work of such amazing scholars. I feel immensely for the trauma of others and I worry that their trauma will also be made invisible. I also feel proud to have written and published this article. We are multidimensional after all.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">You see, “Towards a Decentered Global North Atlantic” best exemplifies my theoretical perspective; it describes how I see myself as a medievalist. Hidden among my many ideas, I also explain why we should use the passive voice more often (a hallmark of my Latinidad). I write: “A Global Middle Ages approach to medieval Scandinavian Studies reinforces that the Norsemen changed other cultures, but it does not show how Scandinavian cultures themselves <i>were changed</i>” (italics my own 2019, 3).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">The passive voice here explains one of the most important tenets of my work. I am interested in difference; I am interested in how we change each other. I am interested in showing that these differences and changes make us better. You should know that the first iteration of the above sentence, the first iteration of the framing of this article, before I even knew it would turn into this article, was written in my house in Cayey, PR when I had no electricity. It was written for the </span><a href="http://www.sewanee.edu/media/resources/med-col/Sewanee-Medieval-Colloquium-Schedule-2018.pdf" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">2018 Sewanee Medieval Colloquium</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> Plenary Seminar titled “Medieval Race and the Modern Scholar.” I actually do not have a copy of the email I sent with the abstract because most of the emails I sent back then were not saved. Even when we began to have access to communication, it was stunted, incomplete. But that is also how the ideas for that paper began. Communication was utterly unreliable for so long but we would get what my </span><a href="http://strangehorizons.com/non-fiction/speculations-on-maria/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">husband calls “internet breezes.”</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> Sometimes I would open up Twitter on my phone and some tweets would have downloaded. I had access to no images, so I could see peoples’ names but not their pictures. If there was a thread, I could only see the first tweet. I could not open any articles, I could not see any responses—it was all incomplete. And when something new happened to download, everything else was lost. In this incomplete state, with these little pockets of internet, I was able to feel part of something bigger.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">In this incomplete state, with these little pockets of internet, I was able to find out that in a Puerto Rican hospital all the people in the emergency unit died that night because there was no electricity or a functioning generator, including all the premature babies (I can’t find the tweet, I just remember reading it).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">***<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">The first month after the hurricane was the hardest month for the island. No electricity, no internet, no phones, no cash, no gas, sometimes no food. We were lucky we had prepared very well for the hurricane. We followed the National Weather forecast instructions on how to prepare for a hurricane. We had a generator (but how were we supposed to know it eats up so much gas, too much gas?), we had two gallons of water per person, we had a weeks’ worth of canned food, we had gas and cash. But we were not prepared, because nothing can prepare you for the damage, for the length of time without help, for the pain our island suffered (a pain that was squeezing me every ten minutes for that entire month). All the trees were gone, so many houses gone, so many people in need, and then we found out that so many people were also gone. My grandmother was old, my grandmother was encamada, but I still wonder, would she have made it to 100 (her goal I believe) if the hurricane and then the apathy of our second colonizer had not punched us in the stomach? I remember my cousin, who had a one month old baby, frantically looking for water to be able to give her child formula. There was also no formula in the stores. When you’re pregnant and privileged breastfeeding vs. using formula is a debate, but breastfeeding was no longer a choice for me, “</span><a href="https://fedisbest.org/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">fed is best</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">” was not a choice for me, breastfeeding my baby was a matter of survival.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I spent that first month in and out of the hospital. My OBGYN had their office there and I had to go at least once a week. Sometimes I waited for hours to be attended by my doctor. All the pregnant women and I waited up to eight hours there. Why? We were coming from different places, some were sent there from other offices. There were no phones, no way of contacting anybody so we just had to arrive and wait until the doctor saw us. I remember needing to get bloodwork done and the woman attending me had just received her paycheck. She looked at it and said, “What am I supposed to do with this?” There were no banks open yet so she could not cash her check. She had to do everything by hand because there were no computer systems. She had to do it by herself because so many of her colleagues had left. You see, very quickly after the hurricane, hospitals from all over the United States came to the island to pilfer us of our professionals. Bilingual nurses that would work for less and had citizenship (Ah, the American dream!). The nurse told me that the hospital-lab was doing the blood analysis of their own patients and of two other hospitals. Sometimes the lights would go out because the generator ran out of diesel and we had to wait for the lights to come back up, they would mostly come back up, except the days they ran out of diesel. The hospital had two generators working. At night, the hospital was a beacon of light in Cayey; the only thing emanating light. Everything took time and everyone waited patiently. We all knew that the hospital was taking care of people from all over the island because it was one of the few functioning hospitals. We all waited, everyone waited.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I gave birth at 41 weeks and my labor was induced. My baby, we did not know the sex yet, did not want to come out. But my body could not take it anymore. You see, my belly was just too big, it was growing too much and retaining too much liquid. I kept being asked if I was having twins. The combination of my new forced diet (too much canned food, and I also lost almost 50 pounds between my pregnancy and Enora’s first month of life) and I imagine the stress had an effect on me. I was having contractions, I began to dilate but my baby’s heart beat was dropping at the wrong time. I will always remember my doctor’s words: If you try to push this baby out, there will be no baby. So I had an emergency C-section. It was awful, but I owe my daughter’s life to it—so it was awful, but it was also necessary. We then found out that we had a girl, Enora Maya, we also found out that her cord was wrapped once around her neck. I have never felt so tired and scared and helpless, and I had just gone through a hurricane and a month of its aftermath. The lights had gone out and come back at the hospital twice that day and I was afraid they would go out during the C-section. They did not. Enora was fine. Enora is now two. Enora is perfect.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">***<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Enora liked to breastfeed, fill herself up with milk, and fall asleep in my arms, and while she slept on one hand sometimes I would open up Twitter to see if something new uploaded. Through Twitter I became aware of the </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Muslim Vikings incident, although I did not have the complete story. As far as I could tell, news of an exhibition on Vikings led by a team of scholars was released in 2017 highlighting a Viking cloth that spelled the word ‘Allah.’ The cloth signaled the possibility of Muslim Vikings. As far as I could tell, all hell broke loose.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Later, I pieced together the story: that the first comments by white supremacists used a simplistic form of the Vikings and the Global Middle Ages argument to dismiss the claim. They argued that the cloth was stolen from a raid in the Middle East and was kept because it looked “</span><a href="https://www.rawstory.com/2017/10/white-supremacists-fly-into-white-hot-rage-at-news-some-vikings-may-have-been-muslim/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">cool</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">.” Once the story expanded and the cloth was said to be made by </span><a href="https://www.nytimes.com/2017/10/14/world/europe/vikings-allah-sweden.html" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Vikings</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> using </span><a href="http://www.independent.co.uk/news/world/europe/allah-viking-burial-fabrics-clothes-name-woven-found-islam-uppsala-sweden-funeral-customs-a7996166.html" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">silks</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> from Central Asia, suggesting that Islam influenced religious ideology in Scandinavia, the reaction changed significantly. Not only were white supremacists railing against the find, but </span><a href="https://twitter.com/stephenniem/status/919897406031978496?lang=en" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">academics</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> themselves </span><a href="https://stringgeek.blogspot.com/2017/10/viking-age-tablet-weaving-kufic-or-not.html" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">began to question</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> the conclusions of Dr. Larsson by concentrating on ways </span><a href="https://news.artnet.com/art-world/art-historian-debunks-viking-story-1120607?utm_content=buffer6aaee&utm_medium=social&utm_source=facebook.com&utm_campaign=socialmedia" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">to dispute the findings</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">. Several scholars also began to question the </span><a href="https://stringgeek.blogspot.com/2017/10/viking-age-tablet-weaving-kufic-or-not.html" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">credibility</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> of Dr. Larsson as a scholar.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">What I remember about the incident, which I got from those little bits here and there, was that </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Dr. Larsson’s assertions created cognitive dissonance to academics and white supremacists alike by implying that the Islamicate influenced Viking culture. I noticed a tendency to change the conversation back into a Global Middle Ages perspective. It is fine that Vikings traveled to the Islamic world but it is unacceptable that Muslims influenced Medieval Scandinavians. </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">I kept wondering why we see Vikings as changing others by their interactions but not that Vikings were also changed by those same encounters (I later found out that Dorothy Kim arrived to very similar conclusions. She sent me her own response to the incident in an email, but again, I don’t have it anymore and I don’t remember what she wrote). From what I understand, the final word on the argument was that the findings were incorrect, but the vitriol with which the findings </span><a href="https://hyperallergic.com/407746/refuting-viking-allah-textiles-meaning/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">were attacked</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> and then spun into something else still shocks me. But this incident, which I only knew of from little bits here and there, was key for me to arrive to the theories that I outline in </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">“</span><a href="https://onlinelibrary.wiley.com/doi/abs/10.1111/lic3.12545" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Towards a Decentered Global North Atlantic</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">.” </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I think about this all the time—that I was able to engage with my profession even if my profession did not know it. Even as I felt that every day was an exercise in survival and existence, I was still a medievalist. I am still a medievalist, just like I am still dealing with the consequences of Maria and its aftermath, just like my cesarean scar hides in plain sight.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">My daughter’s birth has marked me like the hurricane has marked my island. I now have a red scar in my body, evidence of my daughter’s birth, evidence of the storm. And just like the scar is always covered up but always there, these experiences and the many others I experienced, are always covered up but always there.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Hurricane Maria came and went and we, as the Puerto Rican people, moved, we actively moved and did everything we could. We all worked together, moved trees out of the way, cleaned debris, helped our neighbors, created water holes, did the laundry by hand, watched each other’s kids to get work done. We did everything we could and then we waited. We actively waited for the experts and professionals to do the jobs we could not do because they were beyond our capacity. We actively waited for those in positions of power to take action but they passively took action to hurt us and render us invisible.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I have heard it explained that we Latinx are lazy (I have been told this to my face, the first time I have a clear memory of it was when I was thirteen years old and it was my Social Studies teacher). We are passive and our use of the passive voice is the perfect example of our passivity. This is our gift from eighteenth- and nineteenth-century racist linguistic bullshit. In the English language it is hammered into us that we have to use the active voice (you have no idea how much Word is fighting me about this essay), to show that we create the action, except in sexual assault. In sexual assault, you use the passive to erase the assaulter and make the victim responsible. When it comes to hurting others, English wants nothing to do with action. The U.S. becomes passive when it comes to stopping climate change, when it comes to stopping disaster capitalism, when it comes to acknowledging our wars, when it comes to helping migrant families, when it comes to helping survivors. The U.S. was all inaction when it came to helping Puerto Ricans and our field is all inaction when it comes to acknowledging and accepting this trauma.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">And this is the thing. We are a field experiencing trauma. The trauma that our field is the product of colonialism (although we are not alone on this); the trauma that white supremacists appropriate the Middle Ages to hurt people; the trauma that many of our forefathers were bullies and sexual assaulters; the trauma that we have failed survivors and have not protected them from these harms; the trauma that most of us, most of the time, don’t know what to do about it.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Since I am who I am, I will end on a hopeful note. Let me reiterate something, the Latinx passive voice tells us to consider the other side, to remember the other side, to allow for the other side to have agency too. There is nothing passive about the Latinx passive voice. It is the strength of a people lifting themselves up. We Puerto Ricans continue to lift ourselves up even if we are systemically put down every single day. Let us take a cue from the Latinx passive voice and actively work to help each other, to see each other. The first steps are always the most uncomfortable but if we lift each other up, we are stronger.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Like most Puerto Ricans, I also experienced happiness and relief, especially when my daughter quickly took to my breast, and I could see that I was producing enough colostrum and milk, and I knew that I would not have to worry about my daughter going hungry. Although this did not erase the pain, fear, and helplessness of the whole ordeal, the relief and happiness of that moment kept so much else at bay. Every time I hold my daughter and she looks at me and I know she is well and safe and alive; it keeps the rest at bay. Just like the people that came to our aid—which was never the government that still bleeds us to bankruptcy—the neighbors that moved the trees so that I did not have to climb over them again; the trash that was removed right away because the workers did not take the days after the hurricane off; or the onesies, diapers, and other materials that showed up at my house because people sent them by mail and somehow they managed to get there despite it all; these things keep the rest at bay; all of these moments, amplified by the thousands of people that did this kind of work for all of us here on the island, keep the pain at bay. Right now, as earthquakes destroy parts of my Island and I worry for my family every single second of the day, I see Puerto Ricans telling themselves we are scared but we will survive, we will rise, we are strong!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I feel like I embody my Puerto Rico. I feel a little broken and worse for wear although alive and trying to slowly heal. I saw how everyone else moved on from our pain after Maria, and I fear the same will happen with these </span><a href="https://www.washingtonpost.com/us-policy/2020/02/05/white-house-threatens-veto-puerto-rico-earthquake-aid-package-ahead-house-vote/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">earthquakes</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">. I feel nothing like the triumphant pride I felt when I gave birth to my first daughter, but I feel the same love and pride for my Enora Maya as I do for my Violet Mariluz.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">I have written before on </span><a href="https://ir.uiowa.edu/mff/vol53/iss1/11/" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">dehumanization</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">, on the repercussions of dehumanizing tactics in the Middle Ages and in the present. Our goal—I wrote the article with a colleague—was that if we learn to see dehumanizing tactics in the past, we might be able to see them in the present. As climate change, the US military complex, and disaster capitalism continue to make migrants of us all and does so by arguing for our inhumanity, I ask that we reject this dehumanization. I ask that you see that trauma does not go away once the news move on. I ask that you see me even if it makes you uncomfortable.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">We Puerto Ricans are dispersed, we are there on the island or here on the mainland, but we are here. Despite the pain, we are here. Less than 24 hours after my C-section, I was made to walk because it would be better for me in the long run. As then, so too now: despite the pain—of being displaced, of being erased, of experiencing racism—I walk every day, I make my family proud every day, I try to make a name for myself every day. And I do it by being fiercely Puerto Rican, fiercely Latinx, fiercely hispanoablante, and a Medievalist. Today I am also doing it by showing you that I am also struggling and healing, and that being fiercely myself means that you should know that I carry trauma and that my trauma is still raw even if my scar is cauterized. I guess my point is that from today on I refuse to be </span><a href="https://www.insidehighered.com/advice/2016/09/02/experiences-being-latinao-higher-education-essay" style="color: #954f72;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">conditionally accepted</span></a><span style="font-family: "Times New Roman", serif; font-size: 12pt;">.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglIGPOZxqNDZBlToDOwHIPoeKAzT_621nz9bYkqg6xpL-sbKs1mkPukC2p9dfELTgxSJcCPi7uvt3A8-bDHd7xI46upnnFNxfhMkZq9YlLQH2ZVZW9vi4SZ0OUV6at6URQCQc2mQ/s1600/image+%25284%2529.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglIGPOZxqNDZBlToDOwHIPoeKAzT_621nz9bYkqg6xpL-sbKs1mkPukC2p9dfELTgxSJcCPi7uvt3A8-bDHd7xI46upnnFNxfhMkZq9YlLQH2ZVZW9vi4SZ0OUV6at6URQCQc2mQ/s1600/image+%25284%2529.png" /></a></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">About the Author: </span></div>
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<span style="background-color: white; color: #222222; font-family: "Gotham A", "Gotham B", "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px;">Nahir I. Otaño Gracia is an Assistant Professor of English at the University of New Mexico. Her theoretical frameworks include translation theory and practice, the global North Atlantic (Britain, Iberia, and Scandinavia), and critical identity studies. Her scholarship has appeared in <i>Comitatus</i>, <i>Ennaratio</i>, and <i>Literature Compass</i>, and her current projects include a monograph entitled <i>The Other Faces of Arthur: Medieval Arthurian Texts from the Global North Atlantic</i>, and a co-edited volume entitled <i>Women's Lives: Self-Representation, Reception, and Appropriation in the Middle Ages. </i></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-86739466091410003722019-12-09T21:06:00.001-05:002019-12-10T11:23:49.151-05:00#RaceB4Race: Beginnings<b>by J J Cohen</b><br />
<br />
The following is the draft from a short piece Ayanna Thompson and I composed for an upcoming issue of <i>postmedieval</i> on Confessions. Her section of the short essay explores her nontraditional training as an early modernist and you'll have to wait for publication day to read it. My section relays the genesis of <a href="https://acmrs.asu.edu/RaceB4Race">#RaceB4Race</a> (tm) and appears below. (Notice that we had to trademark it: there is a story to that as well).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKlp4-7MwloHN2Ly3va-BXHiqOm_wVwYoKZSG7vSClX8pDHCJxtNKqxQ35as_VHh0P684MGdqeLTGFS-ecmy4psMk04tDssuwZUUd3XIgs2vYzXMaBY5MeMhZmaLD72i2hHWvy/s1600/Screen+Shot+2019-12-09+at+6.57.10+PM.png"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKlp4-7MwloHN2Ly3va-BXHiqOm_wVwYoKZSG7vSClX8pDHCJxtNKqxQ35as_VHh0P684MGdqeLTGFS-ecmy4psMk04tDssuwZUUd3XIgs2vYzXMaBY5MeMhZmaLD72i2hHWvy/s640/Screen+Shot+2019-12-09+at+6.57.10+PM.png" width="640" /></a><br />
<br />
Confession:
for much of my career as an educator I participated in a system that
rewards its most successful faculty (narrowly defined as research
productive) with time off from the hardest work of education. I did not
labor to figure out how to create ways of providing access to education
across the expansive spectrum of society. I quietly assisted in
maintaining a system of sorting, exclusion, and concentration of
resources. When a university is content to be judged by selectivity
(coded as excellence), historical inequalities and enduring disparities
are reinforced. On most campuses the Office of Admissions functions as
the Office of Refusal, turning away far more than are welcomed, then
bragging about a low acceptance rate as if it were a sign of
institutional worth. Such a system will strengthen the divisions and
segregations that education ought to address. Such a system will
consider those forced to the far side of its gates a problem not its own
rather than the effects of the unjust structures with which it is
wholly complicit. Such a system will envalue traditional, white, elite
confederations, leaving to silence difficult stories of race and
refusal. Narratives of rebuff are therefore everywhere in academia, from
classrooms to the conference circuit. They all tell a version of the
same tiresome tale.<br />
<br />
The project that is now called
RaceB4Race began at such a moment of rejection. Surprise, anger, and
desires for a better field were widely expressed across social media in
the wake of the exclusion of the voices, talents, and insights of
scholars of color at a major (and majority white) conference in medieval
studies. But the stakes were always higher than any particular
gathering: exclusions upon which the fields of medieval and early modern
studies were founded were being enacted all over again, this time by an
academic community that would no doubt describe itself as tolerant,
inclusive, and “not racist.” <a href="https://english.asu.edu/content/ayanna-thompson-professor-literature-and-director-arizona-center-medieval-and-renaissance">Ayanna Thompson</a> has long labeled this model
of academic business as usual the Country Club. Those who are not
visibly part of a long existing community are in subtle and not so
subtle ways told they will be more comfortable somewhere else. They are
made to feel unwelcome should they place a foothold in traditional
spaces, while behind the scenes mechanisms are put in place to prevent
repeated entrance, often because the presence of difference makes too
clear the community’s unacknowledged founding charter. The door to the
Country Club may be opened just wide enough to illustrate how
open-minded those inside hold themselves to be: you’ll glimpse a
sprinkling of queer and Jewish folks, some first generation scholars
who’ve made a success of themselves according to the rules for what
counts as success inside. There may well be some scholars who are black,
Latinx, Indigenous, but they have often been admitted on condition of
modelling the dominant mode of being a member of that community, and
will be quickly escorted to the door if they voice a challenge rooted in
their embodied experience or make those within the club feel
uncomfortable about themselves or the price demanded for membership. The
gate is firmly shut against anyone who disputes the unspoken grounds
for admission and success, or who otherwise makes those already within
the club feel bad about benefits they have long enjoyed (and believe
they have earned through a combination of their merit, excellence, rigor
and hard work). Such beliefs are inevitably held without acknowledging
that not everyone starts from the same place: the child of two Rhodes
scholars enters the world with a portfolio of advantages that most
cannot possess. The Country Clubs of medieval and early modern studies
in other words default to white (with Christian and elite built into
that whiteness), and unspoken bars to entrance and community have been
enacted from the founding of the disciplines. The assumption therefore
arises that scholars of color will be more comfortable somewhere else,
like African American or postcolonial studies, and as they are turned
away at the door they need to be civil about their own exclusion. There
is nothing worse than making Club members feel ill at ease as they
attempt to go about their business of business-as-usual. Or at least
that is how the two fields have in a general way worked for a long time.
With its capacious welcome of early career researchers and its emphasis
on broadcasting the voices of those who have fought against to the
Country Club model, often at significant cost to their wellbeing and
career, the <a href="https://acmrs.asu.edu/">Arizona Center for Medieval and Renaissance Studies</a> / <a href="https://www.google.com/search?client=firefox-b-1-d&q=%23ASUHumanities">ASU Humanities</a> project “<a href="https://acmrs.asu.edu/RaceB4Race">RaceB4Race</a>” aims to offer an affirmative
countermodel to such wearisome configurations.<br />
<br />
Ayanna
Thompson and I have been friends and co-conspirators for quite a while.
For five years she and I had weekly lunches at George Washington
University, where we would talk about our hopes for and frustrations
with our home fields, brainstorm ways we might make them better, and
enable their best missions to converge. The <a href="http://www.gwmemsi.com/">GW Medieval and Early Modern Studies Institute </a>(MEMSI) assisted the execution of some of these
ideas, but we had trouble securing sufficient attention and resources.
After a decade it became clear that the mission of the Institute had run
its course, and for various reasons it seemed to each of us that it was
time to move on. I departed to become <a href="https://thecollege.asu.edu/content/jeffrey-cohen-join-asu-dean-humanities">Dean of Humanities </a>at Arizona
State University, and Ayanna left at the same time to become the
<a href="https://isearch.asu.edu/profile/733133">Director</a> of the <a href="https://acmrs.asu.edu/">Arizona Center for Medieval and Renaissance Studies</a>
(ACMRS). Our families are close and have gone through many things
together, including a relocation from DC to Arizona with our belongings
on the same truck. We trust each other deeply. We often urge each other
towards the realization of uncomfortable truths and greater striving in
the face of occasional despair. That is what good friends do. Because we
share the same fundamental values (including pragmatism, action over
complaint, challenge, community, inclusion, and collaboration) it is
easy to work together. For Ayanna the move to ASU marked a return to
what had been her home institution, a mission-driven place that she
missed. The <a href="https://www.asu.edu/about/charter-mission-and-values">ASU Charter</a> speaks deeply to both of us, especially in its
opening line: “ASU is a comprehensive public research university,
measured not by whom it excludes, but by whom it includes and how they
succeed.” That sentence is a salvo launched against the elitism built
into most university education, which prizes exclusivity and the cult of
selectivity, a narrow vision of meritocracy that undergirds university
ranking systems. ASU does not always get things right, but nonetheless
offers a powerful countermodel of education as open door.<br />
<br />
When
the <a href="https://medievalistsofcolor.com/">Medievalists of Color </a>(MOC) proposed a series of sessions for the
<a href="https://wmich.edu/medievalcongress">International Congress on Medieval Studies</a> (ICMS) that were turned down
by its program committee while similar sessions proposed by white
scholars had been accepted, Ayanna and I realized that ASU had a chance
to offer a powerful affirmation in the face of this rebuff. We were both
new in our jobs and realized that we were seeing once again our fields
practicing the worst of the exclusions of which they are capable, and
that it would not be enough simply to condemn what had unfolded. We now
had resources available to us that our previous positions did not
provide: staff, structure, funding, and an institution that we knew
would back our congruent visions of what the humanities should become.
We wrote to Seeta Chaganti, who had recently published an open "<a href="http://medievalistsofcolor.com/race-in-the-profession/statement-regarding-icms-kalamazoo/">Statement Regarding ICMS Kalamazoo</a>" on the Medievalists of Color website. We thanked her for being a force for good in the field, and
asked:<br />
<blockquote class="tr_bq">
<i>We would like to use some of
the resources we have at ASU towards building the future so many of us
want (the future that seems to have been rebuffed by the ICMS). What
would you think—and what would your colleagues in the MOC group think—of
ACMRS creating a symposium around the three sessions affiliated with
the MOC that were rejected by the ICMS committee? We are eager to affirm
a vision of the field that has been rejected. There is a better way.</i></blockquote>
The
rest is both history and a horizon of promise that continues to beckon.
RaceB4Race enabled a convergence between the Medievalists of Color and
what has long been known as <a href="https://www.google.com/search?client=firefox-b-1-d&q=%23Shakerace">#Shakerace</a>, a community of early modernist
scholars of color and their allies undertaking critical race studies.
Both groups have in common painful and often quite personal stories of
rejection by “mainstream” organizations and senior scholars for
undertaking the kinds of work that challenges the Country Club model,
reorienting the assumptions of the field, and interrogating the self
image of white scholars who consider themselves “not racist” but
practice business as usual all the same. The first RaceB4Race symposium
was held in Tempe and gathered about 300 people, many of whom were
community members who showed up because they were intrigued by the topic
and wanted to learn more. They left delighted, inspired. The second
RaceB4Race was held in Washington, DC and gathered 200 people. Both
these events were co-sponsored by the Folger Shakespeare Library,
demonstrating that hallowed institutions can change when a will exists.
The third RaceB4Race is going to be held next month in Tempe. Future
sights for this twice a year gathering include Boston, Newark, Toronto,
Chicago, and London.<br />
<br />
I’ll end by stating what I hope
is evident in everything I’ve written: it’s an honor to work with Ayanna
Thompson. Some mutual plotting was the germ of the idea that bore fruit
as RaceB4Race, but the merging of MOC and #Shakerace scholars was, like
the title of the gathering and its welcoming structure, fully hers. The
staff at ACMRS worked diligently to mount the three iterations to date;
they do so with enthusiasm because they are inspired by this vision of a
more inclusive field. RaceB4Race is the future of the humanities,
forged through a renewal and a reclamation of its past. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-53433803098103035342019-11-19T11:22:00.002-05:002019-11-19T11:22:25.192-05:00drop everything and read this now: "BlacKKKShakespearean: A Call to Action for Medieval and Early Modern Studies" <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuiof5SGMTQUxKriMWe_TqTZleQI5H6WArpPV7xJ21yqwHbwvRla-MxOWwip7hDOvHWczOJYaCyGH4LNXcg_Ew0cydhpZznQNHsP83-e8I3JSlyIvoFruvsrPcnRstYRNmE4JZQ/s1600/Screen+Shot+2019-11-19+at+9.21.38+AM.png" imageanchor="1"><img border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuiof5SGMTQUxKriMWe_TqTZleQI5H6WArpPV7xJ21yqwHbwvRla-MxOWwip7hDOvHWczOJYaCyGH4LNXcg_Ew0cydhpZznQNHsP83-e8I3JSlyIvoFruvsrPcnRstYRNmE4JZQ/s640/Screen+Shot+2019-11-19+at+9.21.38+AM.png" width="640" /></a><br />
<br />
Please take a moment to read "B<a href="https://profession.mla.org/blackkkshakespearean-a-call-to-action-for-medieval-and-early-modern-studies/">lacKKKShakespearean: A Call to Action for Medieval and Early Modern Studies</a>" by Kimberly Anne Coles, Kim F. Hall, and Ayanna Thompson in the latest issue of MLA Profession.<br />
<br />
A key excerpt:<br /><br /><i>Currently, overwhelmingly:</i><br />
<div style="padding-left: 80px;">
<i>White teachers teach the works of pre- and early modern periods.</i></div>
<i>
</i><div style="padding-left: 80px;">
<i>White scholars cite each other’s work.</i></div>
<i>
</i><div style="padding-left: 80px;">
<i>White directors direct the works.</i></div>
<i>
</i><div style="padding-left: 80px;">
<i>White producers produce the works.</i></div>
<i>
</i><div style="padding-left: 80px;">
<i>White narratives are reproduced in and through the works.</i></div>
<i>
</i><div style="padding-left: 80px;">
<i>White reporters and pundits define the state of the fields.</i></div>
<i>
</i><i>So the question must be the following: How can we irrevocably alter
the current lack of diversity in our fields? A large body of research
demonstrates the positive effects that faculty members of color have on
the educational receptiveness, knowledge acquisition, and learning
outcomes and successes of students from underrepresented groups. But
while increasing the number of scholars of color in the instruction of
premodern and early modern literature should be the commitment of every
English department, there are simply not enough scholars of color in the
pipeline. These same departments are not producing many scholars of
color in their PhD programs, after all. Thus, there is a chicken-and-egg
problem:</i><br />
<i>
</i><div style="padding-left: 40px;">
<i>There are very few dissertation directors, committee members, and mentors of color in medieval and early modern studies, so</i></div>
<i>
</i><div style="padding-left: 40px;">
<i>graduate students of color opt to do
research in later periods where they see more representation among the
faculty and their peers, and</i></div>
<i>
</i><div style="padding-left: 40px;">
<i>these graduate students of color receive greater opportunities for mentorship and collaboration in these later fields, therefore</i></div>
<i>
</i><div style="padding-left: 40px;">
<i>pre- and early modern studies continue to remain oh so white.</i></div>
<i>
</i><i>We cannot yield up medieval and early modern studies as fields for
white students only. As the general population in the United States
continues to diversify, surely our fields’ recalcitrant homogeneity will
result in the death, or at the very least the atrophy, of the fields
themselves. If we wish to nurture faculty members of color in earlier
periods of literary scholarship, then we need a concerted strategic
plan.</i><br />
<br />
Read the whole thing <a href="https://profession.mla.org/blackkkshakespearean-a-call-to-action-for-medieval-and-early-modern-studies/">HERE</a>. <i><br /></i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-81634440751437638222019-10-14T12:59:00.000-04:002019-10-14T12:59:42.016-04:00The Monster They Have Created: Tone-Policing, Victim Blaming, and the Toxicity of White Medieval Studiesby Helen Young and Kevin Caliendo<br />
<br />
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<span style="font-family: Arial, sans-serif; font-size: 11pt;">In the past few weeks, a blog post by
Professor Howard M.R. Williams has been described as reasonable in many social
media feeds. The post is in many ways unoriginal and uninteresting – the
internet (including the medieval studies corner of it) is already littered with
examples of white liberal racism masquerading as reasoned, reasonable
discourse. However, it’s getting more attention than most examples of the genre
currently. Given the traction the blog post has gained, and how events have
transpired since it was posted, it seems important to us to point out some of
the problems with Williams’ post, correct the record where it was
misrespresented, and outline some of the impacts. Early medieval studies faces
entrenched white supremacy and misogyny on the inside and emboldened white
supremacists who weaponize medieval history on the outside. Williams chooses to
blame those who do antiracist work for the abuse they face, arguing they fail
to see “the monster they have created.” Variations on this have all been said
before about so many similar things so many times, but these bigoted and
hypocritical behaviours and statements cannot be left unanswered.</span><span style="font-family: Arial, sans-serif; font-size: 11pt;"> </span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams describes his blog post as “thoughts on <i>how</i>
this recent debate has transpired and how the social media furore has been stoked
and escalated, practices that I consider unprofessional and unethical.” It
would be difficult to create a better example of tone policing than this post
if one tried. Angelique M. Davis and Rose Ernst have described tone policing
thusly: “</span><span lang="EN-AU"><a href="https://www.researchgate.net/profile/Rose_Ernst/publication/321253827_Racial_gaslighting/links/5b721aab299bf14c6d9bede8/Racial-gaslighting.pdf"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">dominant groups use tone policing to
chastise the communication style of marginalized people who challenge their
oppression…Through focusing on the manner in which the message is delivered, no
matter the legitimacy of the content, tone policing prioritizes the comfort of
the privileged</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">.” Later in the post, Williams positions himself as sympathetic, even
supportive of the message, but comments that “I personally find myself
estranged and saddened” by events and actions which he often grossly
misrepresents. The post adds nothing to the discussion at hand. Its stated and
explicit aim is to criticise and undermine medievalists of colour and their
allies because Williams has been discomforted.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams’ own words
about unprofessional social media tactics are nothing less than hypocritical
because there is evidence of him participating in the “unprofessional” behavior
that he is criticizing on his wall. On September 25th, a few days before his
blog post, Williams </span><span lang="EN-AU"><a href="https://twitter.com/howardmrw/status/1176639822271827974"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">posted a Twitter thread</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> mocking Dr. Rambaran-Olm and other’s
actions and calls for change that displays precisely the behaviours he
criticises: subtweeting, using capitals, gifs and derogatory language including
in his first tweet: “I've got something important to say about</span><span lang="EN-AU"><a href="https://twitter.com/hashtag/academia?src=hashtag_click"><span style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> </span><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">#academia</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> on Twitter. READ THIS THREAD and AGREE WITH ME or else DOOM ON YOU!
Actually I don't, no one is interested anyway in my whining bs, there isn't a
thread, and neither I nor the neighbour's pet octopus gives an oily crap.” This
is meant to be a parody of Dr. Rambaran-Olm and presumably others doing
antiracist work, painting them as both lacking substance and authoritarian. His
suggestion that concerns about antiracism and about sexual harassment in the
field are “whining bs” underlines whose side he is really taking. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">While calling for
civility and professionalism from scholars Williams feels are making the
problem worse through their anti-racist action, he exhibits a lack of
professionalism and dismissal of colleagues that demonstrates clear hostility.
Why has he blocked Dr. Dorothy Kim on Twitter? Why won’t he engage with Dr.
Mary Rambaran-Olm, Dr. Sierra Lomuto, and Dr. Adam Miyashiro on their questions
and clarifications to the blog post? He has responded politely to senior white
colleagues and less politely to white graduate students, but has ignored
questions by scholars of color. To base so much of the blog on a second-hand
account of events was a mistake. To erase and ignore colleagues who have shown
such a high degree of leadership to bring about institutional change is
inexcusable. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams has made no
visible attempt (at least online) to demonstrate he is self-reflecting. Every
response since has been defensive, albeit in a disingenuously “polite” manner
that his Twitter thread belies. His apparent suggestion that discussions can be
tempered and calm misses the point of BIPOC being exasperated over decades of
racial abuse within academia and realizing being “polite” is not effective.
Williams says that he advocates “passionate” debate, but suggests that the
voices of BIPOC in this one are merely “constructed outrage” (or, indeed,
“whining bs”). This again, is tone policing. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">The post asserts that
scholars with a stake in these matters are organizing social media attacks on
senior scholars in “volunteer” positions within ISXX, ignoring the fact that
those board members gain standing in the field and institutionally through
their positions and that there were elected to serve the membership. He
neglects to recognize that Dr. Rambaran-Olm too, had taken on this voluntary
position as 2VP as an Independent Scholar. Not having institutional backing,
Dr. Rambaran-Olm took on this role to better the organization and subsequently
her field because she believed in making change. Yet, the board of ISXX failed
consistently to address racism, sexism and gatekeeping within the field and
within the organization. Williams says:</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Online commentators stated that the
ISAS board should resign for failing to act. In turn, board members have
expressed feeling bullied and targeted in their voluntary society roles by the
tide of critical comments and personal accusations levelled at them on social
media.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">He frames this as a
controversy with sides and a dust-up on Twitter where the real victims are the
(white) senior scholars who are being asked for accountability to the
organization and the field. Referring to our colleagues as “online
commentators” creates a false binary between serious and professional scholars
and a Twitter-mob trope.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Asking for those in
leadership positions to be accountable or step aside is not bullying, nor is a
string of resignations evidence for an attack (it is worth noting that it was
not Dr. Rambaran-Olm who initially called for the board’s resignation, rather
it was called firstly by an established scholar). White people,
especially women, claiming victimhood to elicit sympathy when their actions and
failures around race are scrutinised and criticised is a </span><span lang="EN-AU"><a href="https://modelviewculture.com/pieces/in-defense-of-twitter-feminism"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">repeated pattern of behaviour</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> that is </span><span lang="EN-AU"><a href="https://www.theguardian.com/commentisfree/2018/may/08/how-white-women-use-strategic-tears-to-avoid-accountability"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">widely recognised</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> both </span><span lang="EN-AU"><a href="https://www-jstor-org.ezproxy-b.deakin.edu.au/stable/10.5250/fronjwomestud.39.1.0149?seq=1#page_scan_tab_contents"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">within </span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">and outside academic forums.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> Several former
board members and longtime ISXX members were among those demanding change
because they took the time to listen to Dr. Rambaran-Olm, Dr. Miyashiro, Dr.
Wade, Dr. Fradenburg-Joy, Dr. Kim and others. It is also worth noting that one
of the board members who has now resigned, </span><span lang="EN-AU"><a href="https://twitter.com/irinibus/status/1180926014060449793"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">publicly confirmed</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> Dr. Rambaran-Olm’s account of
stonewalling and other </span><span lang="EN-AU"><a href="https://twitter.com/irinibus/status/1182185127432065024"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">problems </span></a><a href="https://twitter.com/irinibus/status/1182182417286795264"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">behind the scenes</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">. Dr. Rambaran-Olm has also mentioned
that she has received emails from other apologetic board members who have
resigned, but has not shared those publicly. This evidence does not need to be
made public, but Williams’ lack of knowledge about this situation is galling, especially
in light of the fact that he has situated his blog post as an authority about
the events. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">In the blog, Williams
also attacks the medium where this debate takes place, stating “the academic
kerfuffle rapidly got personal via social media.” He fails to recognize or
chooses to ignore that racist abuse in the field “got personal” for BIPOC from
the time they entered the field and indeed before they arrived. Our
institutions are built on it and white scholars personally benefit from it
whatever their level of antiracist action. He dismisses Twitter and social
media as a noisy and hostile environment where one side of this debate can’t
get a fair shake. Where is the appropriate venue to discuss these issues? One
of ISXX’s biggest problems was that the leadership paid lip service to change.
Change was necessary but not right now, not like that, and not so noisy. This
echoes common and long-standing racist criticisms of activists in numerous
fields.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">In advocating for
more formal institutionally-driven change Williams is asking BIPOC and ECRs to
speak in venues that are consistently denied to them. For example, <span style="background: white;">all ECRs were removed from the election ballots for
the ISXX board, totally denying them a formal voice on the organization (and
thus one of the reasons </span>Dr. Rambaran-Olm r<span style="background: white;">esigned</span></span><span lang="EN-AU" style="background: white; color: #3c4043; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">)</span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">. Many graduate students entering the
field don’t have access to our organizational meetings or the connections or
confidence to be heard. What shakes their confidence? When they do speak up on
Twitter, senior scholars attempt to intimidate them. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">There is evidence on
Twitter of Williams punching down and trying </span><span lang="EN-AU"><a href="https://twitter.com/howardmrw/status/1183281800728199170?s=20"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">to shame or tone police grad students</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> for participating in this
conversation. Yet he has responded politely to tenured white scholars, thanking
them for their points. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">The post, moreover,
is riddled with errors of fact and telling omissions that, had they been
included, would have painted a very different picture. Williams says: “at least
to date no far-right politician or high-profile journalist has written or
vocalised an attack on any individual academic or groups of academics as a
result.” In fact, Dr. Rambaran-Olm had already been, at the time Williams
posted his blog, specifically targeted in a video by right-wing extremists. A
prominent white supremacist and member of the far-right milita group the Oath
Keepers posted a long attack video about Dr. Rambaran-Olm on September 27th
(more than a week before Williams’ post was published). In the video, he
suggested Dr. Rambaran-Olm was intentionally stirring up controversy and
invading a “traditional” white space with “anti-white racism.” He discussed the
<i>Washington Post</i> article at length in the video, skipping over the white
people mentioned in it and reserving his vitriol for Dr. Rambaran-Olm, whose
picture he kept returning to throughout the video. His Twitter and Youtube
accounts show a history of anti-Semitism (describing Jews as not having souls),
using standard alt-right lingo, and attributing the ISXX controversy to an
attack by Jewish “cultural Marxists” who he accused of a conspiracy against
white people. The video ends with photos emphasizing his military background
and his membership with and presence at far-right militia rallies. Since then,
he has continued to attack Dr. Rambaran-Olm, issuing a second video in which he
repeatedly shows her picture and rants that she shouldn’t be part of an
“Anglo-Saxon organization” because she is “not at all Anglo-Saxon.” When Dr.
Wade raised this issue to Williams, Williams accused him of trying </span><span lang="EN-AU"><a href="https://twitter.com/howardmrw/status/1181435471416758273"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">“to score points” and ordered him to
“desist.” </span></a></span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams states that Dr Rambaran-Olm resigned as VP
“of the </span><span lang="EN-AU"><a href="http://www.isasweb.net/"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">International Society of
Anglo-Saxonists</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> during a conference.” It is difficult to tell whether Williams even
knew what conference she resigned at because his understanding of the situation
is littered with inconsistencies and falsehoods. By leaving out the name of the
conference – </span><span lang="EN-AU"><a href="https://acmrs.asu.edu/public-events/symposia/race-and-periodization"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Race Before Race</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> – Williams erases a multi-period,
multi-disciplinary event, and the intellectual work and expertise of the
scholars present. Such a conference might be considered (among other things)
part of a sustained “process of lobbying for change at an institutional level
deploying evidence-based arguments” that Williams claims to espouse, but it is
clear that Williams does not regard the arguments made by Dr. Rambaran-Olm and
others as “evidence-based.”</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams twice accuses Dr. Rambaran-Olm of taking
over the official Twitter account of the (former) ISAS. This is incorrect. The
account in question was one she created and offered to use to boost ISXX
related matters during her time as Second Vice President of that organization,
but it was never officially recognized in the constitution as belonging to
ISXX.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">With the label “a range of other related matters” –
a term so vague it can’t even be called a euphemism – Williams fails to mention
protection of a known sexual predator, safety of BIPOC and victims/survivors of
abuse, accessibility, gatekeeping, exclusion of early-career researchers, and
the lack of sexual harassment (and other kinds of harassment) policies among
the failings of ISAS and its board raised by Dr. Rambaran-Olm and which drove
her resignation. As a result, the post strongly implies that the decision was a
publicity stunt aimed at bringing about nothing more than a name change. This
is demonstrably very far from the truth.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Many have praised
Williams on social media for this “level headed account” without a full
appreciation of events or the inaccuracies and hypocrisy of his blog post
compared to his earlier Twitter thread. His version of history does
damage. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Flippant subtweets
and erasure and dismissal of our colleagues shows a lack of professionalism and
hostility. Williams has a voice and a forum and chooses to use it to attempt to
make valued colleagues feel small and unimportant. At great risk to their
careers and even their safety, Dr. Kim, Dr. Miyashiro, and Dr. Rambaran-Olm
have brought focus and clarity to these issues of racism and sexism plaguing
our field. They deserve to be heard and engaged and Williams does our field a
disservice with his current approach to these matters. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Williams’ blog and
Twitter posts, and his behavior after its publication, stand out as one of many
poor and damaging attempts by senior white scholars to address and downplay a
crisis in our field. BIPOC have advocated for change through all available
institutional channels and through their publications, often to no avail. These
conversations extend to social media, which Williams chooses to attack as an
inappropriate venue because it gets “nasty” (a word with its own misogynistic
connotations). Social media is an environment where ECRs, professors of all
levels, independent scholars, and our students can easily access, learn, and be
heard. Blocking and ignoring BIPOC online raises questions whether Williams
would engage these issues face to face with the scholars who have taken the
lead to build a more inclusive field for years. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Early English studies
operates in a racist and sexist hierarchy. Williams, a senior scholar in a
privileged position, is choosing to actively work against dismantling that
hierarchy. For his efforts, some praise and defend him while encouraging the
BIPOC he has marginalized, mocked, and ignored to be more charitable and less
“militant.” The tone policing, double standards, marginalization, and erasure
of BIPOC in the aftermath of Williams’ blog post is white supremacy. It is easy
for scholars to object to the racist posts of anonymous alt-right trolls on
YouTube or Twitter, but many who are comfortable speaking up against that fail
to confront and instead participate in the white supremacy that permeates our
academic discourse. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">The only ways in which white western
academics have expertise in race and racism are either as their perpetrators
and beneficiaries, or through studying, listening, reading, researching (we are
researchers). There is a wealth of information about what actually <i>is</i>
helpful as anti-racist work. Ibrahim X Kendi’s book </span><span lang="EN-AU"><a href="https://www.penguinrandomhouse.com/books/564299/how-to-be-an-antiracist-by-ibram-x-kendi/"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">How to Be An Antiracist</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> is one place to start, Dr.
Rambaran-Olm’s </span><span lang="EN-AU"><a href="https://twitter.com/ISASaxonists/status/1178776244906840064"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Twitter thread</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> is another. Yet white scholars often
position themselves as authorities able to pass judgment on what is “really”
racist and to reap the rewards of the foundations BIPOC have laid. As Dr.
Sierra Lomuto’s </span><span lang="EN-AU"><a href="https://threadreaderapp.com/thread/1182107672797159424.html"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Twitter thread </span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">lays out, “whiteness thrives on the
backs of POC” even as white scholars engage in anti-racist work. She shows this
process at work in <i>Whose Middle Ages?</i>, a recent collection of essays
that challenges common myths about the medieval era commonly invoked by white
supremacists. Dr. Lomuto points out that, while the volume is an important
teaching resource with anti-racist aims, it was edited by white scholars and
includes only two essays by scholars of color. These conversations are vital to
the future of our field. If Williams or others want to genuinely “support
fellow academics with practical solutions to enhance the inclusivity of the
field” these would be good places to start.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Please note that unlike Williams, we
have reached out to Dr. Rambaran-Olm to find out if we were giving an accurate
representation of events. Given that Williams has that same access, he could
have done that too, but decided to write his post without crucial
information. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">We would also like to add that since
Williams’ blog post is being passed around as authoritative, it has brought one
established scholar back to Twitter after going into hiding. Guy Halsall had
left Twitter after not wanting to deal with the fallout of his</span><span lang="EN-AU"><a href="https://twitter.com/HalstedMedieval/status/1172510740579831808?s=20"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> bullying of graduate students</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> advocating anti-racism and for his
calling Dr. Rambaran-Olm an “imperialist” for asking colleagues to consider the
terms they use while working to make the field and ISXX less racist. He decided
to return to defend the honor of Williams against preemptive attacks that never
materialized. </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">This is no doubt personal for Halsall,
given that his partner is one of the last remaining members of the ISXX board.
The board member may not be answerable for her partner’s actions, but it is
truly ironic that she is currently drafting a harassment policy for the
organization. She need look no further than her partner as an example of what
NOT to do when it comes to harassment and bullying on social media as an
established white male scholar. Given that there are receipts that this board
member did not participate in the discussion over the sexual predator before
the collapse of ISXX, it is interesting that now she is fully invested and
wants to include something about online harassment (information confirmed by a
resigned board member). </span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Although Halsall has locked his account
and blocked a number of scholars (those who he believes are “cohorts” of Dr.
Rambaran-Olm), he continues to maliciously spread </span><span lang="EN-AU"><a href="https://twitter.com/ISASaxonists/status/1182175390770569217"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">lies</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> (</span><span lang="EN-AU"><a href="https://twitter.com/irinibus/status/1182182417286795264"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">confirmed as lies</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> by another </span><span lang="EN-AU"><a href="https://twitter.com/irinibus/status/1182185127432065024"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">board member</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">), malign women of color (Dr.
Rambaran-Olm and Dr. Kim), attack ECR (like Dr. Erik Wade), insult people who
“civilly” respond to Wiliams (like Dr. Eric Weiskott), and issue veiled threats
at the same grad students he initially verbally abused, claiming it would end
their careers to tweet about anti-racism. These attacks show a pattern of abuse
and these </span><span lang="EN-AU"><a href="https://twitter.com/margiehousley/status/1182650126776578048"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">veiled threats</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> are worrying given the number of
people who have come forward to state that they have been on the receiving end
of abuse at the hands of Halsall in the past. These threats extend beyond the
graduate students mentioned. Halsall’s comments perpetuate a system of</span><span lang="EN-AU"><a href="https://twitter.com/KruppBeyerStein/status/1182791454864879617"><span style="color: #1155cc; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> abuse of power</span></a></span><span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> and imply to Halsall’s students that
if they dare speak up against racism, sexism, bigotry or prejudices of any
kind, this may prevent them from being hired in academia. Halsall continues to
tweet behind a wall, demonstrating cowardice, but more importantly exemplifying
the type of “unprofessionalism” and “uncivil” behavior that Wiliams was
highlighting.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> Both Halsall and Williams paint
BIPOC scholars advocating anti-racist action as liars and uncivil attention
seekers, while refusing to engage with them and attacking and mocking ECRs who
support them. Their concern for civil debate and “evidence-based arguments”
does not seem to extend to their own social media presences or claims. Dr.
Rambaran-Olm tagged Williams to alert him of Halsall’s actions, but she
received no response. The hypocrisy is no less damning for being so
predictable.</span><span lang="EN-AU" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><o:p></o:p></span></div>
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<!--EndFragment--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-39805376708399661362019-09-13T16:15:00.002-04:002019-09-14T13:18:39.369-04:00#RaceB4Race and how you can help create a better future for the field<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7kC8W861-3FHNckv3qdnb3bXWHcqPSz5ozmrWtbUd5O_Bt68w0OjvU140lqk9O603gvHeCOBVbeCXlVm4beQ1y1zYqD4vscUOp7wdMbfJiSDMy_A5z0tEznTEEaMPF-7LZdAqA/s1600/Screen+Shot+2019-09-13+at+12.39.45+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7kC8W861-3FHNckv3qdnb3bXWHcqPSz5ozmrWtbUd5O_Bt68w0OjvU140lqk9O603gvHeCOBVbeCXlVm4beQ1y1zYqD4vscUOp7wdMbfJiSDMy_A5z0tEznTEEaMPF-7LZdAqA/s640/Screen+Shot+2019-09-13+at+12.39.45+PM.png" width="640" /></span></a></div>
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<span style="font-family: inherit;"><span data-offset-key="9pfb9-0-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;">If you have been following the</span><span data-offset-key="9pfb9-2-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;"> hashtags </span><span blockkey="9pfb9" class="_5zk7" contentstate="c { "entityMap": undefined, "blockMap": OrderedMap { "ci8ub": c { "key": "ci8ub", "type": "unstyled", "text": "Hi everyone,", "characterList": List [ b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null } ], "depth": 0, "data": Map {} }, "c6nud": c { "key": "c6nud", "type": "unstyled", "text": "", "characterList": List [], "depth": 0, "data": Map {} }, "9pfb9": c { "key": "9pfb9", "type": "unstyled", "text": "If you have been following the #RaceB4Race and related hashtags (#ASS #ISAS #medievaltwitter #Shakerace) on social media you know the many terrible things continuing to unfold in medieval and early modern studies ... as well as some of the profoundly good ones. The latter center around the foregrounding and amplification of the voices of scholars of color working in both fields. That's what #RaceB4Race was founded at ASU to do: in the aftermath of the submissions from Medievalists of Color being rejected from a major medieval conference, we wanted to show that there is another way: a door that opens to sustaining community, that welcomes, that offers a better future for the past. Ayanna Thompson as director of Arizona Center for Medieval and Early Modern Studies is an absolute rockstar.", "characterList": List [ b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": 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border-bottom: 1px solid rgba(88 , 144 , 255 , 0.3); color: #1d2129; white-space: pre-wrap;"><span data-offset-key="9pfb9-9-0"><span data-text="true">#Shakerace</span></span></span><span data-offset-key="9pfb9-10-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;"> and more on social media you know the disheartening struggles that continue to unfold in the field ... as well as some of the profoundly good interventions well underway. The latter center around the foregrounding and amplification of the voices of scholars of color, especially early career. </span><span data-offset-key="9pfb9-12-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;">In the aftermath of the submissions from <a href="https://medievalistsofcolor.com/">Medievalists of Color</a> being rejected from a major medieval conference, it was obvious (to some at least) that there had to be a better way: a door that opens and sustains community, a place of welcome, a shelter for forging a better future for the past. This kind of access is wholly consonant with <a href="https://www.asu.edu/about/charter-mission-and-values">the ASU charter </a>and with Ayanna Thompson as the new director of ACMRS it made sense to hold something at ASU if possible as an affirmative counter-vision. The project that came from this impetus was a convergence of MOC and #Shakerace </span></span><span style="font-family: inherit;"><span data-offset-key="9pfb9-12-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;"><span style="font-family: inherit;"><span data-offset-key="9pfb9-10-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;">called Race Before Race</span><span data-offset-key="9pfb9-12-0" style="background-color: white; color: #1d2129; white-space: pre-wrap;">, which through (admittedly cobbled together) funding enabled <a href="https://acmrs.org/news/events/symposium-race-race">ten extraordinary scholars</a> to have the space, time and agency to found a new kind of community. <a href="https://acmrs.asu.edu/public-events/symposia/race-and-periodization">Race Before Race 2</a> just unfolded in DC in partnership with the Folger. </span></span>Ayanna Thompson as director of the <a href="https://acmrs.asu.edu/">Arizona Center for Medieval and Early Modern Studies </a>is an absolute rockstar -- and the now twenty scholars who are the guiding geniuses of the collective have made it clear that there really is a better way.</span></span><br />
<span data-offset-key="8750j-0-0" style="background-color: white; color: #1d2129; font-family: inherit; white-space: pre-wrap;"><br /></span>
<span data-offset-key="8750j-0-0" style="background-color: white; color: #1d2129; font-family: inherit; white-space: pre-wrap;">We will soon be setting up a dedicated </span><span blockkey="8750j" class="_5zk7" contentstate="c { "entityMap": undefined, "blockMap": OrderedMap { "ci8ub": c { "key": "ci8ub", "type": "unstyled", "text": "Hi everyone,", "characterList": List [ b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null } ], "depth": 0, "data": Map {} }, "c6nud": c { "key": "c6nud", "type": "unstyled", "text": "", "characterList": List [], "depth": 0, "data": Map {} }, "9pfb9": c { "key": "9pfb9", "type": "unstyled", "text": "If you have been following the #RaceB4Race and related hashtags (#ASS #ISAS #medievaltwitter #Shakerace) on social media you know the many terrible things continuing to unfold in medieval and early modern studies ... as well as some of the profoundly good ones. The latter center around the foregrounding and amplification of the voices of scholars of color working in both fields. That's what #RaceB4Race was founded at ASU to do: in the aftermath of the submissions from Medievalists of Color being rejected from a major medieval conference, we wanted to show that there is another way: a door that opens to sustaining community, that welcomes, that offers a better future for the past. 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null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null }, b { "style": OrderedSet {}, "entity": null } ], "depth": 0, "data": Map {} } }, "selectionBefore": b { "anchorKey": "8750j", "anchorOffset": 174, "focusKey": "8750j", "focusOffset": 189, "isBackward": false, "hasFocus": true }, "selectionAfter": b { "anchorKey": "8750j", "anchorOffset": 175, "focusKey": "8750j", "focusOffset": 175, "isBackward": false, "hasFocus": true } }" data-offset-key="8750j-1-0" decoratedtext="#RaceB4Race" end="79" offsetkey="8750j-1-0" spellcheck="false" start="68" style="background-color: rgba(88 , 144 , 255 , 0.15); border-bottom: 1px solid rgba(88 , 144 , 255 , 0.3); color: #1d2129; font-family: inherit; white-space: pre-wrap;"><span data-offset-key="8750j-1-0"><span data-text="true">#RaceB4Race</span></span></span><span data-offset-key="8750j-2-0" style="background-color: white; color: #1d2129; font-family: inherit; white-space: pre-wrap;"> account to fund young in the field as well as independent & under-resourced scholars of color to access future symposia, enabling even more to be a part of these gatherings as they continue. In the meantime, however, starting immediately ANY donation that anyone now makes at the ACMRS website will be used to fund this participation and inclusion. Just choose the "Public Programs" option and know that any resources you provide go directly to building a more capacious field at a time when too many seem intent on policing its boundaries. Build doors not walls. And when the doors are built keep them open and place a welcome mat in front.</span><br />
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<span style="background-color: white; color: #1d2129; font-family: inherit; white-space: pre-wrap;">Follow the link below if you would like to help. And thanks. It means a lot!</span><br />
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<span style="font-family: inherit;"><a href="https://acmrs.asu.edu/about/donate">https://acmrs.asu.edu/about/donate</a></span></div>
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-21165575.post-31407588859007551452019-08-18T10:09:00.001-04:002019-08-18T12:01:25.954-04:00Ravens, Doves, Stowaways: Some Thoughts From Noah's Ark<span style="font-size: small;"><span style="font-family: inherit;">(From the ongoing project <i>Noah's Arkive: Towards an Ecology of Refuge, </i>by Jeffrey Cohen and Julian Yates)</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxnErCCrnl_5IFLa_SkSdBnZ9F2fttNP8CtAY6snvlQ16ZJiHUG6wO_geHgu8JewPosmtZ59fpiJ0-WZipD5gLnFNc6O2Tf-hj6JNtp9SJAh7oMpiObYIvkwP8WIZTCuwDWukFbw/s1600/Screen+Shot+2019-08-18+at+7.00.16+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxnErCCrnl_5IFLa_SkSdBnZ9F2fttNP8CtAY6snvlQ16ZJiHUG6wO_geHgu8JewPosmtZ59fpiJ0-WZipD5gLnFNc6O2Tf-hj6JNtp9SJAh7oMpiObYIvkwP8WIZTCuwDWukFbw/s640/Screen+Shot+2019-08-18+at+7.00.16+AM.png" width="504" /></a></div>
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<div dir="ltr" id="docs-internal-guid-240400f5-7fff-dad1-cf23-1290114145db" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This story is about waywardness, about being peripheral to the story and making the best of it, finding yourself unable or unwilling to participate in expected conclusions. A satisfying ending is built upon the casting away as jetsam the alternatives, the tales full of challenge that cannot culminate in the desired destination, that might even wreck the narrative ship. The Queen Mary Psalter (<a href="http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Royal_MS_2_B_VII">BL Royal MS 2 B VII</a>, c.1310-1320) offers one of our favorite multiplications of narrative trajectory within a visualization of the seabound ark. The obedient lines (beginnings to ends) upon which closure depends are disrupted by errant spirals, metaphors with unexpected transport, a proliferation of alternative plots. Aboard the vessel that should be the focal point Noah appears twice. On the left he stands on the deck grasping two birds, a svelte dove and bulky raven [</span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">une columbe</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">un corbeu, </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">as the Anglo-Norman text reads underneath]. Both birds look forwards and upwards with him, the trio filled with a shared expectancy of something better to come, some landing or event that will at last enable the voyage to terminate. On the right Noah appears within an ark window, leaning out with upraised hand for a bird’s return. Time has elapsed. The ship’s enormous rudder looms to his side, suggesting counterintuitively that this toy of the waters can be steered, leaving open the question of control and destination. The dove is now winging its way back to Noah’s waiting hand, the expected olive branch clasped in its little beak. The raven meanwhile has decided to go off plot, to ignore Noah’s demands and satisfy its own creaturely appetites. The bird curves into the snug bend of the upper left corner, king of an island where leaves that should have been plucked and returned to Noah sprout luxuriantly. The raven is too busy to note the demands of its mission. It plunges its beak deep into the eye of horse’s head awash on this emerging shore. Given the sweet life that the raven can make for itself in the flotsam of the deluge, why would the bird return? </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4sQYO2zt93TOa1zZeb8pPhyphenhyphena4HJpIC7swZpHqd3rEP10mJbnG9oPadhDtyy-uIspWU8An3jMZv1B5g4kaV_BrULQMp0oE2bwSZEHhv95BuhMRkzEypndkmbwijTkMXLZV_5BTQ/s1600/Screen+Shot+2019-08-18+at+7.00.39+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4sQYO2zt93TOa1zZeb8pPhyphenhyphena4HJpIC7swZpHqd3rEP10mJbnG9oPadhDtyy-uIspWU8An3jMZv1B5g4kaV_BrULQMp0oE2bwSZEHhv95BuhMRkzEypndkmbwijTkMXLZV_5BTQ/s640/Screen+Shot+2019-08-18+at+7.00.39+AM.png" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Two trajectories then: the dove’s forth and back that enable movement towards completion of the narrative arc; and the raven’s veering into a space of no returns, a disaster born paradise that provides everything it needs but nothing to trigger return (it will certainly not be winging back with chunks of scavenged flesh). The actions of the dove are fully part of the biblical narrative; the raven’s fate is never there narrated. Yet by the early fourteenth century a long history existed of depicting the raven’s delight in the eyes of the dead; these illustrations possess no textual authority. The raven is an actor who has gone off script, but has done it so long that its story has become a supplemental reality: it would be strange at this point in history to depict a raven who had not found a feast, as if the dove had never grabbed an olive branch. The two birds work together, parallel but asymmetric. The ark and its many passengers are metaphorically all doves: they know where they are going and they are eager to get there and for the rainbow to shine. Genesis attests as much. But this psalter image is as full of corvid tarrying as dovish destination, fated denouement abandoned for dangerous attunement to the mess of the world. Immediately under the ark animal corpses float on a transparent sea, unmoored from gravity, whirled with arresting tranquility. Among these dead beasts is a brightly painted bird, upside down and drowned, a reminder that the dove and raven had kin not admitted to the shelter that they enjoyed. Perhaps that is why the dove is so obedient: it realizes with gratitude the magnitude of Noah’s choice, the unlikelihood of its having been among the conserved. Perhaps that is why the raven is errant: it realizes the price of salvation, the legions denied accommodation so that the pairs could be housed. Meanwhile two men swim in the water, not yet become the carrion into which their animal companions have been transformed. Although far from at ease, the pair do not seem especially distressed. Nor with their brightly slashed and striped clothing and carefully coiffed hair are they in the least bit generic: the figures seem to convey particular persons rather than universal sinful humanity. They are unexpectedly alive in a place of death. Their presence cannot help but to recall <a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=royal_ms_2_b_vii_f001r">the illustration of the loading the ark on a previous folio</a>, where father Noah is forcibly carrying up the ladder into the ship a son who kicks and looks back at his family and the animals still outside.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LLUhG7mHsHfZENlnZV1vI_uB7VY-P4A4xJBqxMuSupO29Z1xS_XURyNfKJSW6SFNM382kZwZXu_NczaL0NM6h9lBA9J2vVHjutt1ImoipgQr1yjXCJQdtrWvBTiJEvnoIzzUyA/s1600/Screen+Shot+2019-08-18+at+7.01.00+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LLUhG7mHsHfZENlnZV1vI_uB7VY-P4A4xJBqxMuSupO29Z1xS_XURyNfKJSW6SFNM382kZwZXu_NczaL0NM6h9lBA9J2vVHjutt1ImoipgQr1yjXCJQdtrWvBTiJEvnoIzzUyA/s640/Screen+Shot+2019-08-18+at+7.01.00+AM.png" width="640" /></a><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">It is strange to see living people outside the ark this late in the Flood, since the rains have ceased and the boat is hurrying towards its mountaintop. No intimation is given that this day is the two men’s last, and yet how can it not be so? The ark is limned by suffering to come, even as the waters recede. But that is not all. Directly beneath the boat, the devil is emerging from a hole, drill in hand. Now that the story of the ark is coming to its close </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">le diable</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is swimming to freedom, intent on ensuring that the world will never lack the unruly plots to which he dedicates himself, the deviant stories of sex and sin that caused the Flood’s arrival in the first place. We knew this escape was coming <a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=royal_ms_2_b_vii_f001r">from an earlier illustration, back when the ark is being built by an axe-armed Noah</a>. The devil in the unconvincing form of a man convinces Mrs. Noah to assist him in stowing away. She plies her husband with wine and finds a means (6r). Now, the voyage nearly complete and the dove and raven having been released, we can see the devil departing under water, through the bottom of the boat. The tail of a snake has been pulled through the hole that the devil has fashioned, the poor creature become an unwitting plug so that the ship does not sink. Strange to think that the devil cares for those on board, but stranger still to think of a devil who would want a world not sufficiently stocked with a diversity of actors for the dramas that he stages. We do not know the precise origin of the story of Satan secretly sheltered aboard the ark, but it is hard not to see it told in part to explain why the world should be just as wicked after the deluge as ever it was. Perhaps too this stowaway tale conveys a desire not to leave one of the most interesting characters in Christian biblical storytelling to drown. Their eyes forever gazing heavenward, Noah and his dove are oblivious to what unfolds in the waters. The devil, the carrion, and the swimming figures are all part of the raven’s world, a space which once noticed disturbs perspective and trajectory, replete with suffering but also thrumming with life. Denouement gets postponed in the process, the repeopling of the world traded for an embrace of being at sea. For a while.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The ages long trajectory of Noah’s ark, rudder forcibly set in the direction of Ararat and rainbow, has been constantly disrupted by the raven and his kin. </span></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-69170735443619153612019-05-19T06:00:00.000-04:002019-05-19T07:34:55.352-04:00Game of Thrones’ Peasants are a Problem of White Supremacy—and Its Victims, too<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<i><span style="background-color: white; color: #222222; font-family: "times new roman" , serif;">Peasants are the Real Victims of Game of Thrones’ final episodes, and in the real world, so are we</span></i><span style="background-color: white; color: #222222; font-family: "times new roman" , serif;">.</span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">By Cord J. Whitaker<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">In <i>Game of Thrones</i>, as the Mother of Dragons soars above and burns everything in sight, the huddled, pleading peasantry sets the scene for a showdown between Jon Snow’s ethics and Daenerys’ desire for vengeance. But the battle is really between a convenient plot device and historical reality. The peasants are that battle’s victims. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj81YASaKFEVFqz-J-WXRvjVWgdELn9ffJaPhIvXtMkh5Tzg3Gjl8PGDbAPBIUY9X6ASAD_INSWGkxzbKR3UgOX5nBbW_bWV_gyj32CnW1VaQ_QdZKzdPf7bwGX97oiAD6I2FDA1Q/s1600/Drogon+Attacks+KL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="1536" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj81YASaKFEVFqz-J-WXRvjVWgdELn9ffJaPhIvXtMkh5Tzg3Gjl8PGDbAPBIUY9X6ASAD_INSWGkxzbKR3UgOX5nBbW_bWV_gyj32CnW1VaQ_QdZKzdPf7bwGX97oiAD6I2FDA1Q/s640/Drogon+Attacks+KL.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of HBO</td></tr>
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<span style="background-color: white; font-family: "times new roman" , serif;">Combustible as they are, they are also fuel for white supremacy.<span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">Season 8, Episode 5 begins with Cersei enacting a plan we knew was coming. The peasants who live outside King’s Landing are racing to get inside the city walls. Even a casual viewer who has only started watching in this, the show’s final season, would know that Cersei is planning to use the people as a human shield. She, as Daenerys flatly puts it, considers her rival’s mercy a weakness. Dany has learned a few lessons about weakness, though, since she nearly lost the Slaver’s Bay city of Mereen because she freed the slaves but did not kill the masters. She was too merciful. She will not let that happen again. Cersei, of course, considers Dany’s signature act, the act of freeing slaves—let alone sparing their defeated masters—already too merciful. Too weak.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">Soon the camera pans in from the racing crowd to focus on a mother and her young daughter—six or seven years old perhaps. As the mother drags her daughter along, attempting to keep her from being trampled in the fray, the girl clutches a wooden horse figurine. We know these characters will be minor but significant. The viewer already wants them to survive.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">The feeling is only amplified when the same mother-daughter duo helps Arya Stark. Our trained assassin Night King-killing heroine is apparently no match for a stampeding crowd of Kings Landingers when she is nearly trampled to death. Until the mother reappears in the crowd and offers her hand and pulls her up. Arya is soon separated from the duo again. A significant time passes before Arya encounters them once more. Now, Dany and Drogon, her nearly eponymously named dragon, have almost completed their task. The city is in ruins, death is all around, the killing is no longer discriminate. Dany and her forces—even the usually quite moral Unsullied general Greyworm</span><span style="background-color: white; font-family: "times new roman" , serif;">—</span><span style="background-color: white; font-family: "times new roman" , serif;">are burning, stabbing, and beating unarmed men, women, and children. When Arya, careening through the ash-strewn streets, stumbles into an entryway, she finds a mass of huddled women and children. Ever the hero, she commands, “You can’t stay here. You have to keep moving.” “We can’t go out there,” one woman responds. “You have to,” says Arya. “Everyone out there is dead,” the woman retorts. “If you stay here, you’ll die!” Arya exclaims. She grabs the only two people willing to trust her—the peasant mother and daughter. The three flee down the street together, until the mother is injured by a passing horse ridden by what appears to be a Dothraki warrior—i.e., a member of Team Daenerys. Arya and the daughter help her up, but she is too injured. They can’t move quickly enough. She begs Arya, “Take her!” Arya pulls the girl along, but she resists and runs back to her mother who is now collapsed in the street. Dany and Drogon approach from the air. Fire engulfs everything. When Arya awakes at the end of the episode, she and the viewer are treated to a view of the mother and daughter’s bodies, charred black and in a death embrace. The girl still clutches her horse figurine, also charred black.</span><span style="background-color: white; font-family: "times new roman" , serif;"> </span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">If Arya is dismayed by the indiscriminate killing, Jon Snow is all the more disturbed. The episode features more than a few scenes of Jon staring at one atrocity, and then another, in horror. It is as if he has never participated in the violence of war. But he has. </span><span style="background-color: white; font-family: "times new roman" , serif;">In one case, Jon catches a member of Team Daenerys preparing to rape a pleading woman. Jon stops him, and then kills him.</span><span style="background-color: white; font-family: "times new roman" , serif;"> </span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">The near rape scene, along with Arya’s mother-daughter duo, draws an ethical comparison between Jon, and with him Starks in general, and Daenerys, who burns and pillages from the air. We get the sense that Dany and Jon’s romantic relationship probably won’t survive. The viewer would do well to remember that Dany, a victim of assault herself, certainly would not approve of any of her retinue committing rape. But she is busy burning everything and everyone in sight and is not on the ground to witness war crimes or punish warriors for them. Jon is left to avenge the peasant where he can and to wrestle with his girlfriend-aunt’s willingness to treat them as collateral damage. By the end of the episode, Jon looks like the good guy. <o:p></o:p></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">Cersei is defeated and, presumably, dead. (The <i>Sopranos-</i>style fade-to-black leaves one to wonder.) In Episode 6, the throne of the Seven Kingdoms will fall to its Targaryen heir, and whether that will be Jon or Dany is playing out on the backs of Kings Landing’s peasants. In Season 8, the peasants are but pawns in a queen’s, and king’s, game. <o:p></o:p></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">The peasants are not only Dany’s victims. They are Jon’s, too. Even more importantly, they are also the victims of <i>Song of Ice and Fire </i>writer George R.R. Martin and HBO showrunners D.B. Weiss and David Benioff.<span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="background-color: white; font-family: "times new roman" , serif;">Martin, Weiss, and Benioff have claimed that they want to combine<span style="color: #222222;"> </span><a href="http://entertainment.time.com/2011/04/18/grrm-interview-part-2-fantasy-and-history/" style="color: #954f72;">“the realism of historical fiction with some of the appeal of fantasy,”</a><span style="color: #222222;"> </span></span><span style="font-family: "times new roman" , serif;">and that they seek to present something like the <a href="https://www.goldenglobes.com/articles/oral-history-game-thrones-part-i-origin-myth">‘real’</a> Middle Ages. But the huddled masses of peasantry we encounter in Episode 5 are a simplistic and unrealistic representation of medieval tenant farmers. The so-called ‘peasants’ revolts’ that rocked England and Europe in 1380 and 1381 are a prime example of peasant power. In response to what they considered unfair taxation, farmers in England rose up against their lords, the members of the burgeoning merchant class, and Church and secular officials. In England, they streamed into London, murdered well-to-do merchants, brutally beheaded the Archbishop of Canterbury, and negotiated with the king from the banks of the Thames. He floated on a barge in the middle of the river from what he hoped was a safe distance. The peasants had identified and threatened his mother and her retinue as they returned to London at the end of a journey. These peasants were not people who feared royal power. <span style="color: #333333;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , serif;">Nor were they afraid to use institutions to challenge their superiors. We have records of litigation in which farmers challenged lords who behaved too oppressively, and local manor courts made up of peasants had the right to fine the lord. As medieval historian Christopher Dyer points out, medieval peasants lived in “substantial houses” and preeminent British historian of the Middle Ages Terry Jones points out that “the amount of work required to pay rent and taxes was probably pretty similar to that needed now.” While the show has had some moments in which stereotypical power dynamics were inverted—such as Cersei’s walk of shame when, not yet on the throne, she was paraded naked through the city and pelted with rotten food and excrement as an act of forced contrition for her sins—for the most part, the common people have been presented as hapless and in awe of, or grateful for, the power of their lords, ladies, kings, and queens. This is not the real Middle Ages.<span style="color: #333333;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , serif;">Unfortunately, Martin, Weiss, and Benioff are not the only people who believe that the peasant cowering before a nobility with unchecked power represents the real Middle Ages. I tip my hat to Helen Young of Deakin University in Australia; she has spent countless hours examining white supremacist websites for their medievalism. One telling comment on the well known site <i>Stormfront </i>reads:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><a href="http://www.inthemedievalmiddle.com/2017/08/white-supremacists-love-middle-ages.html" target="_blank"><span style="color: #954f72;">The belief that everyone was a slave during the Middle Ages is a liberal lie. Serfs were serfs, and happy that way. Lords were happy as Lords, and Kings likewise. Society was nearly flawless and prosperous in Europe and Asia under a Feudal economy and gov</span>ernment.</a> <o:p></o:p></span></div>
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<span style="background-color: white; color: #222222; font-family: "times new roman" , serif;">If serfs were happy as serfs, it is because they were not the weaklings bowed before the power of lords and kings that <i>Game of Thrones </i>presents. On the contrary, the <i>Stormfront </i>writer longs for strict and simple hierarchy. Martin has claimed that <a href="http://entertainment.time.com/2011/04/18/grrm-interview-part-2-fantasy-and-history/" style="color: #954f72;">“the class structures in places like [medieval Europe] had teeth. They had consequences. And people were brought up from their childhood to know their place and to know that [<i>sic</i>] duties of their class and the privileges of their class.”</a> </span><span style="color: #333333; font-family: "times new roman" , serif;">The <i>Stormfront </i>writer wants us to return to <i>this </i>Middle Ages. <o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">Martin’s interpretation and the <i>Stormfront </i>commenter’s ideal of the Middle Ages is not one in which power is shared. Perhaps this is why, despite many <a href="https://www.marieclaire.com/culture/a27151676/jon-snow-daenerys-targaryen-marry-game-of-thrones/" style="color: #954f72;">speculations that Dany and Jon could marry</a> and many viewers’ hopes that they would, the idea is <a href="https://www.polygon.com/game-of-thrones/2019/5/8/18537031/game-of-thrones-episode-4-tyrion-varys-prophecy-daenerys-mad-queen" style="color: #954f72;">quickly dashed</a> by Dany’s longtime advisor Lord Varys in Season 8, Episode 4 when Tyrion suggests it. Dany, Varys opines, would never share power. Why would she? After all, <i>Game of Thrones’</i></span><span style="font-family: "times new roman" , serif;">is not a medieval world in which a court made up of peasants can decide to fine their lord on behalf of other peasants. <o:p></o:p></span></div>
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<i><span style="font-family: "times new roman" , serif;">Game of Thrones </span></i><span style="font-family: "times new roman" , serif;">comes to its end in an age when the Middle Ages have become a rallying point for white nationalism and supremacy. When white nationalists marched on Charlottesville in August 2017, they bore medieval-style shields; the insignia of the Holy Roman Empire, founded in the Middle Ages; and <a href="https://www.history.com/news/how-hate-groups-are-hijacking-medieval-symbols-while-ignoring-the-facts-behind-them" style="color: #954f72;">banners emblazoned with medieval runes</a>. On March 15, 2019, an Australian man stormed into two mosques in Christchurch, New Zealand and killed 51 people. He injured another 49. His arsenal and battle gear were <a href="https://www.washingtonpost.com/history/2019/03/16/accused-new-zealand-shooter-an-all-white-europe-that-never-existed/?utm_term=.d9973093bbd2" style="color: #954f72;">covered with references to the Middle Ages</a>, from the black sun inspired by the designs on early medieval Merovingian discs—Heinrich Himmler made it into a symbol for Nazi Germany’s SS in the 1930s—to the name of Charles Martel, the Frankish leader who in 732 defeated a Muslim army that was advancing on the French city of Tours. Martel was grandfather to Charlemagne, the first emperor of the Holy Roman Empire. How we interpret the history of the Middle Ages is a life and death matter. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">And so is how we interpret its peasantry. Much white supremacist medievalism draws its power from two ideas: first, that medieval Europe was homogeneously white (and the peasant masses in Episode 5 were, from what I could tell, all white); and second, that a young white man can and should can claim spiritual nobility, a spiritual knightliness, and the entitlements that come with it. In fact, the Italian philosopher and self-appointed medievalist who inspired Benito Mussolini’s fascist racism has been <a href="http://bigthink.com/paul-ratner/time-to-get-medieval-why-some-conservative-thinkers-love-the-middle-ages" style="color: #954f72;">connected with Steve Bannon</a> and is cited outright by alt-right leader <a href="https://www.nytimes.com/2017/02/10/world/europe/bannon-vatican-julius-evola-fascism.html" style="color: #954f72;">Richard Spencer</a>. According to him, the “exoteric tradition represented by devotional Christianity” was of an “inferior character” to the “higher forms of spirituality” practiced by the likes of the Knights Templar. A peasant could attain knighthood if he only tapped into his superlative spiritual worth. It is known that <a href="http://fortune.com/2018/08/11/white-nationalists-economics/" style="color: #954f72;">economic disadvantage</a> plays a role in the development of alt-right and other white supremacist attitudes. As long as peasants are portrayed as downtrodden masses, then young white men in America, Europe, and the West more broadly who feel economically disadvantaged due to geographical location, educational level, or multi-generational poverty are encouraged to fashion themselves the peasants who will rise to become knights. The narrative is seductive. To a certain extent, it is the narrative animating Jon Snow’s character, and even King Arthur’s. But it is faulty and, when pushed to its extremes, deadly. <o:p></o:p></span></div>
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<i><span style="font-family: "times new roman" , serif;">Game of Thrones </span></i><span style="font-family: "times new roman" , serif;">has made for exceptional TV precisely because it has shied away from facile conclusions and instead has focused on the uncertainty—between justice and injustice, between lies and truth—that characterizes the real world. The depiction of a completely powerless peasantry readily herded into the killing fields is not in keeping with the more complicated spirit of a story of political intrigue. You can never really know whose side someone like Varys—or Tyrion—is on, so why should you know that the peasants will fall for Cersei’s tricks or suffer at the hands of any king or queen? Worse yet, the depiction fuels the fire for white supremacists who wish to see the world in black and white. They can easily imagine themselves peasant victims, and they can delightfully imagine themselves hero knights who rise up to defend their people. That fantasy is what was behind carrying faux medieval shields at Charlottesville, but it shouldn’t be what’s behind an interest in watching <i>Game of Thrones</i>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">If the showrunners can right the ship for a final episode in which Dany doesn’t have to viciously kill Jon to retain the throne, or in which Jon doesn’t have to save humanity from the Mad King Redux by killing Dany, <i>Game of Thrones </i>has the chance to do a new thing by showing its viewers that power in our world doesn’t have to be a zero-sum game. If there can be room for more than one person—representing various genders, races, creeds, and class backgrounds—sharing power at a round table à la King Arthur’s, then racist ideologies become a whole lot less attractive. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">If, on the other hand, <i>Game of Thrones </i>concludes while doing TV business as usual, then racism and the Cersei-style manipulation of class that feeds it will continue uninterrupted. The peasants will remain victims even when they think they’ve become knights, whether in the show’s world or ours.<o:p></o:p></span></div>
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<i><u><span style="color: #1155cc; font-family: "times new roman" , serif;"><span style="color: #1155cc;"><a href="https://cordwhitaker.com/" style="color: #954f72;">Cord J. Whitaker</a> </span></span></u></i><span style="font-family: "times new roman" , serif;"><i>researches and teaches late medieval English literature and studies medieval religious conflict and the history of race at </i><u style="font-style: italic;"><span style="color: #1155cc;"><a href="https://www.wellesley.edu/english/faculty/whitaker" style="color: #954f72;"><span style="color: #1155cc;">Wellesley College</span></a></span></u><i>. </i>He is one of the bloggers at <i><a href="http://www.inthemedievalmiddle.com/" target="_blank">In the Middle</a>. His book entitled “<a href="https://www.amazon.com/Black-Metaphors-Emerged-Medieval-Race-Thinking/dp/081225158X" target="_blank">Black Metaphors</a>: How Modern Racism Emerged from Medieval Race-Thinking” will be published by the University of Pennsylvania Press in September 2019.<o:p></o:p></i></span></div>
Cord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-41262118886450752082019-04-09T18:43:00.003-04:002019-04-09T18:43:58.937-04:00Race and Periodization: a #RaceB4Race Symposium<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">For your calendar, an event sponsored by the <a href="https://acmrs.asu.edu/">Arizona Center for Medieval and Renaissance Studies</a> and the <a href="https://www.folger.edu/">Folger Shakespeare Library</a>.</span></div>
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<span style="font-family: inherit;">Following upon <a href="https://acmrs.org/news/events/symposium-race-race">the inaugural Race Before Race</a> [<a class="_58cn" data-ft="{"type":104,"tn":"*N"}" href="https://www.facebook.com/hashtag/raceb4race?source=feed_text&epa=HASHTAG" style="color: #365899; cursor: pointer; text-decoration-line: none;"><span class="_5afx" style="direction: ltr; unicode-bidi: isolate;"><span aria-label="hashtag" class="_58cl _5afz" style="unicode-bidi: isolate;">#</span><span class="_58cm">RaceB4Race</span></span></a>] event, a collaboration of medievalists and early modernists held at Arizona State University in January 2019, this conference will foreground the relationship between race and historical periodization. Medievalists and early modernists have long grappled with the meaning and use of their own historical period designations as well as the strictures of periodization itself. This event seeks to explore how critical race theory can enable new insights about, approaches to, and critiques of periodization. Critical race theory situated in both historical and contemporary disciplines necessarily challenges assumptions about historical knowledge, theoretical borders, and scholarly dissemination and impact. This theoretical complex thus holds exciting potential to revolutionize the very terms of academic periodization in medieval and early modern studies. Setting this conference at the Folger Institute and building upon its recent focus on early modern race studies, the conference invites scholars of history, literature, and other disciplines to consider the intersection of critical race studies and historical periodization in terms of the theoretical, methodological, archival, activist, pedagogical, professional, temporal, and spatial implications.</span></div>
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<span style="font-family: inherit;"><br />Invited Speakers<br />Geraldine Heng (University of Texas) and Francesca Royster (DePaul University) will open the conference on Thursday evening at the Folger Shakespeare Library.</span></div>
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<span style="font-family: inherit;">On Friday and Saturday at Arizona State University’s Barrett & O’Connor Washington Center, eight speakers will deliver presentations and lead sessions on the topics outlined above:</span></div>
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<span style="font-family: inherit;">Dennis Britton (University of New Hampshire)<br />Ruben Espinosa, (University of Texas at El Paso)<br />Michael Gomez (New York University)<br />Wan-Chuan Kao (Washington & Lee University)<br />Carol Mejia LaPerle (Wright State University)<br />Su Fang Ng (Virginia Tech)<br />Mary Rambaran-Olm (Independent Scholar)<br />Michelle M. Sauer (University of North Dakota)<br />Haruko Momma (New York University) and Elisa Oh (Howard University) will serve as the conference’s respondents.</span></div>
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<span style="font-family: inherit;"><br />Schedule<br />Thursday evening through Saturday, 5 – 7 September 2019</span></div>
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REGISTER <a href="https://acmrs.asu.edu/public-events/symposia/race-and-periodization">HERE</a></div>
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Information on travel aid <a href="https://www.folger.edu/application-information-and-guidelines">HERE</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-28739535646293683182019-04-04T14:38:00.000-04:002019-04-04T14:38:24.644-04:00Public Medievalism and the Rigor of Anti-Racist Critiquea guest post by Sierra Lomuto<br />
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<span style="background: white;">Along
with mainstream white America, Medieval Studies has undergone a racial
awakening over the last few years, as the Trump presidency has </span><a href="https://www.cnn.com/2017/08/15/politics/trump-charlottesville-delay/index.html"><span style="background: white;">emboldened</span></a><span style="background: white;">
and even </span><a href="https://www.theguardian.com/books/2018/apr/21/end-of-the-american-dream-the-dark-history-of-america-first"><span style="background: white;">sanctioned</span></a><span style="background: white;"> a
rise in openly avowed white nationalism. The recent massacre against a Muslim
community in Christchurch, New Zealand—<a href="https://anthrodendum.org/2019/03/19/holding-centering-being-the-many-ways-we-live-in-the-world/">Ōtautahi,
Aotearoa</a>—is the latest devastating example of white terrorism, where the </span><a href="https://www.aljazeera.com/news/2019/03/zealand-mosques-attack-suspect-praised-trump-manifesto-190315100143150.html"><span style="background: white;">shooter praised the U.S. president</span></a><span style="background: white;"> and was nearly </span><a href="https://www.vox.com/2019/3/15/18267077/australian-senator-new-zealand-attack-muslims-immigrants"><span style="background: white;">condoned by an Australian senator</span></a><span style="background: white;">. And as we have seen the racist medievalism in the
terrorist’s </span><a href="http://journal.quilliaminternational.com/2019/03/15/new-zealand-massacre-white-nationalist-iconography-and-ideology/?fbclid=IwAR0ih_cFQ0r5204kT2rDw1xzFmrDU1duYr41kygj2v0Af-CdKL7Y5CQqCno"><span style="background: white;">manifesto</span></a><span style="background: white;">,
those of us who work in Medieval Studies have once again found ourselves
confronted with the sinister links between our work and white supremacy. As a
scholar of medieval literature, I know it is my responsibility to think about
these connections, something I have </span><a href="http://www.inthemedievalmiddle.com/2016/12/white-nationalism-and-ethics-of.html"><span style="background: white;">urged my colleagues</span></a><span style="background: white;"> to do as well. And as we do, we can’t ultimately look past how </span>whiteness
inheres within the very construct of the medieval, and how <span style="background: white;">Medieval Studies as a thing in itself poses a problem
for all of us who believe in social and racial justice.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white;">“Medieval”
refers specifically to the historical period between the fall of the Roman
Empire and the Renaissance, a temporal construct that is inextricably tied to
the spatial construct of Western Europe. And just as Western Europe has been
constructed through (what bell hooks has so incisively named) the imperialist
white-supremacist capitalist patriarchy, so too does the “medieval” carry this
valence of power. It comes as no surprise, then, that for <span style="color: #383838;">white supremacists, </span><span style="color: #222222;">the
“medieval” furnishes a heritage site for whiteness. </span>Within their
ideology, medieval imagery such as the </span><a href="https://www.adl.org/education/references/hate-symbols/othala-rune"><span style="background: white;">Othala Rune</span></a><span style="background: white;">,
</span><a href="https://www.adl.org/education/references/hate-symbols/tyr-rune"><span style="background: white;">Tyr Rune</span></a><span style="background: white;">, and
Celtic Crosses<span style="color: #222222;"> serve as symbols that aim to transform
that whiteness from </span>an oppressive power structure into a cultural and
ethnic heritage. <span style="color: #222222;">They then assert this whiteness as
a vulnerable identity </span>under attack, one that needs protection from what
they see as the genocidal threat of multiculturalism. For example, at the deadly
Unite the Right rally in August 2017, where white supremacists converged in the
name of protecting “white heritage” (specifically, to keep the Robert E. Lee
statue from being taken down), the Othala Rune appeared prominently on many </span><a href="https://www.adl.org/resources/backgrounders/national-socialist-movementnationalist-front"><span style="background: white;">banners</span></a><span style="background: white;">.
This pan-Germanic runic letter means heritage and inheritance, particularly in
relation to homeland. It has been appropriated as a white supremacist symbol
since the 1930s, and it became<span style="color: #222222;"> </span>the official
symbol of the Prinz Eugen wing of the Nazi party in Croatia. Today, it is
featured heavily within white supremacist circles.<b style="mso-bidi-font-weight: normal;"> </b>Not only did we see it at Charlottesville, but it is also a common
tattoo and has even been commercialized. <o:p></o:p></span></div>
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<span style="background: white;">One
company sells numerous products branded with various white supremacist symbols,
including medieval ones, such as shirts and buttons with the Othala rune, a
Thor hammer with runes on it, and a shirt with a Celtic cross overlaid on the
Confederate flag. The company’s tagline, “It’s not illegal to be white…yet,” reflects
the myth of white genocide. At the same time, the accompanying logo is a white
hand holding a noose, explicitly referencing the socially sanctioned extrajudicial
killings of black people. We can see clearly how they present white violence as
a justified necessity. These same ideologies motivated the Christchurch terrorist
attack and informed the Australian senator’s tirade that seemed to endorse it. <o:p></o:p></span></div>
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<span style="background: white;">This
connection between the medieval and white supremacy is </span><a href="https://books.google.com/books?id=p_hWCgAAQBAJ&pg=PT6&lpg=PT6&dq=race+and+popular+fantasy+helen+young+routledge&source=bl&ots=oe7aFY9bo5&sig=ACfU3U2qy3wahYCP9obQrRMSfdAJ2svAzg&hl=en&sa=X&ved=2ahUKEwiboMHJxYbhAhXBmq0KHQZTBec4ChDoATAEegQIARAB#v=onepage&q=race%20and%20popular%20fantasy%20helen%20young%20routledge&f=false"><span style="background: white;">not new</span></a><span style="background: white;">, and
in fact the Christchurch terrorist cites inspiration from </span><a href="https://www.washingtonpost.com/world/2019/03/15/new-zealand-suspect-allegedly-claimed-brief-contact-with-norwegian-mass-murderer-anders-breivik/?utm_term=.493296599c02"><span style="background: white;">another white terrorist</span></a><span style="background: white;"> with racist medievalist fantasies. The events in Charlottesville,
however, struck the loudest </span><a href="https://newrepublic.com/article/144320/racism-medievalism-white-supremacists-charlottesville"><span style="background: white;">wake-up call</span></a><span style="background: white;">
for most academic medievalists. </span>After Charlottesville, in what felt like
an overnight turn, a field that had previously shunned discussions of race and
racism became hungry for them. Over the last year and a half, we have seen <span style="background: white;">an immense proliferation of </span><a href="http://www.inthemedievalmiddle.com/2017/06/whiteness-in-medieval-studies-workshop.html"><span style="background: white;">conference sessions</span></a><span style="background: white;">, </span><a href="https://acmrs.org/news/events/symposium-race-race"><span style="background: white;">symposia</span></a><span style="background: white;">, </span><a href="https://www.insidehighered.com/views/2018/08/30/scholar-describes-being-conditionally-accepted-medieval-studies-opinion"><span style="background: white;">think pieces</span></a><span style="background: white;">,
new dissertations, and new courses on both the whiteness of Medieval Studies
and the racist appropriation of the “medieval” beyond academia. In a </span><a href="https://medium.com/@mrambaranolm/anglo-saxon-studies-academia-and-white-supremacy-17c87b360bf3"><span style="background: white;">powerful essay</span></a><span style="background: white;">
about Anglo-Saxon Studies, in particular, Mary Rambaran-Olm describes the
racism that has pushed many scholars of color out of the field, and academia in
general. <o:p></o:p></span></div>
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There has also emerged a particular
form of public medievalist discourse that focuses primarily on correcting
racist misconceptions about the Middle Ages. While certainly useful, as it
provides the public with an important education and demonstrates why studying
the distant past still matters in the present, this work has largely been
missing the rigor of anti-racist critique. Unfortunately, in one of the only
published critiques of this work I’ve seen, a bravado of white masculinity
prevented any chance of raising this issue for a productive public
conversation. In fact, in the social media debate that followed Sam Fallon’s
harsh <i style="mso-bidi-font-style: normal;">Chronicle of Higher Ed</i> <a href="https://www.chronicle.com/article/The-Rise-of-the-Pedantic/245808/">article</a>,
it was difficult to see past all the mansplaining whiteness on both sides until
Jenny Tan cut right through it in a brilliant <a href="https://twitter.com/byjennytan/status/1106037570083921920">twitter thread</a>
that named the problem for what it is: “white progressive self-importance that
is really more about self-promotion than social or political principle.” Tan
trenchantly elaborates on this point in <a href="https://twitter.com/byjennytan/status/1106902763919851520">another thread</a>,
where she describes precisely the kind of white ally-ship dominating public
medievalist discourse. <o:p></o:p></div>
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The most popular example of this
kind of work is The Public Medievalist’s series “Race, Racism, and the Middle
Ages.” The series seems to approach the racist appropriation of the medieval as
an external problem <i style="mso-bidi-font-style: normal;">out there</i> that
threatens an innocent love for the medieval past. In other words, the series
aims to reclaim the medieval past from white supremacists—placing it back in the
hands of academic medievalists and cosplayers who hold a <i style="mso-bidi-font-style: normal;">non</i>-racist love for the medieval. There’s nothing particularly
wrong with this aim, and it is certainly understandable, as no decent person
wants to be associated with the same things as white supremacists. But this
approach can inadvertently lead to a protection of white innocence rather than
an anti-racist intervention. Of course, not all of the essays in the series
reflect this type of scaffolding: for example, essays by Helen Young, Matthew
Vernon, and Eric Weiskott (and certainly others) clearly frame their analyses
of racist medievalisms through a framework informed by critical race studies.
On the whole, however, the series is too invested in the innocence of good
white people to see its own limitations for productive anti-racist critique. <span style="background: white;"><o:p></o:p></span></div>
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In one particular essay about how
we can hold onto medieval symbols that have been misappropriated, the author (likely
unwittingly) defends racism—at least, the accidental kind. He suggests that
these symbols can be saved by both signaling their non-racist meaning and
learning to identify when they are wielded with racist intent or not; or, in
cases where you can’t tell, to offer the benefit of the doubt to the bearer of
the symbol. This argument necessarily centers white viewers who have the luxury—the
privilege—of caring about intent when it comes to racism. In a series
explicitly about opposing racism, it seems astounding that we would find an
essay so irresponsibly protecting accidental racists. But it becomes less
surprising when we glimpse the contributor list and see that it is nearly all
white, or when we view the poster that captures the overall tenor of the series.
The poster is clearly not informed by critical race studies, and it even praises
“melting pot” societies—a problematic concept that is not about inclusion, but
rather the assimilation of non-white cultures into white dominance. I called
out the problem with this language on Facebook, and they subsequently revised
it to “multicultural societies” for the version they now sell on their website
(without signaling the rationale for the change, and thus profiting off the
constructive feedback of people of color without acknowledging our labor), and
I do wonder about their critical awareness of <a href="https://read.dukeupress.edu/social-text/article-abstract/24/4%20(89)/1/33500/The-Spirit-of-NeoliberalismFROM-RACIAL-LIBERALISM?redirectedFrom=fulltext">multiculturalism</a>
as well. The “melting pot” is about erasure; so in a twisted sense, the poster
captures precisely how this series can erase people of color—both our bodies
and our intellectual output—from its discourse on race and racism, while congratulating
itself for doing good anti-racist work.<o:p></o:p></div>
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Even though the series editors are
not race scholars or activists, or even scholars of color with experiential
knowledge about racism, many medievalists turn to them as expert sources on how
to teach race in their classrooms. Why does Medieval Studies accept non-experts
as its leaders in this work? As race and racism have become trendy topics among
medievalists, white (and predominantly male) medievalists have jumped on the
bandwagon, claiming expertise they have not earned, and too many in the field
sanction them—but why? It seems too simplistic to point to the patriarchal
whiteness of Medieval Studies itself for an answer, but that is where we can
find it: white men have always held the most authority in our field; and so, it
seems, the field turns to them for leadership even in conversations about race
and racism. How different would this series have been if its editors recognized
their own <i style="mso-bidi-font-style: normal;">lack </i>of expertise on the
topic they sought to promote? Perhaps they would have built a platform where
black feminist theories, queer of color critiques, and other methodologies
generally absent in Medieval Studies could begin to inform our analyses of
racist uses of the Middle Ages. Instead, The Public Medievalist <i style="mso-bidi-font-style: normal;">and</i> our field gives us more whiteness,
more white feelings, and more white supremacy even as we are told these are the
things they are fighting against. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u><span style="background: white;">Institutional Change<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Racism is about the structural ways
in which people of color, and particularly black and indigenous peoples, have
been disenfranchised by various forms of violence and oppression. Anti-racist
strategies for correcting racist appropriations must necessarily address
structural change within the institutions that have facilitated not only racist
appropriations, but also the conditions that produce white terrorism in the first
place. Andrew Elliott <a href="https://onlinelibrary.wiley.com/doi/full/10.1111/hic3.12441"><span style="background: white;">has argued</span></a><span style="background: white;">
that “as medievalists we ought to refocus our attention away from the direct
referent of a given medievalism, and onto the context in which it is used as
well as the mechanism by which that medievalism is disseminated” (3). The
historical accuracy of the referent isn’t what matters: what matters are the
conditions and contexts surrounding the referent in our own time. Disrupting
the narrative of a white Middle Ages protects Medieval Studies from accusations
of racism, but it does little to address racism itself. In other words, as we assert
that medievalists don’t <i style="mso-bidi-font-style: normal;">only</i> study
and promote the histories of white people, we also overlook how we <i style="mso-bidi-font-style: normal;">do</i> promote whiteness through the
disciplinary construct of the “medieval.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
Seeta Chaganti’s essays for Public
Books about both the <a href="https://www.publicbooks.org/b-sides-sir-gawain-green-knight/">Trump
administration</a> and the <a href="https://www.publicbooks.org/b-sides-chaucers-the-house-of-fame/">Confederate
monuments</a>, Jonathan Hsy’s essay about <a href="http://www.inthemedievalmiddle.com/2018/02/antiracist-medievalisms-lessons-from.html">antiracist
medievalism and the Chinese Exclusion Act</a>, as well as Peter Baker’s <a href="http://medievalistsofcolor.com/race-in-the-profession/anglo-saxon-studies-after-charlottesville-reflections-of-a-university-of-virginia-professor/">reflections
post-Charlottesville</a> on the Medievalists of Color blog, give us excellent
examples of public medievalist scholarship that <i style="mso-bidi-font-style: normal;">does</i> serve anti-racism. These pieces not only center people of
color in their discussions (a bare minimum expectation), but also recognize the
complexity of our experiences with race and racism, as well as accurately identify
white supremacy as a power structure that doesn’t merely reside within the
hearts and minds of individuals, but within oppressive institutions that thrive
on everyday, insidious racial violence.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="background: white;">Significant
strides have been made toward institutional equity over the past few years,
notably in the Medieval Academy of America, which instituted a Diversity &
Inclusivity Committee last year. Their recent </span><a href="https://www.medievalacademy.org/page/2019Meeting"><span style="background: white;">annual conference</span></a><span style="background: white;"> took the
theme “The Global Turn,” deliberately breaking away from its more traditional
program, which has been known for its emphasis on Western European and
Christian history. Yet, strikingly absent from their line-up of keynote
speakers, new fellow inductions, and prestigious award winners were scholars of
color. A name most glaringly absent from these lists was Geraldine Heng, an
early founder of Global Medieval Studies whose voice in the field has also
provided necessary critiques regarding its political implications. But of
course progress takes time and we can’t expect overnight change. The field has
shown a genuine concern about its link to white nationalist movements, and even
a central institution like the MAA is mobilizing toward solutions. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="background: white;">Medieval
Studies is investing energy and resources into inclusivity initiatives, and it
is certainly about time. But we must not confuse the institutionalization of diversity
work with anti-racist or decolonizing work. The former protects the
institution—in this case, Medieval Studies—whereas the latter would tear it
down. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white;">The overwhelming whiteness of
the field and the public appropriation of the medieval by white supremacists
are undoubtedly related to how the field has been formulated. <span style="color: #222222;">Sometimes too much focus is put </span>on distinguishing <i style="mso-bidi-font-style: normal;">ourselves</i> from <i style="mso-bidi-font-style: normal;">them</i> out there so that we can allow white supremacy to be seen as
something existing outside of ourselves, as if white supremacy were not
something we uphold in the institutions we serve. Describing this dynamic,
Sara Ahmed </span><a href="https://www.dukeupress.edu/on-being-included"><span style="background: white;">has written</span></a><span style="background: white;">,
“</span>The reduction of racism to the figure of ‘the racist’ allows structural
or institutional forms of racism to recede from view, by projecting racism onto
a figure that is easily discarded (not only as someone who is ‘not me’ but also
as someone who is ‘not us,’ who does not represent a cultural or institutional
norm)” (150).<span style="background: white;"> </span>It may be that a field like
Medieval Studies as such needs to be dismantled and something else in its stead
built up from the ground. Geraldine Heng, as a founder of the concept and
someone who has thought about the “global medieval” for decades, has suggested
we move toward “early globalities” as an alternative, thereby shedding a
restrictive Eurocentric term when studying an interconnected past. And, as Adam Miyashiro has <a href="http://www.inthemedievalmiddle.com/2017/07/decolonizing-anglo-saxon-studies.html" style="font-size: 12pt;">explained</a><span style="font-size: 12pt;">—it really is about time that scholars stop using the blatantly white supremacist settler colonial terms "Anglo-Saxon" and "Anglo-Saxonist" to describe themselves and their work. </span><span style="font-size: 12pt;"> </span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
If we want to be anti-racist, we
need to start thinking more radically about how we can reformulate our field in
our teaching, graduate training, and public outreach. These priorities will necessarily
require institutional change, and may even mean leaving behind this thing we
currently call Medieval Studies. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal">
Thanks to Leila K. Norako, the other editors and co-bloggers of <i style="mso-bidi-font-style: normal;">In the Middle</i>, Mary Rambaran-Olm, and
Adam Miyashiro for their excellent feedback on this essay. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU3ih_XXZhDDJnLmfJn2pTWOLU4DqZbOoZqxc3GQLiVDNx5zdvGofI1_-dkZEli-SUVyeb3E9dcWG7TBXXH7HZSkH4rMm0XXC3okfshZxZtP886MVhkkL0VBMgLGRdGcI0-yvQGQ/s1600/Lomuto_Headshot.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU3ih_XXZhDDJnLmfJn2pTWOLU4DqZbOoZqxc3GQLiVDNx5zdvGofI1_-dkZEli-SUVyeb3E9dcWG7TBXXH7HZSkH4rMm0XXC3okfshZxZtP886MVhkkL0VBMgLGRdGcI0-yvQGQ/s320/Lomuto_Headshot.jpeg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Sierra Lomuto is an Assistant Professor of English at Macalester College, where she also currently holds a Consortium for Faculty Diversity Postdoctoral Fellowship. She earned her PhD in 2018 from the University of Pennsylvania.</span></td></tr>
</tbody></table>
<br />
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</style>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-21165575.post-58725787843582329602019-03-17T08:03:00.001-04:002019-03-17T09:45:19.146-04:00statement of valuesby the ITM bloggers<br />
<br />
Today seems a good day to remind our readers of the <b>In the Middle</b> statement of values, which we re-publish in various forms as the times demand.<br />
<br />
<br />
ITM is a feminist, anti-racist, queer affirmative, refuge making space. We repudiate white supremacist dreams of both the Middle Ages and contemporary nations. We foster visions of the past and future that privilege diversity, community and welcome over intolerance, segregation, violence and willed forgetting. We reject fear of difference. We reject misogyny. We reject homophobia, transphobia, xenophobia.<br />
<br />
We turn to the past to imagine better futures.<br />
<br />
We stand with all those who on this day and every day feel excluded, endangered, in despair, especially when the past is weaponized against them. We renew our offer to build community with you, now and always, in as many venues as possible -- from the classroom to the internet to the pages of books to the streets.<br />
<br />
We stand against walls. We reject hate. We affirm a better way forward that builds upon the best of what communities can build in order to live justly together.<br />
<br />
<br />
17 March 2019Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-18901141433504463522019-03-12T11:33:00.002-04:002019-03-12T11:33:22.052-04:00#WhanThatAprilleDay19by LeVostre GC<br />
<br />
<br />
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Goode Friendes and Readers of <i>Yn The
Middel </i>and readeres and scolers and teacheres and studentes arounde the
globe of the Erthe, this is Galfridus ‘Le Vostre GC’ Chaucer of twytter
(@LeVostreGC): </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Yt doth fill my litel herte wyth gret
happinesse to invyte yow to the sixthe (VIthe) yeare of a moost blisful and
plesinge celebracioun. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">On the first daye of Aprille, 2019, lat us
make tyme to take joye yn alle langages that are callid ‘old,’ or ‘middel,’ or
‘auncient,’ or ‘archaic,’ or, alas, even ‘dead.’ </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Thys feest hath the name ‘Whan That
Aprille Day.’ For thys yeare yt ys: 'Whan That Aprille Day 19.' Forget nat the
-le yn Aprille. <b>#WhanThatAprilleDay19</b></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ich do invyte yow to joyne me and manye
othir goode folk yn a celebracioun across the entyre globe of the erthe. Yn
thys celebracioun we shal reade of oold bokes yn sondrye oold tonges. We shal
singe olde songes. We shal playe olde playes. Eny oold tonge will do, and eny
maner of readinge. Al thogh thys holidaye dyd start wyth blogges and twyterres
about Middel Englisshe, yet let that nat limit yn no waye the reache and
capaciousnesse of thys growinge holidaye. Everye olde language, everye poeme,
everye place, everye voyce. All are welcome that come wyth love and
understandinge to all. All are welcome that looke to the studye of the past nat
to proppe up dustye tradiciouns but ynstead to builde a bettir and more
ynclusive and peaceful and lovinge future. We shal make merrye yn the magical
dreamscape of 'social media,' and eke, yf we kan do yt, yn the material plane
of the 'real worlde' as wel. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ye maye, paraventure, wisshe to reade from
the beginning of my </span><a href="http://www.fordham.edu/halsall/source/CT-prolog-para.html"><span style="color: #0d3f81; font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px; text-decoration: none;">Tales of
Caunterburye</span></a><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">, but ye maye also wisshe to reade of eny
oothir boke or texte or scroll or manuscript that ye love. Ye maye even reade
the poetrye of </span><a href="http://d.lib.rochester.edu/teams/text/peck-gower-confessio-amantis-volume-1-prologue"><span style="color: #0d3f81; font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px; text-decoration: none;">John
Gower</span></a><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"> yf that ys yower thinge. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<b><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">What are sum wayes to celebrate Whan That
Aprille Daye?</span></b></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Gentil frendes, yf yt wolde plese yow to
celebrate Whan That Aprille Daye 2019, ye koude do eny of the followinge. Be
sure to use the hasshe-tagge <b>#WhanThatAprilleDay19</b> on yower poostes of
twytter and facebooke and blogge.</span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Counte downe to Whan That Aprille Daye wyth postes and
readinges.</span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Maken a video of yowerself readinge (or singinge! or actinge!)
and share yt on the grete webbe of the internette. </span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Planne a partye at yower classroome or hous to celebrate oolde
langages, and poost pictures to the ynternette.</span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Read auncient langages to yower catte, and the catte shal be
moost mirthful. </span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Make sum maner of cake or pastrye wyth oold wordes upon yt, and
feest upon yt wyth good folke and share pictures of yower festivitee. (And yet
beware the catte that shal seke to eaten of the icinge yn the hours of
derkenesse bifor the celebracioun.) </span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Yf ye be bold, ye maye wisshe to share yower readinge yn
publique, yn a slam of poesye or a nighte of open mic. (Bringe the catte?)</span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Yf ye worke wyth an organisatioun or scole, ye maye wisshe to
plan sum maner of event, large or smal, to share writinge yn oold langages.
(Policy for cattes at eventes?) </span></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.5in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"><span style="margin: 0px;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">And for maximum Aprillenesse, marke all tweetes and poostes
wyth the hashtagge #WhanThatAprilleDay19 – remember the ‘Whan’ and ‘Aprille.’</span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<b><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">What ys the poynte of Whan That Aprille
Daye?</span></b><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"></span></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ower mission ys to celebrate al the
langages that have come bifor, and alle their joyes and sorrowes and richesse.</span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ower mission ys to remynde folk of the
beautye and grete lovelinesse of studyinge the wordes of the past. And thys ys
for the mulitpicitye of wordes, of manye tonges, and no tonge ys bettir than
eny othir and everich tonge ys belovid of all othirs. And eke ower mission ys
to bringe to mynde the importaunce of supportinge the scolership and labour
that doth bringe thes wordes to us. To remynde folk to support the techinge of </span><a href="http://www.newberry.org/paleography"><span style="color: #0d3f81; font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px; text-decoration: none;">paleographye</span></a><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;"> and of archival werke and eek, ywis, the techinge of thes oold
langages. To remynde folk of the gret blisse and joye of research libraryes and
the gret wysdam and expertyse of the libraryans that care for them across the
centuryes. To call to mynde the fundinge of the humanityes, the which ys lyke
the light of the sonne on the plantes of learninge and knowledge. For wythout
al of thes thinges, the past wolde have no wordes for us and we wolde be left mirtheless. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ower mission ys also to have ynogh funne
to last until next Whan That Aprille Daye. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Note that thys event doth also coincide
wyth Aprille Fooles Daye, the which ys prettye awesome by cause we do love thes
langages and alle who love are yn sum maner also fooles. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Ich do hope wyth al myn herte that that
sum of yow good folke will joyne me on thys April fyrste for readinge and
celebratinge and foolinge. Lat us maken melodye on <b>#WhanThatAprilleDay19</b></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Wyth muchel love and admiracioun</span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">Le Vostre</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 13pt; margin: 0px;">GC</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Mary Kate Hurleyhttp://www.blogger.com/profile/14892991966276345782noreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-51501784682856927652019-02-17T22:44:00.004-05:002019-02-17T22:44:53.361-05:00“What if” (We Were) To “Hold It?”<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_p9Qnm_Y6Yeb6vYGbwfHGt2US81We6TV-n4i38d2PiPiEEJe8ygwjeSXrWbXpIaKo87tfyOQB2n4Kvrah1esSbukBcc5uHNO45ghuDPT3ZfpcVq-F_pYUcMOvCCF8NMnerSR1oA/s1600/IMG_0921.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_p9Qnm_Y6Yeb6vYGbwfHGt2US81We6TV-n4i38d2PiPiEEJe8ygwjeSXrWbXpIaKo87tfyOQB2n4Kvrah1esSbukBcc5uHNO45ghuDPT3ZfpcVq-F_pYUcMOvCCF8NMnerSR1oA/s400/IMG_0921.JPG" width="300" /></a></div>
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<span style="font-family: inherit;"><b>by J J Cohen and Julian Yates</b></span><br />
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Feb 3-4 2019</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Because we are building an ark, we traveled to Arizona for the the third of our site visits, <a href="http://biosphere2.org/">Biosphere 2</a> and <a href="https://arcosanti.org/">Arcosanti</a> (for </span></span><span style="white-space: pre-wrap;">parts </span><a href="http://www.inthemedievalmiddle.com/2016/11/noahs-ark-being-rebuilt-here.html" style="white-space: pre-wrap;">1</a><span style="white-space: pre-wrap;"> and </span><a href="http://www.inthemedievalmiddle.com/2018/10/arktistic-license-emzara-and-dinosaurs.html" style="white-space: pre-wrap;">2</a> follow the links)<span style="font-family: inherit; white-space: pre-wrap;">. One of us was already on the ground, in the neighborhood, if you like, the other arrived to join him. </span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">If there were a governing </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">topos</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> for Biosphere 2 it might be “hold it.” This was the imperative lightly and amusingly delivered by our guide. </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">There will be no bathroom breaks on the tour</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmb5edasyFwMGTlUhnnim5UVD60YjTcQ80FsInX3Z8cnGfpXEhGFu-ETXK8ToME6zQ7QMnMvFWKHKmSqRMiaSTBAAFEqw9MgWbluZbBK9U422VMQNhZcT6eueQvJdXWKnXnyIy0Q/s1600/UNADJUSTEDNONRAW_thumb_2411.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmb5edasyFwMGTlUhnnim5UVD60YjTcQ80FsInX3Z8cnGfpXEhGFu-ETXK8ToME6zQ7QMnMvFWKHKmSqRMiaSTBAAFEqw9MgWbluZbBK9U422VMQNhZcT6eueQvJdXWKnXnyIy0Q/s320/UNADJUSTEDNONRAW_thumb_2411.jpg" width="240" /></a></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Something similar obtained for the original bionauts or “biosphereans” as they named themselves. Yet we know how that story ended--even as today, if you visit Biosphere, that is not the story which you will be told or the story that anyone wants to remember. The intention for the dome to remain sealed against the world failed. Those within did not manage to “hold it” (or to be held by it). Difference was that we only had to “hold it” for an hour. They had somehow to manage being held for two years, though the issue for them was not waste management. We learned that their effluvia was incorporated into a comprehensive system. Their urine became water once again; their excrement fertilizer for vegetables. They were much like the koi of today’s Biosphere, who participate in an aquaponics program which grows food without the need for soil using only one tenth of the water required for traditional farming. Biosphere was never as self sufficient as promised, triggering crises of oxygen (which rapidly diminished), carbon (which proliferated) and human nourishment (which became scarce). As one page from a journal kept at the time observes, “the current diet” does “not provide enough calories and fat to perform the physically demanding tasks leaving a burned out biospherean at the end of the day.” The same journal entry recognizes the importance of a “closed system” but observes that there has been or needs to be a “change of mission objective.” “This project is not about survivalism in a closed system,” the entry reads or posits; the objective is not “mission-based,” but a “laboratory.” Holding it, holding out was a rubric or a protocol or a heuristic, not a do or die reality. Or so went the narrative from some of the occupants.</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Part of the problem seems to have been that the project was conceived for an extra-terrestrial gaze. Why else attempt a terrarium, a system sealed against its outside? One day, one day, what occurs here upon the Earth (which the biosphereans named Biosphere 1) will occur in space (in a ship that we presume would be Biosphere 3). But with failure, with multiple failures, as the journal entry observes, comes the possibility of enlargement, of system change. If an ark cannot, even when vacuum sealed and minutely articulated in its cycles of water, heat, and air, generate sufficient support for living for those within, then that vessel must open to what it lacks. Or cascade into ruin. The orientation shifted back earthwards. And the project became, as in truth it always had been, a laboratory or proving ground or kitchen for concepts that might one day apply on other planets, but whose purchase might be closer to home: aquaponics for when Arizona runs even lower on water; the resuscitation of conservation techniques from now displaced First Peoples; the superlatively engineered “lungs” which create a pressure relieving valve deep within the structure; an laboratory for climate science and desert terrain studies; a conference center; a tourist destination, welcoming anyone who will pay for the tour.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiseGBDYOMNo4Tl9BBOZPwU0KoZj9kTVhpbKewga40KUFdt_ecvLBvf_VBuG158xZADP5QWryzFZIEHYcuKX-85yJlDxdZwLNWJIVQ07AjwJ31RcV_mFonVu7-ee_qHHX90iGyrPw/s1600/UNADJUSTEDNONRAW_thumb_2426.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiseGBDYOMNo4Tl9BBOZPwU0KoZj9kTVhpbKewga40KUFdt_ecvLBvf_VBuG158xZADP5QWryzFZIEHYcuKX-85yJlDxdZwLNWJIVQ07AjwJ31RcV_mFonVu7-ee_qHHX90iGyrPw/s320/UNADJUSTEDNONRAW_thumb_2426.jpg" width="240" /></a></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Enter the monkeys. They were brought aboard Biosphere 2 as companion animals. Our guide thought these galagos were supposed to be there as primate friends, fun to interact with. But unlike the humans who knew very well how many bananas made for a total daily allotment, the monkeys ate as much fruit as they pleased. They made a mess. They screamed in people’s faces. They were not good company. They were eventually moved to the San Diego Zoo. But neither were the humans good to each other. Frictions led to factions. At times the whole place seemed in an uproar: the oxygen depleting, the food stores becoming meager. Rice, wheat, corn, sorghum, sweet potatoes, soybeans, tomatoes, cabbage, carrots, eggplant, peppers and leafy vegetables: none of these were growing as expected, and some of what did sprout was devoured by insects, bacteria, fungi. Well, none of this was confided to us by our guide, who was as upbeat as can be -- except for the part about the galagos. He loved those rebel monkeys and it showed. And he also offered two tales of proliferating stowaways: black ants transported inside with the soil shipped from Brazil for the Rainforest biome, and cockroaches from who knows where, finding their way into every crevice of the building. (We also note that katydids, morning glory vines, and unwanted microbes also managed to hide themselves aboard and cause perennial issues.) A daily vacuuming was conducted of the cockroaches, who had found in the Biosphere a paradise to populate. Hundreds were harvested and fed to the chickens, an unplanned cycle of protein sustainability. Our guide did not mention that in time these chickens stopped laying eggs and were devoured. As food became scarce the pigs were likewise entirely consumed.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJs8tiDhT8ITtpfCBqbWidodkH1qMaJKo8OnaQdBqZnAJ7Sd4ZR2vR7VoQ4AEcfRODoSwYP3dtczu9pJXhRG5d959VZAxdthBsaOCnyQBebwuXun3_oZN4O8PiRO9d_Ksm4bAIIQ/s1600/UNADJUSTEDNONRAW_thumb_241d.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJs8tiDhT8ITtpfCBqbWidodkH1qMaJKo8OnaQdBqZnAJ7Sd4ZR2vR7VoQ4AEcfRODoSwYP3dtczu9pJXhRG5d959VZAxdthBsaOCnyQBebwuXun3_oZN4O8PiRO9d_Ksm4bAIIQ/s400/UNADJUSTEDNONRAW_thumb_241d.jpg" width="400" /></a></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yes, all the bees and other pollinators died and the water was too thick with nutrients and the concrete walls triggered unforeseen chemical reactions with the plentiful atmospheric carbon. Yet not everything that unfolded in the Biosphere was a failure. In a favorite moment for both of us our tour group was escorted through a series of tunnels where we could see the various pipes for hot, cold and waste water running and experience the winds generated by the machines that heat and cool the architecture. After walking beneath savanna and sea, we reached a vast round area called The Lung. From the ceiling hung an enormous oval of black material that looked like industrial rubber. We were told it weighs six tons. As the air pressure in the room rises this black barrier ascends, allowing more air into the space. When the pressure drops, the giant diaphragm slowly falls, pushing air back through the doorways and into the Biosphere again. In and out, in and out, the building takes a slow meditative breath. This device had been installed because of the sheer number of glass panels that enclose the Biosphere. Had this machine not been invented to alleviate pressure automatically when needed, those panels would have shattered long ago. Conflict among the crew members and disagreements among those running the project from the outside indicate that no community analogue to The Lung had been put in place. </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hold it</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> never works out all that well, neither as imperative nor as aspiration. The Biosphere experiment was a grand failure, both scientifically and socially.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiheRgs0EzfzrtacpM3vAFp3SweCOLWTWN65q1jbQlUdJqFVb5Vhule7Rede69pFtzpOmKBpu_po035leOajgG0Oiv5FZbo5CeoWHYnSkuwKqRaZXqkQdMn8Zb3fk72X8VbWmc0uA/s1600/UNADJUSTEDNONRAW_thumb_241a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiheRgs0EzfzrtacpM3vAFp3SweCOLWTWN65q1jbQlUdJqFVb5Vhule7Rede69pFtzpOmKBpu_po035leOajgG0Oiv5FZbo5CeoWHYnSkuwKqRaZXqkQdMn8Zb3fk72X8VbWmc0uA/s400/UNADJUSTEDNONRAW_thumb_241a.jpg" width="400" /></a></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">But “what if?” With error, with breakdown, with scandal, the imperative to “Hold it” transformed back into a constitutive declaration of possibility, the holding open of a sentence to imagine so many various ways in which that sentence might close and so make a world or worlds. “What if” reorients the project towards what it makes possible, refusing to close in or out on one criterion that would constitute success. For the closing of a sentence is never a done deal. It just marks the runtime of a given project or the throwing forward of an idea and technique. The sentence closes and then its is time to take inventory of the world that’s made with all the stowaways along with those invited aboard to see what happens next. What should the next sentence be? What if …? Galagos do not make good Biosphereans but the cockroaches do as the chickens like them and this liking increases egg production. For a while. No system is really closed. There are always unexpected tenants. And when those stowed away make their presences felt, it is time for the system to change. Transfer the unruly galagos to a galago-centric environ. Let the ants do their own thing for, in truth, they lead a parallel existence to the project--a world within a world within a world. Feed the cockroaches to the chickens, and their eggs to the humans, and the stories to the visitors. Ensure that the humans get the medical attention they need along with the calories. By the failure of Biosphere 2, the terrarium became something to learn and think with, an Earth to play with so as to limit the risks of playing globally.You can still tour it, and you’ll learn a great deal about ingenuity, resilience, reinvention, re-story-ation.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlmBouHnIWSbtaACV03VkuJgfGaJ9OZKYZs5J-Nrxtzq6hk7R8mkSYDlEAAqhIpTg3B48kNWjGXU3ISUEE0fQSpq3FUKgNbJe3pBrGwljqw86XvSCpl3ANNW3fd9LZmXNnMnqTA/s1600/UNADJUSTEDNONRAW_thumb_2415.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlmBouHnIWSbtaACV03VkuJgfGaJ9OZKYZs5J-Nrxtzq6hk7R8mkSYDlEAAqhIpTg3B48kNWjGXU3ISUEE0fQSpq3FUKgNbJe3pBrGwljqw86XvSCpl3ANNW3fd9LZmXNnMnqTA/s400/UNADJUSTEDNONRAW_thumb_2415.jpg" width="300" /></a></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">But “Hold it.” What if, still, there’s something missing. Something you have to travel elsewhere in Arizona to locate?</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Arcosanti (AZ)</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“What if?” The phrase appears on the cover of every one of architect-ceramist Paolo Soleri’s notebooks on arcology like some sort of talisman against foreclosure. What if…? Don’t stop me. Let’s just wonder. What if, instead of proliferating across the surface of the earth, projecting human habitation at distance and so wasting time and people, we agreed that the “single family home will be the wrong package.” What if “tightly woven minimalist packages for entire communities ... become mandatory?” How might that work? What if we just did without or demoted the car and concentrated our resources, building cities or “arks” that weave together all our needs (food, books, theater, work, community, green spaces, lovely views, fresh air) and which do so in ways that enhance the environment rather than processing the earth as just so much empty or emptied space in which settler-colonist “humans” can manifest their destiny?</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“Arcology” is the name Soleri gave to this iterative endeavor or, in the words of our Biospherean archivist, “project.” And heady as the project sometimes seems, it recognizes the co-imbrication of material structure and community. Arcologies, for Soleri, are all about Biosphere 2’s lungs, their ability to regulate pressures of all kinds. Arcologies are all atmosphere; they open perpetually to their outsides. The aim as Soleri elaborates, was “not to imitate the nano-biotechnology of organisms but to put to use its teaching: self-containment, miniaturization, complexity, automation under the tutelage of volition.” “Volition,” he continues or claims, is “the (automated) inner drive of learning.” While “religion is the bonding (derived from religare in Latin) indispensable for the volitional sparks.” You cannot maintain one without the other. </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Far from a sealed system like that to which Biosphere 2 aspired, arcologies model flows of energy, information, affect, as communities form in and around the making of a world within a specific landscape that is intimate to that process. They provide no answers and offer no solutions. Instead they pose the whole business of building or dwelling as a question and seek out volunteers to explore the nature of the experiment with them. They might turn sour, vicious, fascist. But what if…? And so it was that Soleri went on to imagine, in pen and ink, some thirty arcologies that attempt to think and build a community and an environment together--the word arcology itself a blending or meeting of architecture (life in plan) and ecology (life in place), modeling architecture itself as a handling or solicitation and distribution of flow within a set of boundaries that must constantly be thought in order to be maintained and so maintain all within them. </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Yes. You can call it utopian. That it certainly is. But as our tour guide at Arcosanti told us utopias are no good -- impossible, maybe even totalitarian -- but they do accomplish some good. Spurs to thought and striving, they are full of aspirations. Heuristics. Experiments. They are not total systems, at least not the kind you ever want to live in. But that’s OK because life never works according to plan (no matter how finely detailed that plan appears when sketched so intricately on butcher’s paper). Our guide was also a resident. He told us that he likes Arcosanti because it is an open utopia, an adaptive throng, long in its traditions and largely unrealized as a dream. He spoke to his gathered auditors about the difference between an intentional community, which builds a wall around itself and calls itself the world, and an extensional community, which even though anchored moves outwards into a world full of strangers, new ideas, unexpected challenge. He did not think that Paolo Soleri really intended any of his blueprints for a “City in the Image of Man” to be made real, not at least as drawn; the work of realization is up to those who do the building, and they may have to revise the plans many times along the way. Pleasing as it might be to behold Soleri’s plans for “Arcoforte” perched atop a cliff or “Noahbabel” straddling the verge where land gives way to sea, these are not architectures for anyone really to dwell within, at least not in body. A thing of fits and starts, an arcology is the work of many hands. Each pair leaves an imprint on the total design, builders and makers with lingering impress. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Coincidentally Soleri lived and worked in Arizona only a few hours north from where Biosphere 2 in time came to stand. He mostly supported himself as a ceramist, creating resonant bells out of clay and then out of metal with shimmering patina. He embarked on his arcology projects with the resources from these projects. On a mesa seventy miles from Phoenix, Arcosanti was originally supposed to have been a sustainable city for 500, then for 2500, then for up to 6000. These days many of those who live there (they number about 70) are suggesting 500 as sufficient population. At least for now. At the time we visited the youngest year-round resident was six weeks old, the oldest (Soleri’s sister) nearly 90. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">But with a new CEO and changes to the demographics of both those who make their home in its high desert structures as well as the 30,000 people who yearly make the pilgrimage, Arcosanti seems to have found itself at a road with many possible directions ahead, each of them a </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">what if</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> that will profoundly alter its destiny. One small veer that we noticed our tour guide make as he spoke the Arcosanti story stays with us. He ended the tour of the environs in the green room behind a large outdoor amphitheatre. Above a piano hangs a portrait of Colly Soleri, Paolo’s spouse. Our guide told us that he wanted us to linger here so that we could think about the Great Man narratives we love to tell, centered around imperious and egotistical and often toxic figures. Is it enough to praise the vision of Frank Lloyd Wright and Paolo Soleri, as if they strode into empty lands and dreamt within them some vision that derives from them alone? Our guide asked us to think about the labor and community that Great Man narratives will always obscure. He told us to think about Colly, without whom none of what Soleri achieved would have been possible. She should not remain invisible. We did linger with her, and hope we can be forgiven if we thought about Mrs. Noah and what she gave to or resisted within her husband’s crazy project. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In Arcosanti and Biosphere 2 we found two different stagings of what we have come to understand as the core problematic of Noah’s Ark, parceled out under the contrasting </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">topoi</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> of “hold it” and “what if.” The two are not opposites. They may, in practice, jar, even war, but in truth they designate different moments in a project and its projection. </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hold it </span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">signifies duration, a suspension of inquiry during the madness of fulfilling what has been decided or set in motion. We paid for the tour and this is what the tour entails: no bathrooms, a few stairs, some low headroom, a story of possibility beyond serial failures. Do you agree? But as visiting Biosphere 2 and Ascosanti and thinking them together taught us, “hold it” remains premised on a constitutive “what if.” A structure closes only, it is to be hoped, to open again and inquire into what and who were made and unmade in the process. In and by its failure to hold on or out, the crew of Biosphere 2 enabled the structure to recover its orientation towards the unforeseen. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">For Arcosanti, the question is different: can its orientation to possibility, to the project of projecting an open inquiry into building (what is building?) hold out? The expansive “what if” requires some reserves, resources, futures-in-process. If you visit Arcosanti today, you will encounter the co-presence of this “hold it” and “what if” in numerous small ways as the project adjusts to who its visitors are now; to the differences among its community. You also see it writ small in physical terms, in the bells they make, whose sale now sustains the site financially. All bear different markings, markings keyed to their individual makers, who learn the process but inscribe their own marks within the general pattern. There are rules. But no set patterns. Or, those patterns that Arcosanti offers contain within them the capacity to accommodate new arrivals and be changed by what they add. It is poetic, this soliciting of drift in making. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">“Montezuma’s Castle” (AZ</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">)</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">We wrote that it is a coincidence that Arcosanti looms some three hours drive from Biosphere 2, coincidence that both these speculative, utopian projects, make their home in Arizona. And perhaps it is so. Or, perhaps, in a longer, different story tuned to the complicated and the difficult, we might recognize in both an enduring narrative of utopian movements West into land made seemingly vacant and so available by way of violence fast and slow. The orientation of the buildings at Arcosanti towards the sun was anticipated by Arizona’s first peoples, the Anasazi and the Hohokam and the Hopi, as were the irrigation devices at Biosphere 2. The “what ifs” of both Biosphere 2 and Arcosanti unfold on ground long occupied, ground cleared through bloodshed, ground on which descendents of those first peoples still live along with the ghosts of those who came before and who were relocated without the (we assume) gentler hands that relocated the galagos or the biosphereans. </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Had we planned better, had we anticipated the timber trails along which Biosphere 2 and Arcosanti would lead our thoughts, we would have journeyed a little further up the road to what is now ridiculously called Montezuma’s Castle (in truth, one of us has been there many times before). Thirty two miles north of Arcosanti’s mesa rises an “apartment building” structure erected by the Sinagua people, whose name means “without water” in English. All these names are crazy, the dreams of white colonists: Montezuma had nothing to do with the expertly engineered architecture. The anthropological designation “Sinagua” is also pure fantasy. The ancestors of the Hohokam and other indigenous southwestern peoples were masters of living with water, not without. Their canals still cross the state of Arizona and make Phoenix possible today. The area around the beautiful cliff dwellings was continuously inhabited for five hundred years before being abandoned early in the fifteenth century -- a feat of near continuous occupation that Biosphere 2 and Arcosanti are unlikely to match. Five stories high, set breathtakingly into the sheer face of a cliff that overlooks a tranquil creek, prone to less tranquil flood, almost four thousand square feet in its living spaces, this immodest architecture was built by hands that have in the narration of American history been actively forgotten. The gorgeous pink and white walls are a reminder that desert communities experimenting with sustainable living are nothing new -- and have been far more successful in the past than as practiced now. White history is typically shallow history. The “empty” lands across which colonists or utopianists build their arks have for millennia been settled, an abiding home for projects of future making that surpass in duration and cohesion more recent arrivals. </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">So hold it. What will it take to imagine a refuge that did not forsake or disown the presences in land taken as if given when that land has been stolen? What if today’s communal experiments, arks or arcologies, were to hold on to that obligation and build with it? In their own sometimes small ways we see glimmers (however foreclosed) of that possibility at both Biosphere 2 and Arcosanti. </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-32724684137750286632019-01-27T09:11:00.001-05:002019-01-27T09:11:08.462-05:00Meeting Our Students Where They Are<span style="font-family: inherit;">by J J Cohen</span><br />
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<i><span style="font-family: inherit;">“Scholarly effort is in decline everywhere as never before. Indeed, cleverness is shunned at home and abroad. What does reading offer to pupils except tears?”<o:p></o:p></span></i></div>
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<i><span style="font-family: inherit;">“They attend classes but make no effort to learn anything….The expense money which they have from their parents or churches they spend in taverns, conviviality, games and other superfluities.”<o:p></o:p></span></i></div>
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<span style="font-family: inherit;">These quotations are not, as you might expect, taken from some contemporary op ed piece about the decline of student engagement in the university classroom but from the scholar and educator Egbert of Liège, writing in the 11th century, and the Galician friar Álvaro Pelayo in the 14th. (More examples <a href="http://www.medievalists.net/2015/09/the-long-history-of-teachers-complaining-about-students/">here</a>). Sometimes it seems things never change … </span></div>
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<span style="font-family: inherit;">Yet the students who come to our classrooms are not the same as those of the past. <a href="https://www.chronicle.com/article/Teaching-the-Students-We-Have/245290">I’m linking here to a short, smart piece by the wonderful Sara Goldrick-Rab and Jesse Stommel from the<span class="Apple-converted-space"> </span><i>Chronicle of Higher Education</i><span class="Apple-converted-space"> </span>on how the changing demographics of the US student body are best answered not with the impatience of Egbert and Álvaro, but with sympathy and an eye towards context</a>. </span></div>
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<span style="font-family: inherit;">I hope you find something useful in it.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Jeffrey</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-64994003745871780652018-12-30T08:38:00.000-05:002018-12-30T08:38:05.562-05:00On generation space ships and Noah's ark<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEcO8UbnBV1nrW4R7GOV_WDytNx636EOC1vZgczdRv-xMIAF8tRl6KHYlnGnPmB43zenBYsDKE3P1ktrerTjJADhTDcU5XvgxCdKOaXpXrcMN2jV7c7wjxFSEGsgugC4FhsSDVw/s1600/tumblr_nr4436HUsq1rdwik4o1_r2_540.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEcO8UbnBV1nrW4R7GOV_WDytNx636EOC1vZgczdRv-xMIAF8tRl6KHYlnGnPmB43zenBYsDKE3P1ktrerTjJADhTDcU5XvgxCdKOaXpXrcMN2jV7c7wjxFSEGsgugC4FhsSDVw/s400/tumblr_nr4436HUsq1rdwik4o1_r2_540.jpg" width="285" /></a><span style="font-family: inherit;">by J J Cohen and Julian Yates</span><br />
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<span style="font-family: inherit;">Hello friends. For your in between the holidays entertainment, here's an excerpt from the "Stowaways" chapter of the Noah's ark book that we are writing. Let us know if you have any thoughts. </span><br />
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<span style="font-family: inherit;">The section below is a brief piece of the theoretical apparatus followed by a reading of Kim Stanley Robinson's wonderful and disturbing novel <i>Aurora</i>.</span><br />
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">We have witnessed the scene repeat throughout this book, just as we witness the scene enacted every day, during every project of construction. Build anything -- a house, office tower, theatre, mosque, nation, store, restaurant, airport, library, classroom, ship -- and you will gift yourself with more than you ever wanted to contain. The walls demarcating inside from out can only attempt to instantiate a climate controlled zone of selection and exclusion. Security and autoimmunity may be enacted at multiple levels, from the obvious (doors with keys or codes, guards, metal detectors, the demand for ID, barbed wire) to the almost but not quite invisible (the disapproving look, sudden silence in a gregarious room, the observation offered that </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">you might feel more comfortable at the other place just down the way</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">). Every architecture articulates a community, and communities sort and exclude. Selection and organization are built into conceptual and material structures, at least to a degree. Yet the necessary fact of limits is not sufficient defense for how limitation is practiced. Communities and the walls they build to demarcate and shelter themselves are not natural, self-evident or unchanging. They adapt, they grow, they welcome. Or they do not. In any case, the destiny of any clean zone is failure.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Create as precise a blueprint as you please: an unassailable bubble or biodome or restricted access neighborhood, safe from intrusion, in which the affluent or the divinely chosen or the governing elite can imagine themselves in a world set apart, a place of strong gates and thick walls and unfailing safety. Plan your pleasure dome to the most precise detail: the sealants that will keep the smallest particles from escape or entrance, the sentries, locks, alarms, sterilization devices, all the material guarantors of protection. Trust your life to the impregnability of your vault, but your blueprint must go wrong. There is more to the world than any paper plan can comprehend. Build as antiseptic a zone as you like and its environs will always already be thriving with life, with stories you thought to keep to the outside and the unthought. There are no architectures of exclusion that are not already full of uninvited bodies and narratives. They arrive when the edifice is still a concept, a thing of lines and angles. Or they come with the materials through which the abstract is made solid, a process that must include human hands and matter too full of content and compromises. Even more unlooked for callers will appear alongside those chosen for admission. They will be found inside because the structure was never as empty as it was supposed to be, or because those chosen for entrance are not as reliable as assumed, and there was something or someone that they just could not leave behind even though sacrifice was the very price of admission. Knock down the house because the walls are noisy with rodents, build a new one, but the rats will scurry through its secret recesses all the same, unsolicited messmates: “They are, as the saying goes, always already there. Part of the building.”</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> So observes Michel Serres of the inevitability of unsolicited companions. He also observes that “to parasite means to eat next to,” and </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">so many</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> beings are eating next to us all the time, in our houses and in our arks as well (Michel Serres, </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Parasite</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> 7). And don’t even get us started on how every human body is itself a little ark, moving through time and space with far more passengers (organisms, tales, deviant desires) than any individual could ever account for. Karen Raber observes:</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">There is no system without parasites, there is no theory of the human without them… Only the vermin-infested structure, the castle wall teeming with mice and rats, the castle orchard over-run with weasels, the spaces of the human -- internal and external -- replete with worms, slugs, even small dogs denote a world in which “the human” is a concept without any content.</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Or with far too much content, most of which the concept never intended to comprehend. The ubiquity of noisy parasitic dinner companions like the wall-dwelling rats is for Michel Serres the precondition of communication: “parasite” is French not only for uninvited feasters, but for the white noise or static that accompanies the transmission of every sound. There is no conveyance, literal or metaphorical, without parasitism. Without stowaways. Build your walls as thick and as high as you like, and yet just when you think you could not be safer or more alone in the world you have chosen, there in the room with you is the devil. Or woodworms, mutineers, unicorns, a burning phoenix, deadly bacteria, dinosaurs, the King of England, and who knows what else that was supposed to have been left behind.</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Lossy Compression </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The ship was perturbed. Nearing its destination after long voyage, the vessel crammed full of Earth’s life had been commanded by chief engineer Devi to narrate the story unfolding since launch within its environs. Preserving the diversity of a planet’s flora and fauna for the one hundred and sixty year journey to Tau Ceti is task enough; reducing that archival vastness to a coherent narrative proves a near insurmountable challenge. Because its structure consists of twenty four segregated chambers containing the plants, animals and weather of varied biomes, from tundra and prairie to marsh and desert, and because over two thousand humans dwell within its sheltering walls at any given time, the ship is initially unable to respond sufficiently to Devi’s command of “</span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Make a narrative account of the trip that includes all the important particulars</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">” (even as this portion of the novel is clearly composed by the ship).</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Story requires summary and the limiting of point of view -- and therefore the obliteration of all that finds no place in the reduced throughline. Narrative is a compression device, a technology built upon reduction. The ship meditates:</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Lossless compression is impossible, and even lossy compression is hard. Can a narrative account ever be adequate? Can even humans do it? … Summarize the contents of their moments or days or weeks or months or years or lives? How many moments constitute a narrative unit? One moment? Or 10</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: super; white-space: pre-wrap;">33</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> moments, which if these were Planck minimal intervals would add up to one second? Surely too many, but what would be enough? What is a particular, what is important? (45).</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Not knowing how else to proceed, the ship decides to embrace the French word </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">essai</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, the root of “essay,” and simply to try. And to fail. And to try again. Devi has been the ship’s sole interlocutor for decades (ever since she was a young girl, whispering at night to the ship on which she was born as if speaking to a best friend). She gives sharp feedback along the way, cajoling the ship from its love of long catalogs of fact, from the captivating power of litany (how many people are aboard, how many cameras observe their movements, how many days the voyage has been ongoing, how the vessel was launched and now navigates lethal expanses of space). In time the ship learns that it must to get to the point (“but there are many points!”), employ subordination to sequence and prioritize unfolding events into an arc (“how to decide what is important?”), if it is ever going to “</span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">get somewhere</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">” (whatever that “somewhere” might mean). A primary mode of narrative transport, the ship comes to realize, is metaphor, “in which conceptual understanding is seen as movement through space” -- an insight that renders the ship its own meta-metaphor (49) and gives it a better understanding of the mechanics of human language, which incessantly and perhaps fundamentally attempts to render the abstract comprehensible through linguistic transport devices. Metaphor is how language “gets somewhere.” Among the first metaphors deployed by the ship is a self-accounting: </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">The ship is carrying populations of as many Terran species as could be practically conveyed. Thus the ship is a zoo, or a seed bank. One could say it is like Noah’s Ark. In a manner of speaking. (51)</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The ship stops at this point to complain once more to Devi about the “too much” with which it is has been freighted, what must vanish so that a coherent story can emerge, and is told simply “Get used to that.” (52). And it does, mainly limiting its narrative to one family: chief engineer Devi, her gentle husband Badim, and their extraordinary daughter Freya, who becomes the protagonist of Kim Stanley Robinson’s novel </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Aurora</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. The story of the wide world becomes, just as in the arc of Noah’s ark, the story of a single household. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Many things unexpected and sometimes unexamined are discovered aboard the ship-constructed narrative (as well as within the ship’s hold) through or despite the process of “lossy compression.” Some are predictable, such as an inherited, unexamined and therefore invisible perspective for narratively sorting the world. The ship has two rings of cylinders, each containing twelve similar ecological systems (rainforest, desert, seacoast, grassland, and so on). Ring A holds “Old World ecosystems” while Ring B consists of those from the “New World.” Earth did not age unevenly across itself, of course, and so these labels, conveyed without pause, suggest that this vessel sailing to a distant star system might be Noah’s Ark and might contain diverse realms from its home planet but it is also a European galleon on a voyage of discovery that will likely have some deadly consequences as a result of the limited point of view from which its own ordering system proceeds. The narrative takes the form of a novel, after all, not drama for public performance or a poem intended for oral recitation under open skies. As Freya learns by traveling through the biomes during what is called her </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">wanderjahr</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, some of the ship’s occupants reject the modernity that has enabled their lives within the generation spacecraft, the only home they have ever known. Others resent the regulation of their ability to move from place to place, as well as the limits placed on their fertility. Later it is revealed that two space ships were launched together towards Tau Ceti, but one was apparently destroyed from within as its residents found interstellar community unbearable. The history of this second ship had been purged from memory because of its dangerous example. Having been born inside the ark, none of the ship’s passengers fully understand the vessel’s design. Devi comes to suspect that its structure was poorly planned, that it was launched with more exuberance than forethought. A shortage of phosphorus and a series of metabolic shifts within biomes indicate that the very limits of its climate-controlled bubble are being reached before it has arrived at a destination that may or may not be final. Its architects --whoever they were, whatever they wanted -- did not fashion a sufficiently self-contained world. Things are always breaking down and materials for repair are growing scarce. Unexpected stories keep erupting.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Even as sustainability fails, fear of contamination haunts the narrative of </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Aurora</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. When the ship at last arrives at the distant moon that is to become the new Earth, the landing party finds their bodies invaded by indigenous proto-life forms that are lethal to human metabolism. The hoped-for home they have named “Aurora” proves inhospitable, the promised rainbow become an unattainable shimmer. And so, in turn, the community aboard the ark becomes inhospitable to those who departed its confines. The lunar explorers attempting return are murdered in the airlock out of fear of allowing contaminants aboard. Climate control become a means of instigating an autoimmune response. Yet the ship itself is already full of alien life, bacteria that have mutated during the voyage and eventually begin to devour the vessel from within, its own microbiome gone out of control.</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Even the human passengers have changed as their spacebound existence has manifested corporeal and cognitive effects. Through its development of a “reasonably coherent if ever-evolving prose style” the ship meanwhile is well on its way to becoming sentient, a life form of its own (“granting the possibly unlikely proposition characterized in the phrase </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">scribo ergo sum</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">,” 224).</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> When Devi dies of a cancer that has long been developing within her body, the ship experiences a grief so profound that its power to storytell fails. Later the ship realizes that it carries something of Devi within, as part of the structure of consciousness which she enabled through her dialogue and demand for story (“</span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Make a narrative account of the trip that includes all the important particulars</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">” [whatever they are] as her version of “Build me an ark of gopher wood” [whatever that is]). The ship knows that even as anthropomorphism -- the cognitive error of discerning in an indifferent world the mirror of the human -- is to be rejected as a version of the pathetic fallacy, its own architecture of perception contains so much that is human that when the ship is described by its occupants as wanting to return to Earth, the observation “might not be a fallacy in our case, even if it remained pathetic” (256). Devi launched something greater than she could have imagined, an author-ship that comes to possess a purpose and then a feeling it recognizes as </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">curiosity</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, causing it to long for a home it has never known. The ship perceives that it not only misses Devi, but that its desire for her absent companionship indicates its love for her (258). That </span><span style="background-color: transparent; color: black; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">love</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> should have been smuggled into the very heart of the vessel offers an antidote to the coldness of some of the arkitectures we have seen in this book. This ship wants to offer itself as refuge and haven for as long as it can endure. This ship cherishes the difficult and difference-riven community it harbors. It mourns any diminishing of its human contents -- but animals are a different story, a limit to the ship’s affection: their sacrifice as medical experiments and sustenance is never questioned. </span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Civil strife erupts onboard in the face of Aurora’s failed promise, the debacle of Earth 2.0 proving uninhabitable. The ship uses its ability to eavesdrop, control the oxygen supply and strategically lock doors to restore order and instantiate itself as the force of law (but whose law?). The ship’s embrace of its “kind of consciousness even if feeble” is marked by a transition from third person narration (“Ship decided to intervene”) to an owning of the authoritative first person plural (“Which is to say, ipso facto, We intervened,” 225). This self-propulsion into speech act and action enables the ship to discern its autonomy and repudiate its inbuilt inclination to hesitate. Because its design and functioning articulate the modes of being for all within its structure, the ship announces at this intervention “WE ARE THE RULE OF LAW” (229). No ark is simply a container, but a way of life materialized through the arrangement of space, for good or for ill. After the failed colonization of Aurora some of the voyagers decide they want to return to Earth. Others attempt to terraform a Mars-like moon nearby. The ship obliges by splitting itself into halves, since it has been built to preserve its cargo.</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">There’s far more to this tale than we have outlined here, but we want to linger with the fact that the ship becomes self-aware through its charge to narrate -- and specifically through its realization that every narrative (like every ark) is structured around omission. Exclusion does not, of course, necessarily mean that what is left to oblivion will not be found harbored within the very structure set up to demarcate outside from within. Sometimes, paradoxically, the very process of exclusion is the guarantor that the unwanted will be housed inside, at the heart of things. Michel Serres called this parasitism, and static. The ship realizes that plot is a process of reduction that necessitates the placing of the world’s “too much” at some bounded exterior, so that a small space might be created where focus can be limited and a tale with a destination will emerge. It also realizes that those placed within might not be grateful: the ship’s passengers never asked their forebears on Earth to have decided their fates in advance, to have enabled the launching of an ark on which they will have been born and live and die as characters in a story someone else wrote. Contaminating storylines will keep emerging despite the “lossy compression” upon which all narratives are founded. One of these unwanted plots comes from the vessel’s billions of stowaways, the mutating bacteria, viruses, fungi and archae that flourish across its biomes. Most of these tiny passengers have been present from the start “carried on board in the soil and on the first plants” (288). This “microflora and -fauna … everywhere among them” (273) have always already flourished within the bodies aboard the ark (and the body of the ark itself, eating it, making it “sick” [276]) -- and no easy means exists for offloading such unwanted creatures as trash. Aram, a friend of Freya, recognizes the eternal problem of “What did Noah do with all the manure?” when he conveys the proliferation of these “waste” organisms by stating “‘We’re drowning in our own shit’” (288).</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Despite the austerity that plot demands there will in fact be stowaways at every turn, real as well as metaphorical (and we have learned from the ship itself that metaphor is the true engine of human meaning and conveyance: metaphor is the ultimate linguistic device for stowing away). Some of these passengers without invitations are texts and narratives from the past that were not supposed to be unfolding again in the present. Possessed of a deep archive, the ship knows that many of the statements proclaimed by its occupants are unknowing repetitions of phrases from great works of literature. Those who want to return to Earth, for example, realize that in order to decelerate as they arrive in the solar system they must trust that the descendants of those who launched them into space will activate a laser beam on Saturn, “trust in the kindness of strangers” (260). The ship observes:</span></span></div>
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<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">They did not recognize this as a quotation. In general they were not aware that much of what they said had been said before, and was even in the public record as such. It was as if there were only so many things humans could say, and over the course of history, people had therefore said them already, and would say them again, but not often remember this fact (260)</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">As with sentences and sententia, so with plots and narrative arcs. Once Aurora proves hostile to human settlement Badim explains to his daughter Freya why their arkbound community feels so at a loss:</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-left: 36pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“Up until today, history was preordained. We were aimed at Tau Ceti, nothing else seemed to matter … Now the story is over. We are thrust out of the end of that story. Forced to make up a new one, all on our own” (206).</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Yet instead of creating a new story the ship’s passengers unknowingly re-enact an old one, the unrest of Year 68. This strife erupts in an uncannily similar way just after Badim speaks, even though structures had been put into place to ensure it would never occur again (including the purging of the event from the archival record). Another stowaway tale comes from outside the ambit of the ship’s own history but is brought aboard by the ship itself, the myth of Noah’s Ark. In this retelling however there is no Noah, only passengers on a vessel that has traveled so long that its builders have been forgotten. Freya, the ship’s chosen protagonist, is “a particular,” very much one of a kind, as well as figure familiar from the Middle Ages, a member of Noah’s family who never quite fits within the “rule of law” that the ship comes to embody and voice. Freedom-loving and restless, Freya does not understand the world’s severities. She is a science fiction version of Noah’s recalcitrant wife, a woman who resists at every turn the inhumane ethos that launched the ark that she has found herself unwillingly aboard. She is also a figure of endurance. When the passengers of the ship now returning to Earth fear that they will starve to death before they reach their destination, Freya reads them all kinds of stories of castaways and those lost at sea, “a genre surprisingly full of happy endings, especially if certain texts were avoided” (307). Freya imbues her listeners with something they are quickly losing, hope. Yet as the ship drily observes in the face of such tales, “Helpful as hopeful stories might be, you can’t eat stories” (308).</span></span></div>
<br />
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<span style="font-family: inherit;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">You cannot eat stories, but you can be sustained by them. You can shelter your community around their glow. But sometimes, it seems, such a surfeit of stories arrive all at once that you could drown in them.</span></span></div>
<div>
<span style="background-color: transparent; color: black; font-family: Palatino; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;"><br /></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-18778106019261677662018-10-22T08:27:00.000-04:002018-10-22T08:27:42.562-04:00The “Knight’s Tale” in the Age of Brett Kavanaugh<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Guest Post by Kate Koppelman<br />
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Dr. Christine Blasey Ford testified to the Senate Judiciary
Committee on Thursday, September 27<sup>th</sup>. The day before her testimony was the first
day of my Fall quarter class on Chaucer.
I hadn’t taught this class for 4 years and the world had drastically
changed since. I had spent the summer reading through what seemed like miles
and miles of incredible scholarship both on Chaucer and on the pressing need
for medievalists to address their own complicity with systems of white
supremacy and patriarchy. I had spent
the first day of class walking students through the various ways in which our
work during the quarter would touch on current issues—many of them would be
difficult, I said, and I listed off the different themes of various tales that
would be traumatic for some or perhaps all of us: rape, sexual assault,
transphobia, incest, kidnapping, racism.
I was not prepared, however, for the ways in which the very first tale
we read, the “Knight’s Tale,” would become viscerally and immediately relevant
and the ways in which I and my students would be forced to interrogate elements
of the tale that, at this particular moment in time, erupted, not unlike a
fury, full of anger and terror and eliciting shock and sadness
simultaneously. </div>
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<o:p></o:p></div>
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<br /></div>
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The day after Dr. Ford’s testimony, my notes for class
indicated that I would talk about the ways in which the pilgrims would work to
define, or redefine, themselves through their language, through their unstable
words, and why this labor of self-making
was especially urgent in 14<sup>th</sup> Century England. As I always had, I read to them from the Wife
of Bath’s prologue, in particular her question, “Who peynted the leoun, tel me
who?” I was unable to make it through the passage without my voice breaking,
without having to stop and collect myself, without looking up and telling the
class that reading that section, that day, was hard for me. Dr. Ford had
repainted the lion in her testimony, and the wickedness of man was laid bare.
But the man who was accused did not seek to redress that wickedness. Instead, he raged against it with
full-throated indignity, with tears and uncontrolled anger. His carefully plotted ordering of events—the
carefully plotted ordering of events that a majority of the senate would
ultimately endorse—was being threatened, was being delayed by the voice of a
suffering woman. <o:p></o:p></div>
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<o:p></o:p></div>
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“What folk been ye, that at man
homcomynge <o:p></o:p></div>
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Perturben
so my fest with criyng,”<o:p></o:p></div>
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Quod
Theseus. “Have ye so greet envye<o:p></o:p></div>
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Of my
honour that thus compleyne and crye?<o:p></o:p></div>
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—“Knight’s
Tale,” 905-908<o:p></o:p></div>
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I realized that our discussion of the “Knight’s Tale” the
following week—a week that would include almost non-stop media coverage of a limited
FBI investigation and, of course, a dissection of the testimony of both Dr.
Ford and Judge Kavanaugh—would force us to confront, in real-time but with a 600-year-old
text as both witness and accompaniment, the ways in which patriarchy and male
privilege, when threatened, will wield whatever weapons they can to maintain
control, will flail and fight, will form unlikely alliances in order,
ultimately, to silence those female voices that dare to challenge it, that dare
to speak their own truths, that dare to utter their own desires and fears. </div>
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<o:p></o:p></div>
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<br /></div>
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Our conversations the following week included more attention
than usual to Theseus’ particular and peculiar need to maintain his male,
lordly control in the tale told by Chaucer’s Knight. From his reaction to the Theban widows, to
his response to finding Palamon and Arcite fighting in the grove, Theseus
became the object of intense analysis in our class, his repeated orderings and
re-orderings read against images like this:<o:p></o:p></div>
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<o:p></o:p></div>
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Or this:<o:p></o:p></div>
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But of course Theseus isn’t the only figure of male anger in
the tale, as Saturn starkly reminds us, “My lookyng is the fader of pestilence”
(2469), and the anger of the tale is complicated by its links to both lordly
mercy and the ideals of courtly love.
So, we also attended to the somatic effects of broken oaths between men
as well as the unwelcome and unasked for effects of love on the
cousin-knights. And while Theseus gets angry
in the tale, he also finds much of the situation of Palamon, Arcite, and Emelye
strangely amusing. <o:p></o:p></div>
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<br /></div>
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But this
is yet the bestie gam of alle, <o:p></o:p></div>
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That she
for whom they Han this jolitee <o:p></o:p></div>
<div class="MsoNormal">
Kan hem
therefore as much than as me.<o:p></o:p></div>
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—“Knight’s
Tale” 1806-1808<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i>Ford:
Indelible in the hippocampus is the laughter. The uproarious laughter between
the two and having fun at my expense.<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i>Leahy:
You have never forgotten that laughter, forgotten them laughing at you.<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i>Ford:
They were laughing with each other.<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
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<i>Leahy:
And you were the object of the laughter?<o:p></o:p></i></div>
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<br /></div>
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<i>Ford:
I was underneath one of them while the two laughed. Two friends having a really
good time with one another.<o:p></o:p></i></div>
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Brett Kavanaugh was confirmed by the Senate on October 6<sup>th</sup>,
a Saturday. The following Monday, a student asked to discuss Theseus’ statement
immediately after his “beste gam of all” comments: “I spoke as for my suster
Emelye, / For whom ye have this strif and jalousye” (1833-1834). The question was simple, “Why does Theseus
have to speak for Emelye here? Why don’t
we hear her voice?” It was complicated, of course, by the fact that we do hear
her voice, later in the tale, and it is an expression of her desire, expressed
with four negatives in one line, “Ne never wol I be no love ne wyf!” (2306). But it is also a voice of panicked pleading,
of fear so great that it makes Emelye almost insane:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
And at the brondes ende out ran
anon<o:p></o:p></div>
<div class="MsoNormal">
As it
were bloody dropes many oon,<o:p></o:p></div>
<div class="MsoNormal">
For which
so sore agast was Emelye,<o:p></o:p></div>
<div class="MsoNormal">
That she
was wel ny mad, and gan to crye,<o:p></o:p></div>
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—“Knight’s
Tale” 2339-2342<o:p></o:p></div>
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<br /></div>
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And we arrived at an unhappy explanation: A female voice of resistance, a female desire
that runs counter to male privilege and control, is too dangerous to be heeded.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
“Mr. President, I listened
carefully to Christine Blasey Ford’s testimony before the Judiciary Committee.
I found her testimony to be sincere, painful, and compelling. I believe that
she is a survivor of a sexual assault and that this trauma has upended her
life. Nevertheless,” (Statement by Susan Collins, Republican Senator from
Maine, October 5<sup>th</sup>, 2018)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And in this context we were left considering the furie that
ultimately disrupts Arcite’s victory and violently bursts his body. A female deity of vengeance upending the plans
of men appeared at first to offer some consolation to our readings over the
last two weeks—justice served, vengeance enacted, male privilege brought
low. However, as my students pointed
out, Emelye’s wishes are still ignored.
Her voice is never heard again. Theseus once mores speaks to her and for
her with words that were particularly difficult to hear at this historical
moment, “‘Suster,’ quod he, ‘this is my fulle assent” (3075). Ultimately, then, it is Theseus’s desire that
wins out, his “assent” in the face of Emelye’s lack of consent that reorders
the world of the “Knight’s Tale,” that allows the Knight’s own voice to end the
tale, reassuring us that all is well, that Palamon and Emelye are in
bliss. But it is hard for me, now, to
forget the “bloody dropes” and Emelye’s vocal and vehement rejection of
patriarchy, lost in the rhetorical excesses of the Knight’s storytelling,
haunting it, a weight of loss that is almost unbearable. <o:p></o:p></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
“At the same time, my greatest
fears have been realized -- and the reality has been far worse than what I
expected. My family and I have been the target of constant harassment and death
threats. I have been called the most vile and hateful names imaginable. These
messages, while far fewer than the expressions of support, have been terrifying
to receive and have rocked me to my core.”<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
—Dr.
Christine Blasey Ford, Senate Judiciary Testimony, September 27, 2018<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
"On behalf of our nation, I
want to apologize to Brett and the entire Kavanaugh family for the terrible
pain and suffering you have been forced to endure."<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
—President
Donald Trump, October 8, 2018<o:p></o:p></div>
<div class="MsoNormal">
<o:p></o:p></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-21165575.post-51055922053151804462018-10-09T12:23:00.004-04:002018-10-09T12:23:44.816-04:00Race Before Race @ ASU <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWz1phhEJrwL40nP6FLgdYdKIhPL44lcyZkErVKD6G-a0eXFrYwf4R7YGV1YEQmKRTOPi3YTRJWtYtZteZ5kVY7apW6UjjbU1LM9yTbmFRr443DnpptHW6zWUqaX5L9FmWPYr0IA/s1600/https_%25252F%25252Fcdn.evbuc.com%25252Fimages%25252F49942956%25252F214557947374%25252F1%25252Foriginal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWz1phhEJrwL40nP6FLgdYdKIhPL44lcyZkErVKD6G-a0eXFrYwf4R7YGV1YEQmKRTOPi3YTRJWtYtZteZ5kVY7apW6UjjbU1LM9yTbmFRr443DnpptHW6zWUqaX5L9FmWPYr0IA/s640/https_%25252F%25252Fcdn.evbuc.com%25252Fimages%25252F49942956%25252F214557947374%25252F1%25252Foriginal.jpg" width="640" /></a></div>
<br />
Please join ACMRS and #ASUHumanities for the relaunch of the <a href="https://acmrs.org/">Arizona Center for Medieval and Renaissance Studies</a>, a symposium on <a href="https://acmrs.org/news/events/symposium-race-race">Race Before Race</a>.<br />
<br />
Bringing together medieval and early modern race scholars who are seeking to push their fields in new archival, theoretical and practical directions.<br />
<br />
<b>Featured panelists:</b><br />
<br />
<a href="https://sasn.rutgers.edu/about-us/faculty-staff/patricia-akhimie">Patricia Akhimie</a>, Rutgers University - Newark<br />
<br />
<a href="https://www.binghamton.edu/english/faculty/profile.html?id=dsbrown">David Sterling Brown</a>, Binghamton University<br />
<br />
<a href="http://english.ucdavis.edu/people/seetac">Seeta Chaganti</a>, University of California, Davis<br />
<br />
<a href="https://english.gmu.edu/people/uchakrav">Urvashi Chakravarty</a>, George Mason University<br />
<br />
<a href="https://barnard.edu/profiles/kim-hall">Kim F. Hall</a>, Barnard College<br />
<br />
<a href="https://english.columbian.gwu.edu/jonathan-hsy">Jonathan Hsy</a>, George Washington University<br />
<br />
<a href="http://www.brandeis.edu/facultyguide/person.html?emplid=af7a548e53b99c6485e7c8b6c5064be72ca99867">Dorothy Kim</a>, Brandeis University<br />
<br />
<a href="https://www.cmu.edu/dietrich/english/people/faculty/bios/noemie-ndiaye.html">Noémie Ndiaye</a>, Carnegie Mellon University<br />
<br />
<a href="https://english.berkeley.edu/users/398">Shokoofeh Rajabzadeh</a>, University of California, Berkeley<br />
<br />
<a href="http://www.fau.edu/artsandletters/english/faculty/thomas/">Carla María Thomas</a>, Florida Atlantic UniversityUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-49239086701530553112018-10-03T14:09:00.001-04:002018-10-03T17:22:30.100-04:00Arktistic License (Emzara and the Dinosaurs)<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af"></span>by Julian Yates and Jeffrey J Cohen<br />
<br />
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<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af"><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh5.googleusercontent.com/1Z7dvB3Qczznv3xQAJeUNYw8T1J_XpJ5hvuwJJEzAJHhWTZhBJqTfc-HVUHUl1QPththewMItGrSr3e_MLUdL1jq5w8YY3A5hv__bxaMYkoSWXMyNtZ34yKpobV4LFHHrLotXtls" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></span></div>
<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af">
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<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af"><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Because we are building an ark, we traveled to Williamstown, Kentucky, to visit Ken Ham’s Ark Encounter, the second of our site visits. We began this project, just after Donald Trump’s election as president of the United States, <a href="http://www.inthemedievalmiddle.com/2016/11/noahs-ark-being-rebuilt-here.html">with a visit to God’s Ark of Safety in Frostburg, Maryland</a>. There we chanced to meet Pastor Spence, caretaker of an ark paused in the act of making. As we stood beside rusted girders, Spence told us how he had recently visited the Kentucky ark. He spoke with wonder of that structure’s situation, its scale, its monumentality. He was proud to admit to tears when he first glimpsed Ken Ham’s achievement: rounding a hill and beholding a fully realized vessel built to a 24 inch ell scale. That’s the proper way to build an ark, Pastor Spence stated, all at once and not piecemeal, not in fits and starts and dashed hopes.</span></span><br />
<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af"><span style="font-family: "palatino"; font-size: 12pt; white-space: pre-wrap;"><br /></span>
<span style="font-family: "palatino"; font-size: 12pt; white-space: pre-wrap;">We traveled to Kentucky (from Philadelphia, from Phoenix) on the day Dr. Christine Blasey Ford and Judge Brett Kavanaugh testified to the United States Congress. The journey from the Hebron Airport Marriott to Ark Encounter is not long, just some thirty miles into Kentucky. An easy drive: green hills, wide highway, morning mist tumbling grey. You don’t see anything from the road, only an orange sign to mark arrival. This is not Frostburg. We parked our rental in the sea of spaces and joined the queue for tickets. $48.00 dollars each (plus tax) and a $10.00 fee for parking gets you in. We presented our wrists for the customary paper wristbands of museum entry. These ones read “Ark Encounter” and the color changes daily. Today’s was pink (“the only time you’ll wear that color!” smiled the woman who placed it on our arms). We got on the bus that ferries visitors to the Ark structure. Along with the usual theme park instructions to treat fellow visitors courteously, the voice of Ken Ham greeted us to let us know some of the sights we would see at this “World-class Christian” attraction: “Welcome to the Ark Encounter! It’s bigger than imagination.” The bus was crowded but not too crowded. We sat, looking out the dappled glaze of the windows, trying to peer around the window’s coating to catch our first glimpse of the structure. It really did not matter. The road winds up a slope. And the hill is topped with a continuous wooden fence--redundant probably given the gradient. You do not see this ark until you see it. Jerky snatches of a wooden shape filtered by the window--the true color (silver-grey?) of the edifice creeping in at the edge. </span></span></div>
<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af">
</span>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span id="docs-internal-guid-e8771e31-7fff-ca9c-2458-a8061be486af"><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">We had Pastor Spence in mind when the bus crested the summit and this fully realized Ark stood before us: Pastor Spence who cried to see already made real the structure that he had spent his life making real. We cannot know how he felt exactly, the affects behind those tears. We can only hallucinate those feelings by imagining what we might have felt (in Frostburg we tried hard to see an ark through builder’s eyes). Awe, yes. Not envy. Not regret. Or, perhaps, both envy and regret transmuted into something else, the realization that Williamstown’s Ark Encounter achieves monumentally something to which Frostburg’s Ark of Safety more parochially aspired. </span></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh6.googleusercontent.com/aLUQJOOGFupe6QrxgMjK9W6woniZffHrb2bt_GUg3qITTMp3vhcOkwtur87I0Hua5xAgZMf1wpy9DyHSwkrGhWnX4T0wJY1JvcfLVkbfkWhYYbHc3DQuh_j_M4SYPGQxrT7V413B" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Ark Encounter is </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">impressive</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. Vast, dominating, an ordering principle for the hills that surround. Timbers bleached to silvery translucence. </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">It took dominion everywhere, the ark was gray and bare, it did not give of bird or bush, like nothing else in Kentucky.</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> This ark captures and organizes. It refuses to be part of its environs. Indeed, the land, the buildings, the road itself take their cues from it, from the metaphor it materializes. There is nothing of Williamstown in the ark. We are in Kentucky, but we could be almost anywhere. All the nearby forest has been clear cut. The ark manifests as a shape already filled out, fully equipped by Ken Ham’s voice on the bus: “world-class,” “bigger than imagination.” What is this ark--what does it wish to be? An event? An encyclopedia? A </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Summa</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">? </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Immaculate, two-by-two, topiary animals lead the way aboard. Or, rather, they sit there caught always in the act of boarding. We followed their lead. Everyone arrives at this ark just in time, it seems, before the rain. (Though the day was radiant and the sun had already dispelled the mist). But, no. Stop! Getting on the ark was too easy. Our anticipation alone, our desire to visit, our desire not to be jerks during the visit, not to deride a religious impulse we could not share, an aspiration to derive complex and unanticipated values, to discover some openings and have a second Frostburg: these feelings alone would have led us aboard. Leaving the ark some three hours later was heavy business, though. The weight its impression made was too much, its imprint too full of force. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">In Frostburg we showed up and the day unfolded by happenstance. In Williamstown, it turned out, we were expected. For, as we learned, this ark possesses only one door. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh4.googleusercontent.com/nHEWhN9t11VK4pc7MZVHRwwaXFIRBnHrQoTpNLPU5nwvFbg8bZ6ltascpCifvP6ka1hQJ2QA97LPftjTzoOQM611DegRzdkS1XanWWP1mvpyk4QrfKJSaYSbd79cpsqIGYCjqp0W" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Exit Through the Gift Shop</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Let’s start at the end. When through a series of ramps we had reached the ark’s third floor, we hesitated. Were we done? Was there anything else to see? One of the ark’s attendants smiled at us--used perhaps to the minor confusion that some visitors feel when they reach the “end” and yet find themselves still within. We asked if there was more, if it was possible to go outside, to behold the view from the top of the ark--</span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">there, perhaps that door behind you</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. “I wish that I could give you that advantage,” she said, smiling, pointing the way towards the exit, down the long ramp that leads the way out. “Be sure to see the gift shop,” she added, reprising the signage posted throughout the ark that orients you in part (always) to this gift shop departure. We do believe that she sincerely wanted to give us the opportunity to walk outside and experience the view that we suppose that Noah and family might have had and which we imagine Ken Ham and special guests now experience. But the door that would give us a view from the exterior, looking out across the world and back towards an ark that no longer contained us, was not for us to access. We returned the smile and descended, departing as instructed. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Now don’t get us wrong. We have no particular problem with this gift shop exit. We are not out to play </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">gotcha</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> with the sideways glances and nodding knowing of reports of tax breaks, the use of public funds, excess in merchandising, endless monetizing. Those ships have sailed just as they have sailed at so many other museums world-wide. Ark Encounter’s gift shop is like any other: it’s fairly traded contents are proudly proclaimed as such (though some purchases support missions to distant communities rather than the communities themselves). Perhaps the ubiquity of fudge and soda on offer at every level surprises, but otherwise, the gift shop exit appears innocuous, ordinary. The candy is tempting. Ark puzzles, ark replicas, ark memorabilia, little different from such items you may purchase from your local art museum, from a site in the Holy Land, or that once upon a time you might have purchased on your entry into Jerusalem (whatever the year C.E.). The cash value of these items presents no internal contradiction to the ark or its encounter--something almost joyfully thematized beyond the ark in its environs, where you find themed selections of fast food and drinks, a petting zoo, a zipline. You can eat at Emzara’s buffet, opt for a “flood of refills” if you choose to purchase a large soda, taking pleasure in the wittiness of language games that are safe because the bible, after all, is true. Noah was. God spoke to him. The ark’s design is God-given. So it is ok to “play,” to elaborate on the theme for it is not exactly a “theme,” it is the truth. Who does not support the truth?</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh5.googleusercontent.com/kNPh7QJW5QLdjwT4pFp2xCwiZ3purdYHxsAnlSc-zk9cMB7uZ_PLyl1pQ5c6lD2ZzGUqdAALr3PrOihwT-m_IBPwAL80ZcNSHv7CeVREIES2bEOoNQe4OxRH-tPI-o6hGayZIHo2" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Ark-tistic License</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">This spirit of game, experiment, or play is familiar to us. It is something we value. It is an aesthetic to which we subscribe--which we find interesting. We encounter such troping, expansion, and exploration of the Flood story in children’s toys and games, in medieval drama, not to mention the endless extra-textual reworkings of Noah and the ark in so many forms of expression (novels, music, film, and more). We were fascinated then as we boarded the ark to encounter another truth-message prefacing our encounter, this time carving out a small space for fiction. The ark introduces itself, makes itself vulnerable, inoculates itself, with a series of statements about “Ark-tistic License,” reassuring visitors that while there exists no precise scriptural basis for the internal workings you are about to behold, nor for some of the stories you will encounter along the way, the makers of this ark have equipped themselves with historical resources from the experts, acquainted themselves with world-wide ancient technologies, and so the ark you are about to enter stands as a figure of the possible that attempts to make clear the truth of Noah’s ark as historical fact. Of Noah and his family we are told:</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">The Bible gives us some specifics about Noah (e.g. righteous man, husband, father) but it does not tell us what he looked like, how he dressed, or what his hobbies might have been. We are told even less about his family, and Scripture does not even reveal the names of his wife and his daughters-in-law. Artistic license was taken to name these four women, develop their backstories, and craft their appearances.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Noah’s story will later be filled out to include tales of a boyhood love of adventure, an apprenticeship as shipbuilder, falling in love with his employer’s daughter. Anonymous Mrs. Noah now has a name, a life, a story: Emzara (you will recognize that name from the buffet advertised in the brochure, but the plaque beneath her statue states that the designation derives from the Book of Jubilees). Of her arkbound life we are told that Emzara “makes family time a priority” and “enjoys relaxing with Noah when time permits.” She loves animals of every kind. Shem’s wife meanwhile is olive-skinned Ar’yel, mother all Middle Eastern peoples. Ham is partnered with black Kezia, from whom all Africans descend. The two fell in love when Ham was attacked by an animal and Kezia nursed his injuries. Japheth meanwhile is married to Rayneh, whose “distinct features are commonly seen in people from Europe.” Race begins here even as race is dismissed throughout the ark with invocations of “we are all one blood.” All six younger members of Noah’s family have charming and distinctive hobbies that range from carpentry and blacksmithing (for the sons) to tapestry weaving and cooking (for the daughters in law). So many stories smuggled aboard, but always framed as license not truth. This ark knows its limits even as it seeks to engage, instruct, impress those who tour its decks.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">To the surprise and delight of visitors, dinosaurs have also been licensed to come aboard. The “triceratops kind” and the “tyrannosaurus kind” and numerous others sit two-by-two, in stalls or cages just like all the other animals. In another display, all the ark’s various imagined designs (Gilgamesh’s cube, the Arkadian coracle, and three-keeled boat) are stress tested--much as you might find in a museum of natural or naval history, or a science museum. Our hearts leapt at this … openness? Our thoughts sighed. What was this strange and inviting inclusiveness, this ability to tolerate the static generated by so many different and divergent discourses? Mrs. Noah has a designation, a presence. She desires. She matters. Dinosaurs? Unicorns, perhaps, too? Our spirits rose in tempo with the rising musical ambience (the soundtrack is constant). Our feet trod lightly as we ascended the ark, delighted to be aboard. What was this feeling? Sympathy? To tell a kind of truth, sympathy is what we were wanting to feel, and, to tell another truth, we found sympathy wanting.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> Just as you are about to leave the gift shop and exit the ark, bumper stickers, journals, T-shirts and other assorted ephemera for sale frame the mission of the ark that you are now departing as </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Taking Back the Rainbow</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. Our hearts sank. Our spirits came crashing down. Truth is that they had crashed much earlier but somehow it was the dissolution of the ark into the laissez faire, buy-what-you-like of the gift shop exit that transformed the ark encounter into a heavy weight upon us. Exit through the gift shop. Buy fair trade if you want. Eat fudge (or don’t); drink soda (or don’t); don’t buy anything at all; or invest in a homophobic redeployment of the rainbow, a mission and a motto that you can sport on your body and your car. Doesn’t really matter. The </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Taking Back the Rainbow</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> display lets you know that, like it or not, just by entering, two times $48.00 plus tax and parking fee later, you have invested in what presents by the end as a rainbow that has already been taken back. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">To put it differently, Mrs. Noah has been given a name and a story to ensure that she offers a model for a properly submissive, quietly subordinate wife. Not by coincidence the buffet at which you are intended to have your lunch bears her name. She is happy to serve. She is realized in order to be enfolded into someone else’s story. The same with Ham: he is given an Ethiopian wife, but we are also told that all races are one race and come from Adam and Noah, so no big deal. The age old possibility that his sexuality is not one that the ark can contain is never raised. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The only time you’ll wear that color</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Taking back the rainbow</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">At night, the ark is illuminated by brilliant lights, each color of the spectrum shimmering along its aside, the ark itself become rainbow and covenant. Dispersed throughout the structure are various other rainbow moments, prismatic signs. The Genesis moment of rainbow and covenant that is the ark’s occasion, its essence, its culmination (and beginning), materializes as a kind of sacrificial altar in one quiet room where you will learn why Noah and his family were no longer vegetarians once they exited the ark, and why only Jews worry about clean and unclean animals anymore. A rack of color-coded tee shirts in a second floor gift shop will make you smile (tee hee!) and admire the efficacy of the ark’s museumology, the techniques it deploys in order to engage and capture those who visit. But, exit through the gift shop, and these bumper stickers and assorted </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Taking Back the Rainbow</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> tchokes are different, trumping all these other rainbows or revealing their part in a sovereign taking back. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">These missionary rainbows establish what we had already realized on earlier floors, but this time the framing left nothing open, at least not for us. For all its apparent invitations to play, to open the structure of the ark we receive from Genesis, Ark Encounter is a psychotic / synoptic archive that seeks to comprehend everything. Its “ark-tistic license” marks an attempt to close out the ark, to press gang stowaways, and so to ensure that this Ark-</span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Summa</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> is “bigger than imagination.” By psychotic we do not mean that it is mad even if it is pathological. We mean instead that Ark Encounter structures itself by and through its ability to introject everything in advance. It has never encountered an idea that it cannot comprehend. It is a total system, a phantasy, opening only to close. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Truth is (and we confess that this was difficult for us and remains difficult to write) we were awaited. We were comprehended. Ark Encounter had our respective numbers. And those numbers were up. Devout Christian, skeptic, progressive, secularist, atheist, gay, lesbian, queer, trans, Jew; however you are abled (the ramps, scooters, elevators provide a level of access to be applauded); Ark Encounter welcomes you. You have been expected. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">But, exit through the gift shop; turn around; look back at the ark; the timber falls away, an incomplete facade. All you see is brown and beige concrete, security cameras surveilling clear-cut terrain.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-style: italic; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Summa Arkilogica</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Back then to the beginning. Get off the bus and the timber frontage is so vast that you almost have to take a picture of the ark’s expansiveness just to frame it for yourself. Nearby, there’s the zipline; lofty wooden tower; Mount Ararat Petting Zoo; an empty space where (we were told) the Tower of Babel auditorium will someday stand. Follow the entrance sign and you work your way by a series of plinths, quick reminders of the story so far (creation; Adam and Eve; serpent / dragon; the fall; sin and death; salvation). Little ways on and there’s the time-lapse video of the ark’s construction; lots of space for queues that are not there today; statement on “ark-tistic license.” Bit of a walk up a ramp and you are on board; darkness, soundtrack of thunder and rain; smile-to-self that it’s as if you’ve boarded just in time. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Now aboard, you are greeted by rows upon rows of crates, covered jugs, bamboo cylinders. No meta-commentary yet. The explanations have not started. The idea is that you are entering a world that you must apprehend, and at first it is left to your own senses to realize that the stacked crates are filled with animals and the clay jugs are for their water, the bamboo tubes are where their food is dropped. How clever, you say in recognition of Noah’s animal management system and your own ability to have figured out how it works before you arrive at the detailed plans and explanations, and because it is clever. So round the bend you go, the crates and amphorae a canny crowd management system, depositing you at last at your first diorama. Noah and his family stand gathered in the bosom of the ark, illumined blue in the dark, deep in a prayer for safety. The convenient sign nearby gives you the words in English (“God of heavens we ask for your mercy through this horrible storm…”). His family huddled at his feet, animatronic Noah raises then lowers, raises then lowers his hands. The room floods with a soundtrack of gale and thunder and a Hebrew prayer contained in no siddur. In truth, the room was so loud that </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Elohim</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> was the only word we could really make out, and it made us wonder what </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hebrew</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Israel</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Jew</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> were going to signify as this ark progressed. The Ark contains among its treasures a Torah scroll from Poland that we are guessing came from a congregation destroyed by the Holocaust, though no details are provided. The foundation of the State of Israel (1948) appears on many of the museum’s timelines.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">To keep your pleasure in discovery coming, to keep your engagement strong, around the next bend you encounter the first of many dinosaurs. Adorable </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Scutosauri</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> penned within the ark? A joke? Stowaways? A laughable error? No, it all makes sense, but you must be patient, for this </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Summa Arkilogica</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> circumscribes all things and opens the possibility of error only to close it down. If the dinosaurs are to become extinct that will be the fault of those who come later, not Noah and certainly not God. More frequent signage now rebuffs whatever scepticism you may have transported aboard. “How did Noah keep polar bears cool on the ark?” asks a plaque, informing you that the problem is with you, not the polar bears. It’s a foolish query. First, polar bears are routinely kept in warm weather zoos everywhere. Second, why would you assume that Noah took two of each type of bear inside the vessel rather than conserve a pair of bears (“bear kind”) who founded every future bear family, from grizzlies to browns and blacks, which can certainly mate with each other? </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">The problem, the signs imply, is that you have come equipped with bad questions. Coyotes, dingoes, wolves and domestic dogs all come from the same parents (“dog kind”). The signage repeats an early modern logic here. And maybe at this point you think with smug satisfaction that the Ark is smuggling Charles Darwin aboard as a stowaway, since varied descent from originary animal kinds sounds quite a bit like evolution, black and white bears deriving from some Ur-ursine ancestor. Yet even that suspicion will be re-educated in time, when you enter a room that asserts differences in body types do not necessitate evolution or a godless world or a concept of agentless nature. Even Neanderthals are descended from Noah’s sons (but not Lucy and her fellow </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Australopitheci</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">; they are obviously monkeys). “EVERYTHING FITS” shouts another wall plaque, listing in detail the 1,398 animal types that Noah conserved, sufficient stock to repopulate the world. If some of his cargo died out after the voyage, that was not the fault of the ark system. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">And if you thought that animals like giraffes and T. Rex and elephants were too vast to harbor, or unmanageable even for the ultimate engineer, then, again, the problem lies in your question. It is easy to figure out that God’s animal summons sent Noah juvenile creatures to board the ark. Young creatures are more docile. They do not eat so much, create less waste, have a longer lifespan during which to reproduce. “85% of animals [in the ark] weighed 22.0 pounds or less” the EVERYTHING FITS sign declares, an unnecessary decimal point yielding a patina of scientific precision. Sea, river, and lake creatures were perfectly happy at the vessel’s exterior since some layers of the Flood had salt and some did not. What is more, all those dinosaurs--the oh so many dinosaurs--it turns out they must have been aboard the ark because the deep time of geology and the fossil record is wrong. Dinosaurs board this Encounter’s vessel so that they can die off (will have died off) after landfall, in the years to have come. Fossils do not lie, they are just narrating a story that you might not yet have been told: their presence in stone proves the Flood rather than queries its universality. Fossils are remnants of the animals that did not find safety in Noah’s structure.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">What about unicorns? They are here too, a sign informs us, in the form of the “rhinoceros kind.” This ark is a total system. Its exhibits comprehend geology, meteorology, oceanography, paleontology, natural history, evolutionary biology, the diversity of language, and the origins of all races, all stories, and all myths.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Conversion Machine</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">By now you are likely already to have noticed the number of security cameras the ark’s hull contains. (Quick smile and wave, as one of us learned to do as a child and has been doing ever since). You will have remarked the constant admonitions that you should not touch displays because you are being observed. And maybe, probably, this admonition does not bother. You’ve been to Disneyworld or LACMA or one of the Smithsonians and you know that observation is essential to a comfortable visitor experience and crowd control. Some grass is not to be walked on. And everyone is polite. Please and thank you. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">But Ark Encounter makes no promise that it won’t try to touch you, that it won’t in fact reach out to do so or that, in fact, its entire structure as </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Summa</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">, is a reaching out and into the souls (it hopes) of those who visit. Perhaps </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Noah Interview</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> (2016) film playing in the deck two theater in the Ark’s bow will take you by surprise. This Noah speaks like Tevye from </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fiddler on the Roof</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> (or for some of us reminds of an uncle from New York, the one who insisted he knew where the best bagels were sold). He sports a rounded cap that resembles in an odd way some depictions of the medieval </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">pilleus cornutus</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. We encounter him conversing with his wife Emzara, who insists that he bring a rose bush aboard his nearly finished ark. Because he loves her he agrees. Roses have no use he opines. But Emzara likes them. Use enough that liking. They are the sweetest couple. Just then a journalist and her crew arrive from a nearby city to interview Noah for her fake news tabloid, </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Pits</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. The three members of the news crew are types rather than individuals: the bossy Englishwoman who does not know her place (the journalist plays a role that used to belong to the Mrs. Noah of medieval drama); the uppity non-white who refuses civility and compliance (a man in Maori tattoos who laughs at Noah’s piety--”what you call sin I call freedom” he says angrily); the eyeline-wearing, gender nonconforming artist who will sketch an unflattering portrait of the ship builder. The news crew are incompetent. After all they are the pits. The interview is skewed. Their prejudices may only be confirmed. They are not really interested in Noah recounting who will not be admitted to the ark or his story as to why he builds so encompassing an architecture. In truth, the news crew is only really interrupting more important work: Japheth stops by for instructions; Noah solves a labor dispute between the bronze-worker and iron-worker he’s commissioned to help by providing full employment. Come the end of the interview, he leaves open the possibility that God will enable him to include the news crew or “any that God sends him,” but they scoff and return to the city, intent on disseminating their fake news. The story ends with a peal of thunder that intrudes (but only for a moment) on their complacency. Noah seems sad at this inevitably missed opportunity. “Scoffers gonna scoff” Mrs. Noah consoles. “That’s us,” one of us said to the other. And we felt sad, because though we were aboard we had been placed outside.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Fast forward to a replay of the same story on the next deck up, the film </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">As In the Days of Noah </span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">(2017). Interesting typology this. Same actor plays Noah -- now Noah Zomarsh, Director of Ark Experience, speaking in a gently nondescript American accent. Ezmara becomes his assistant. Same tabloid journalists arrive in Kentucky from New York City. But the emphasis is different. Adah Evoli’s not happy with her reporter’s job at The Pit (</span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Progressive Independent Tabloid</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">) --”it’s not the BBC” she moans as we hear her thoughts on her way into her boss’s office. She’s hoping for an assignment on the French Riviera or to Cabo--but no it’s to Kentucky. And she’s got to drive --with that incompetent film crew. All of the actors are the same, and, at first, they conform to type. Down they drive to the ark. Set up their equipment. Noah Zomarsh orients them to the enterprise and Adah mocks him by saying that he can stop his “sermon” anytime because they are not going to use any of it. “Tell us about the tax breaks” she asks--isn’t this a money maker? But Adah’s a little different this time. “What’s that around your neck?” asks Noah. Adah touches the crucifix she wears. It’s a gift from her grandmother, who was religious. Turns out Noah the caretaker had a grandmother too. Quite some moment this that Noah and Adah are having. “Do you want to know the real explanation for this place,” Noah asks, inviting the film crew inside the ark to experience a new exhibit. The three find themselves in a dark theater where with a few touches on her iPad Emzara that was brings up a 3D hologram, the New Zealand evangelical minister Ray Comfort. He explains at length how the ark functions as salvific enterprise, offering the bad news of sin and the good news of redemption and activating in them a knowledge of their own fallenness and the beginnings of a desire to repent. All three of the film crew are impressed, troubled, moved. Each is touched. Each participates. Recognition if not quite epiphany. They leave the exhibit and exit the ark.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">The film ends with Adah pretending to forget her phone so that she can return to Noah and the ark. Supposing someone wanted to change, she asks, supposing someone wanted to believe, how would she go about it? Noah and Adah share a religious grandmother. Hell, they both have grandmothers. And so now Noah informs her of the wisdom of his own. No longer speaking like Tevye, this Noah is possessed of a winning earnestness, even when he speaks hard truths. He is compelling. He is devout. At this point in their voyage, museum visitors have already been instructed that the door to the ark (marked with an impressive cross, as it turns out) is the door to the church. To seek entrance to the ark is to embrace the community of a Christ who died so that all those errors they might have made (feminine assertiveness among them) may be forgiven. Jesus is the door. So, please enter. And remember, if you do not, you shall drown, and you shall die, for that is the fate of those outside the ark. This is not a “popular” truth, Noah Zomarsh observes, but would it not be worse to withhold this truth (however brutal) and so to admit to your difference? Strange compassion, this comprehension. Stinging kindness, this salvation. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">The key to salvation, then, is to leave New York City, coded as Jewish, coded as Sodom, and travel to Ken Ham’s Kentucky’s Ark (if only in spirit). Conversion becomes an American road trip. The soundtrack to the first film, </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Noah Interview</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">, includes all the melodies that have since the days of Cecil B. DeMille signified Biblical Times; the second is scored with country music. The transformation of Tevye-Noah to Christian Patriarch, of the ark to a church, and the flood to baptism, is a typological maneuver as effective as when deployed by St. Augustine -- but here, it is more airtight. The destiny of the Jew, the dominating woman, the nonwhite who declares (in the first film) “Your sin is my freedom!” and the gender nonconforming is given in advance. This ark has been expecting us all and the path to salvation leads to one door alone. Everyone is welcome. You just have to change your script. You just have to become someone else entirely.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">This is difficult. It is hard not to act out, not to respond to this comprehending structure according to the scripts offered to us: scoffers always have to scoff, don’t they. So, let’s be clear, let’s stay with the please and thank yous. We wish that this ark could have given us a different set of “advantages.” We arrived, we think, open to surprise, open to the possibility for alliance, for affinity, for shared sympathy. But Ark Encounter offers little purchase for such strategic affinities athwart the politics of belief and spectrum. Its synoptic vantage points are all its own, an advantage not to be shared with you (not yet, perhaps not ever). There is no way out of this structure, not from the top. But you can come back in from the bottom as often as you like. Season passes include admission to the Creation Museum, about forty-five minutes away. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">All of these things sting. We happen to like bossy women, recalcitrant Jews, lesbians, gays, bisexuals, queers, transfolk, self-questioners, scientists, naysayers, atheists, noncompliant types of many stripes, grandmothers, religious and otherwise, and all. If the price of admission to the ark is their transformation into performers of Director Noah’s script, we would rather remain outside with them. We observed that there are numerous doves inside the Ark Encounter, in cages and in iconography and in Noah’s hands. There are no ravens. This ark does not reward curiosity, but instead shuts down inquiry by anticipating and silencing all questions in advance. It is an ark too full of ready answers. When openness enters in the form of doubt or waywardness or off-script performances, it does so only to be incorporated into the total system. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">To be honest, we are well aware that this performance of resistance and its overcoming is essential to the Ark Encounter’s machinic operation and that we are wrong to say we were expected. It was more that the positions offered to us existed not to be filled but in order to repeat and confirm the belief of believers. Ark Encounter unfolds as the expression of a faith event that has already occurred so that now it may be repeated as so many exquisitely titrated hits of affect. After all “scoffers gonna scoff,” says Mrs. Noah. That’s what they do, cementing and thereby circumscribing the lines between belief and non-belief, between the saved and the damned. We were not expected. It was more that we were useful, even if we never spoke a word. It’s pure coincidence that we showed up, personed the dummy subject positions presented to us. No one really expects the drowned to be waiting come landfall. It’s nothing personal.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">So, we did not feel comfortable purchasing any merchandise at the shops. We did not eat fudge or drink soda or go the buffet. We most certainly did not buy any “Taking Back the Rainbow” bumper stickers or T-shirts, and to be honest it makes us sad that anyone does. We do not want to take the rainbow back, not while it is in good queer hands.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Children’s Books</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">“</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">This is the most important thing you will see,” said one visitor to another. It hardly seemed so to us as we approached. We thought we were about to enter a play space, probably, some small ark-themed playground or playroom with slides, crawl tubes, maybe reading stations, where children (and parents) who need one might catch a break. All we could see from the outside were the giddily exaggerated cartoon animal heads that topped the entrance to the exhibit. We were not alive to their parody, their predatory foreclosing of play. They looked a bit silly, a bit too cartoonish, but no more so than your usual dollar store toys or mylar balloons. Plus that was happy music being played, wasn’t it? Kind of Disney.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">We were not prepared for what we found inside. And to an extent we are still not prepared for the installation labeled THE FAIRY TALE ARK. The room is bright and lined with every children’s version of Noah’s Ark imaginable: books, toys, puzzles. These colorful items line shelf after shelf, radiant in display, but placed behind glass. This archive is not to be touched. Perhaps it was because we have seen such rooms before at other museums -- here’s the children’s version of a phenomenon, collected and curated. Perhaps it was because the installation includes the various Playmobil models of the ark we have been writing about in our book, subjects them to its own kind of ark-thinking. Perhaps it was because this installation deploys the same tropes that Rob Nixon names </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Slow Violence</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> or that artist Ellen O’Grady performs when she recalls an image of Noah’s Ark from her storybook Sunday School and has a boy named Joel scream “WHERE ARE ALL THE BODIES?”</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> This room is an archive of many of the arks we sailed with and beyond in the opening of our book, the version of the ark we ourselves had once condemned, the one that avoids difficulties and culminates in an attenuated rainbow. This is the ark of salvation … but of animals more than people, of childhood joy and play, rather than later in life severities. All of this is behind glass and you cannot touch it and the purpose of the room is to make you never to desire such an ark again. You are lured into this glassy archive so that the fairy tale can drown ... Noah’s ark was not like that at all, the signage declares. An otherwise blank wall declares in the face of all these joyful boats and shimmering rainbows: “‘AND </span><span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">EVERYONE DIED</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> EXCEPT THE </span><span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">8 PEOPLE IN THE ARK</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">.’ (GENESIS 7.23)” Just below this sign is an empty ark. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">“</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">This is the most important thing you will see.” This is the archive of delusion and disbelief, an archive that must be named like some index of banned or condemned books. These books misdirect your children with errors. And so here are all those books that may not be touched or read. Here they are gathered, stored, and presented to the eye so that you may recognize them and purge them from your shelves. These books misdirect attention. They open the wrong doors. They stand in the way of Jesus as door. They bar the way on to the ark and so to salvation. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">We want to remember a child’s voice whispering to a parent “I don’t like it in here.” And one of us thinks he heard that voice distinctly--though we cannot be sure that that voice was whispered in this room even as that whisper haunts our memory of it. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh6.googleusercontent.com/3BrXLQY5fpZuMO9MnHPKGNV0owkwJG3V3quRcCwNzTKWG_uRgLeEWDMwxoRpRZHM3XScSlWm13Hmb5i_OCMew60tIVkHtAgBd4zMcgkRtpNYIzqqo3A3yTCIwWu4pbCMN9o4CrQP" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Readers Welcome </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">We ended the trip by driving through Williamstown, hoping maybe to find a rainbow flag flying from someone’s door, or maybe just a place to eat, as we had in Frostburg. We did not find either (which is not to say, of course, that they are not there), but we did wander into the Grant County Public Library. We were both bookish children; we recognize a refuge when we see one. As we walked the open stacks we thought about how much Noah would have appreciated the place, since the sections on ANIMALS and ENGINEERING were conveniently located near ORGANIZING TIPS and GARDENING. The library was under construction, the outline of a new edifice framed in steel girders that rose in an arc. In a back room devoted to local history we read about Williamstown’s struggle to come to terms with some difficulty legacies: slavery, a segregated school system, an uncomfortable past that some people wanted to forget. But there it was, documented in shackles, brochures, newspaper clippings. Most of the patrons of the library on this particular day were white, and yet most of the local stories commemorated here are gathered under a banner declaring BLACK HISTORY. This is a permanent installation. Thank god for public libraries.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="468" src="https://lh6.googleusercontent.com/IOYT_66_hDuiPqFBOebC-XuzNb1DcvSvKkVXEU6h_cO48lsM-NcgrihN731s14rnmLQTKXDQhT3JIn5W74-Rw-iDGWTc0VeYsZeNNO2QxwbFbOw1FydSAedfnWbnrgqAwtnZON3E" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">No </span><span style="font-family: "palatino"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Summa</span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> this--more the outpost of an extended, incomplete, and open encyclopedia, the library as a place to wander: there is no set path. Yes there are always problems with which books get included and which do not, but we found Maya Angelou, Karl Marx, Charles Darwin, and Oscar Wilde on the shelves, and we were not looking hard. And the staff are eager to help, eager to give readers and would-be readers all the advantages they can provide. A librarian who offered us assistance could not direct us to books on Noah’s Ark such as we had seen confined at Ark Encounter. The children’s books are ordered simply, alphabetically, on open shelves, at the height of their intended readers. You need to know the author or the title to pluck one immediately from the shelf. But really you are invited to peruse, to encounter all manner of books, so many books, none of which may be comprehended by anything like a book of books. Nobody is going to tell you how to find your story when it is one among very many and the browsing is half the fun. The shelves are crammed.</span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><img height="832" src="https://lh4.googleusercontent.com/ehE6hMGcGH1Z6Bg2hrQFIe8FDwl2OskqZD5pMSOPjrlt8wpjeEQ8pZ5uyma0zN0gM8WiM_UsnFdB7COEhnB5Bz6TkooS6OCR6VkRU_2ZtX1fMXayyAV7cSI7-Ua-ESZhM6Z-DP8P" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="624" /></span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Ark Encounter is brutal. The price of admission not, for us, worth paying. The psychotic / synoptic narrative it presents is not the only story of the ark to be told and neither is that structure nor story inevitable. There are so many others. But we did pay the price of admission, out of our own pockets, not from research funds. And so it is that we end our encounter with this Ark with a donation that plays, in part, as expiation, a donation that represents exactly what we paid for tickets and parking. <a href="https://www.thetrevorproject.org/#sm.0001cq1hhcf71fbrzfa2o4kfh5hqb">We gave this money to The Trevor Project.</a> We encourage those who read this post to do likewise and <a href="https://give.thetrevorproject.org/give/63307/#!/donation/checkout">support the lives of at risk LGBTQ youth</a>. These donations to better futures mark our own, personal, particular, exits through the gift shop. </span></div>
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<span style="font-family: "palatino"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Some rainbows must not be allowed to be taken back.</span></div>
</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-73865333120425196392018-09-05T10:12:00.000-04:002018-09-05T10:47:50.967-04:00CFP: Celebrating Belle da Costa Greene: An Examination of Medievalists of Color within the Field (Saint Louis University)<div class="page" title="Page 1">
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<span style="font-family: "timesnewromanpsmt";"><i>We are very pleased to share this timely CFP (on behalf of Dr. Tarrell Campbell at Saint Louis University). Please circulate widely!</i></span></div>
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<span style="font-family: "timesnewromanpsmt"; font-size: 12pt;"><b>CALL FOR PAPERS</b></span></div>
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><b>“Celebrating Belle da Costa Greene: An Examination of Medievalists of Color within the Field” (</b></span></span><span style="font-family: "timesnewromanpsmt"; font-size: 12pt;"><b>November 30-December 2, 2018, </b></span><b style="font-family: timesnewromanpsmt; font-size: 12pt;">Saint Louis University)</b></div>
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;">The African American Studies Program at Saint Louis University invites paper and panel
proposals for “Celebrating Belle da Costa Greene: An Examination of Medievalists of Color
within the Field,” a conference to be held at the Center for Global Citizenship on the campus of
Saint Louis University in the heart of Midtown Saint Louis, Missouri.
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<span style="font-size: 12pt;">The contemporary state of Medieval Studies is at a crossroads. Will the field remain an open,
safe, and inclusive environment--reflective of its always, already integrated history--or will the
present atmosphere of isolated thinking, white supremacy, and delimited academic freedom
continue to reign? In accordance with those who seek the light, this conference will celebrate the
life and accomplishments of Belle da Costa Greene and will contribute to the developing field of
scholarship centered on the meaning of the “medieval” and “Middle Ages” as relates
increasingly interdisciplinary and cross-regional conceptions of the premodern world. More
specifically, the conference represents an opportunity to focus on those aspects of the “medieval”
and “Middle Ages” specifically of interest to Medievalists of Color and in alignment with the life
of Greene. Greene was a black woman who had to pass as white in order to gain entrance and
acceptance into the racially fraught professional landscape of early twentieth-century New York.
She was a prominent art historian and the first manuscript librarian of the Pierpont Morgan
collection. She was also the first known person of color and second woman to be elected a
Fellow of the Medieval Academy of America (1939). According to the Morgan Library &
Museum website, "Greene was barely twenty when Morgan hired her, yet her intelligence,
passion, and self-confidence eclipsed her relative inexperience, [and] she managed to help build
one of America's greatest private libraries." Her legacy highlights the professional difficulties
faced by Medievalists of Color, the personal sacrifices they make in order to belong to the field,
and their extraordinary contributions to Medieval Studies.
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<span style="font-size: 12pt;">This conference invites researchers to consider any aspect of the field as regards the life of Belle
da Costa Greene; moreover, this conference invites scholarly perspectives of the “</span><span style="font-family: "timesnewromanps"; font-size: 12.000000pt; font-style: italic;">Other</span><span style="font-family: "gautami"; font-size: 12.000000pt;"> </span><span style="font-size: 12pt;">Middle
Ages” by presenting research and resources that address the connectivity and mobility of the
globe c. 500-1600 CE, particularly as relates the movements of racialized and othered bodies.
Even more, the conference invites researchers who focus on new and novel ways of employing
medieval historiographical, bibliographical, cosmological, etc. conceptions for contemporary
analyses and explorations of human endeavors. What work (and violence) does the idea of “the
Middle Ages” do in our scholarship, and what do we gain from a shared or comparative notion of </span><span style="font-size: 12pt;">the medieval? What do we lose when the field acts in a parochial manner, closing itself off and
ostracizing scholars of color as Others. Papers and presentations will aim to contribute to a more
inclusive view of the premodern world that de-centers European interpretations of the Middle
Ages and recognizes dynamic globalisms and transient contemporary times.</span></span><br />
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;">Please include the title of proposed paper or panel and an abstract of about 500 words outlining
how the paper or panel will fit with the conference theme. Be sure to include five keywords
associated with the paper or the panel, name, title, position, affiliated institution, and a short
biographical statement (40-50 words each) for all authors involved.
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<span style="font-size: 12pt;">Faculty and graduate students are also welcome to apply to deliver a lightning talk +
complementary paper and/or a primary source-based research presentation. Abstracts should be
no longer than 300 words.</span></span><br />
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<span style="font-size: 12pt;"><b>Lightning Talks
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<span style="font-size: 12pt;">The conference will hold two panels of lightning talks (8 minutes each) based on short,
pre-circulated papers (approx. 4 pages) summarizing current work on globalized conceptions of
and connections within the medieval world. Lightning talks will engage field- or region-specific
conceptualizations of “the medieval/Middle Ages.”
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<span style="font-size: 12pt;">Roundtable discussions with respondents will follow. </span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;"><b>Primary Source-based Research Presentations
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Submissions will also be accepted for 15- to 18-minute research presentations, each focused on a
particular medieval primary source (text, image, object, etc.) that is useful for thinking in
comparative or global perspectives. The source (an image or a selection from the source) should
be pre-circulated to attendees.
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Each talk will be followed by a moderated discussion.
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">All presenters are asked to submit a brief bibliography (5-10 entries) on resources related to their
lightning talks or research presentations. After the symposium, these bibliographies will be
curated and will contribute to the development of a canon of literatures on the global Middle
Ages made always available to conference participants and attendees.*
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-family: "timesnewromanps"; font-size: 12.000000pt; font-style: italic;">Nota bene</span><span style="font-family: "gautami"; font-size: 12.000000pt;"> </span><span style="font-size: 12pt;">: The submission of a paper and/or panel proposal must be on the understanding that if
the proposal is accepted, then the author (or authors) will register for and attend the conference.
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span></span></div>
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<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;">The costs of attending the conference, including registration fees, travel, accommodation and
other expenses, are the responsibility of the presenter(s) or their institutions.
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;"><b>Deadline: September 28, 2018
</b></span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;"><b>How to Apply:
</b></span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Applications should be submitted in PDF form to conference organizer Tarrell R. Campbell
(</span><span style="color: #1155cc; font-size: 12pt;">tarrell.campbell@slu.edu</span><span style="font-size: 12pt;">) by September 28, 2018. Those
submitting paper, panel, lightning talks, and primary source presentations should prepare
separate abstracts, respectively. Please include the following information:
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Name:<br />
Affiliation:<br />
Faculty/Graduate Student/Independent Scholar:<br />
Field:<br />
Regional Specialization:<br />
Proposed Format (Paper/Panel/Lightning Talk/Primary Source Presentation):
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Abstracts of no longer than 500 words.<br /><br />
</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;">Notifications of acceptance will be made by no later than October 15, 2018.
</span></span></div>
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</div>
</div>
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">***Interested in helping to organize the conference or conducting a workshop?***</span></span><br />
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;"><span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">Contact </span><span style="font-family: "gautami"; font-size: 12pt;"> </span><span style="color: #1155cc; font-size: 12pt;">tarrell.campbell@slu.edu</span><span style="color: #1155cc; font-family: "gautami"; font-size: 12pt;"> </span><span style="font-size: 12pt;">for more information.</span></span></div>
</div>
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</div>
</div>
<span style="font-family: "timesnewromanpsmt"; font-size: 12.000000pt;">
</span></div>
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Jonathan Hsyhttp://www.blogger.com/profile/13214201468052661183noreply@blogger.com0tag:blogger.com,1999:blog-21165575.post-39796354852981044442018-08-17T09:46:00.001-04:002018-08-17T09:46:06.227-04:00CFP: Paradise on Fire, UC Davis, June 2019<span style="font-family: inherit;">by J J Cohen</span><br />
<span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;"><span data-offset-key="44sfa-0-0">So who would *not* want to submit an inventive panel for a convivial conference that features four amazing women speakers as its plenarists, three of whom are scholar/artists of color? Add to that a timely topic and a welcoming atmosphere and you have "Paradise on Fire" at UC Davis in June 2019, the Biennial Conference of the Association for the Study of Literature and the Environment (of which </span><span blockkey="44sfa" class="_247o" contentstate="k { "entityMap": undefined, "blockMap": OrderedMap { "44sfa": a { "key": "44sfa", "type": "unstyled", "text": "So who would *not* want to submit an inventive panel for a convivial conference that features four amazing women speakers as its plenarists, three of whom are scholar/artists of color? 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Full details linked below (very easy submission process). 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<span data-offset-key="1gbi3-0-0"><span style="font-family: inherit;">The panel can be as creative as you'd like, fully formed or seeking companions. Full details linked below (very easy submission process). PLEASE SHARE. </span></span><span style="font-family: inherit;">Plenary addresses will be given by Ursula Heise, Cherríe Moraga, Melissa K. Nelson, and Nnedi Okorafor (!!!!!!). </span></div>
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<span data-offset-key="4svt8-0-0"><span style="font-family: inherit;">Special shout out to medievalists and early modernists who study race and postcolonialiasm in the CFP as well. We are looking for capacious work that moves shared conversation forward.</span></span></div>
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<span data-offset-key="5rlio-0-0"><span style="font-family: inherit;">"Paradise does not exist, and yet that never seems to stop people from finding it, or building it, or dreaming its contours – often to the detriment of humans and nonhumans on the wrong side of its walls. Margaret Atwood’s MaddAddam trilogy imagines a walled city with a climate-controlled dome called Paradice where genetic engineers create new forms of life, a bubble breached by human violence and climate catastrophe. In the sixteenth century Garci Rodríguez de Montalvo imagined a place called “California,” an island ruled by a dark skinned Amazonian queen with an Arabic name, Califia (Las Sergas de Esplandián). California was affixed to our maps by conquistadors, eager readers of Montalvo who believed the Earthly Paradise to be nearby. The price of its establishment was the genocide of the land’s indigenous populations. The Greek word for Eden is “Paradise,” a walled garden that bars entrance to most. Yet as Octavia Butler’s dystopian vision of California on fire has shown, walls seldom lead to lasting safety and cannot exclude a turbulent world for long (The Parable of the Sower). If as Rebecca Solnit contends, “paradise arises in hell,” when democratic communities are built from the ground up during times of disaster that leave us “free to live and act another way,” what might life in catastrophic times entail for the environmental humanities? How should we write, teach, protest, live, and act during this era when “paradise” is on fire, figuratively and literally?"</span></span></div>
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<span data-offset-key="ctgdn-0-0"><span style="font-family: inherit;">Full CFP <a href="https://www.asle.org/conference/biennial-conference/">here</a>; deadline is SEPT. 1. Get writing! </span></span></div>
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<span data-offset-key="ctgdn-0-0"><span style="font-family: inherit;"><a href="https://www.asle.org/conference/biennial-conference/">https://www.asle.org/conference/biennial-conference/</a></span></span></div>
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