Showing posts with label teaching. Show all posts
Showing posts with label teaching. Show all posts

Tuesday, November 07, 2017

Teaching the Canterbury Tales with online manuscripts/incunabula: a quick intro

by KARL STEEL

This semester is my first time teaching the Canterbury Tales to doctoral students. To rise to their level, I decided manuscripts would be a big part of my teaching: after all, as digitization is much advanced since I myself was getting a PhD [mumble] years ago, manuscripts can, and probably should, now be a key focus to medievalist graduate training anywhere, even in the hinterlands of Manhattan.

Apart from the expected Ellesmere and Hengwrt manuscripts, and the useful tools at the Norman Blake Editions of several key CT manuscripts and, as well, Manly and Rickert, here's what's undoubtedly a partial list of fully digitized Canterbury Tales manuscripts, or, at least, the ones I've found easiest to navigate:
British Library, Harley ms 1758.
British Library, Harley ms. 7334.
Cambridge Trinity R.3.3.
Cambridge Trinity R.3.15.
Caxton 1476 and 1483 printings.
Codex Bodmer 48.
Oxford, Bodleian, Christ Church ms. 152.
Oxford, Bodleian Douce 218 (Richard Pynson printing, 1491-92).
Oxford, Corpus Christi College ms 198.
Yale, Beinecke Library, Takamiya ms 24 (the 'Devonshire Chaucer').
Yale, Beinecke Library, Takamiya ms 32 (the 'Delamare Chaucer')
If you're reading this, I trust you're already familiar with manuscript variance with the Cook's Tale or the variously omitted stanzas from the Envoy to the Clerk's Tale (or the omission of the Envoy altogether). I trust you'll want less famous examples, maybe to help you through this term, or to get you started on the next.

What varies most, perhaps, is the manuscript apparatus, like section headings and divisions, which give us a sense of how this work might have been read and sorted. For example:

Bodleian, Christ Church MS 152 26v

This is the Knight's Tale. How do the pieces fit together? Where the Riverside has "Explicit secunda pars / Sequitur pars tertia," and where Hengwrt 25v has "Explicit prima pars / Incipit pars secunda," Christ Church 152, 26v, has "the ordinaunce of lystys that thesyus ordaynyd" [corrected]. Does the Knight's Tale comprise abstract parts of equal weight, or is it a sequence of events? If so, whose doings are worthy of "ordaining" the divisions of the plot?

Or here's the Reeve's Prologue in Corpus Christi College ms 198, 54v:

Corpus Christi College ms 198, 54v

Our medieval scribe has started the tale at the prologue itself ("Explicit fabula molendmain [the Miller] / here bygynneþ þe Reeues tale" -- note the mixture of Latin (Explicit) and English (bygynneþ)); an early modern reader intervenes, and writes "Prologue" in the margins. Are they comparing manuscripts? Or is it a sign of an independent interpretation?

When does the Wife of Bath's Tale start?

Harley 7334 89r, with a red "Narrat" in the margin.
In at least one case, in Harley 7334 89r, her tale - or one of them anyway - begins after the Pardoner interrupts her, where we have a red "Narrat" in the margin. Here, then, the Wife's prologue is split between a prologue, where she does scriptural interpretation, and a tale, where she finally begins to tell us something of her "experience."

Most interesting to me, however, is what the manuscripts call what the Friar does at the end of the Wife's Prologue, or first Tale, or whatever else it might be called. Here's my (crowded) slide:



Is it just "words between" the Friar and Summoner? It is an "interpretation" of the Wife's tale? An "interruption"? Or is it just a neutral ending of the Wife's prologue, and the words of the Friar, following neatly? It depends! And a lot depends on it.

As we all know, in their capacity for nuanced forms of emphasis, manuscripts are closer than print is to speech. We on the other side of Gutenberg have generally lost rubrication, marginalia too, or underlining, manicules, and slight enlargements, like so, from the Friar's Tale:

Codex Bodmer 48 91r
Should the carter be taken down to hell? "Nay q[uo]d þe deuel," he absolutely should not.

Finally, a bit on early modern readers of Chaucer. Griselda's story is a marriage story, after a fashion, which perhaps helped suit this blank space for an early modern family record:

Harley 1758 126v
The Fox children crowd in over the course of the sixteenth century, here and on the next page, before the Franklin's Tale -- not the Merchant's -- begins.

And this, a record of what one early modern reader cared most about:

Cambridge Trinity R.3.3 38r
Cambridge Trinity R.3.3 38r gives us an early modern reader who, like many of us, is curious about the rest of the Squire's Tale. They've clearly "sought in diuers places" for the "the reaste" but found nothing except the final two lines about Apollo, just like you have in your Riverside.

More interesting is what doesn't get changed: in red, "The Prologue to the Merchaunt." Turn the page, and we have the words of the Franklin to the Squire, but here assigned to the Merchant, and then the Merchant's Tale ("Whilom there was dwelling in Lombardy / A worthy knight"). No correction. No indication of difference, despite our reader likely having encountered the Franklin and his tale in these passages as they hunted in diverse places. Here at least is one reader who wasn't bothered by variance in Tale order. If you're having your students read Arthur Bahr, this is as good illustration as any of ways to think the Canterbury Tales as other than "fragments."

Tuesday, April 04, 2017

Workshop on Whiteness in Medieval Studies at #Kzoo2017

by JONATHAN HSY


Opening page of the website for the workshop on "Whiteness in Medieval Studies" to be held at ICMS in Kalamazoo 2017 (click through to the website for full info). Photo of a painted wooden sculpture of Caspar (according to tradition, the black African king of the Three Kings/Magi) from an Adoration Group made in Swabia before the year 1489. New York City, Cloisters Collection, Accession #52.83.2; more info about this artifact at this page from the Met Museum site.

Announcing an important workshop on "Whiteness in Medieval Studies" at the International Medieval Congress at Kalamazoo! It will take place on Saturday, May 13, starting at 5:45pm in Fetzer 1045. For full information including links to the readings in advance of the workshop, visit the event websiteEVERYONE IS WELCOME!

Thanks to the fellowship of Medievalists of Color and the Society for Medieval Feminist Scholarship for making this event happen.

For previous postings about this workshop at ITM, see here and here. If you're a person of color (racial minority) in the field of medieval studies and would like to be added to the Medievalists of Color listserv, please contact the current administrator Jonathan Hsy: jhsy [at] gwu [dot] edu. 

Thursday, December 03, 2015

#InclusiveSyllabus: Tips For/From Premodernists

by JONATHAN HSY


A brief posting for academics who are thinking ahead to the next semester:

Earlier this week, Aimée Morrison and Erin Wunker (two of the co-founders and editors of the excellent blog Hook & Eye) launched an important conversation about how to incorporate a wide range of perspectives and backgrounds into any new course. Wunker proposed using the #InclusiveSyllabus hashtag to carry these discussions over to twitter.

One big challenge that medievalists (and scholars in other historically distant fields) can face is this: how do you craft an inclusive syllabus if the discipline, era, genre, topic, or field is dominated by (dead) white men? You can check out this archived #InclusiveSyllabus convo for more tips (I'll be updating it periodically as the conversation continues).

[UPDATED DECEMBER 4, 2015]

In case you're not on twitter or don't want to scroll through the tweets, I offered ten ideas with reference to teaching pre-1500 British literature (but much of these ideas apply to other fields too):

1. In each course, include least two female authors. One woman can't represent an entire gender, and it's useful for students to access to varied modes of (gendered) writing.

2. Put texts in conversation, but not necessarily by obvious "identity category." For instance, a Kempe/Mandeville juxtaposition can reveal new insights into travel writing; a Kempe/Malory pairing might consider romance conventions.

3. Even if you can't avoid a "white male" syllabus, you can still include varied scholarly perspectives: women, people of color, non-Anglo perspectives, etc.

4. Use multiple translations or editions of a work to frame varied responses to a text (works by women and men, different media, forms, generations of scholarship).

5. Find "diversity" and inclusion even within a "white male" canon. Thinking about queerness or disability, for instance, can reveal nuanced facets of authorial identity.

6. Use the anonymity of many premodern texts to question classed/gendered assumptions about authorship.

7. Premodern literary cultures are inherently collaborative; scribes, authors, readers, and translators can all be active "players" in interpretation.

8. Even a "male only" syllabus can still stress role of women as patrons, readers, audience, and scholars who shape meaning and context.

9. Present texts in multiple forms (various print editions, different kinds of media, visual art or other adaptations) to show varied modes of accessing a work or tradition.

10. Lead with and integrate women and varied perspectives throughout the syllabus, rather than grouping "diverse" perspectives at the end of the term or within special segment of the term.

Thursday, September 17, 2015

Beowulf Trump and Lady Fiorina: GOP Debates and Medieval Rhetoric

by JONATHAN HSY


[Split-screen screenshot from the livestream of last night’s GOP debate: on the left, real estate mogul and zillionaire Donald Trump; on the right, former Hewlett-Packard CEO Carly Fiorina.]

I spent last night grading Chaucer translations and poetry assignments while the GOP debate played in the background. As someone who teaches in Washington, DC, I find it’s always interesting to “tune in” whenever election season rolls around—political debates invariably provide timely and topical ways to think about present-day issues of gender, performance, and the arts of rhetoric (all of which are key themes in many of my literature classes).

Donald Trump’s prominence in the field of GOP candidates has driven much of the mainstream media coverage of this election cycle, and last night The Donald didn’t disappoint.

A few weeks ago, Bruce Holsinger's brilliant #BeowulfTrump tweets (archived here by Shyama Rajendran) enacted a witty parody of The Donald’s rhetoric by imagining Trump in the role of the hero of an Anglo-Saxon epic. For more insights regarding masculine posturing and bombast, read this interview with Holsinger in The Washington Post (this meme has also taken the form of a stand-alone @BeowulfTrump twitter account). For an excellent analysis (from earlier this summer) of Trump’s performance habits that connects Trumpian rhetoric to Classical epics, check out Jeet Heer’s piece in New Republic.

There is a lot to say about how the inclusion of Carly Fiorina—i.e., the first appearance of a woman in a primetime GOP debate this cycle—transformed the discourse. The Washington Post (for instance) quickly declared Fiorina the “winner” of the debate (and Vox justifiably praised her “mic-drop response” to Trump’s misogyny), so on many accounts she more than held her own. What intrigues me most this morning, though, is Fiorina’s response when all the candidates were invited to close the debate by offering their vision of America. Fiorina waxed poetic in a weirdly ekphrastic (and all-female) personification allegory (I cite the partial transcript here):

I think what this nation can be an must be can be symbolized by Lady Liberty and Lady Justice. Lady Liberty stands tall and strong. She is clear eyed and resolute. She doesn't shield her eyes from the realities of the world, but she faces outward into the world nevertheless as we always must, and she holds her torch high. Because she knows she is a beacon of hope in a very troubled world. And Lady Justice. Lady Justice holds a sword by her side because she is a fighter, a warrior for the values and the principles that have made this nation great. She holds a scale in her other hand, and with that scale she says all of us are equal in the eyes of God. 
And so all of us must be equal in the eyes of the government, powerful and powerless alike. And she wears a blindfold. And with that blindfold she is saying to us us that it must be true, it can be true, that in this country in this century it doesn't matter how you are, it doesn't matter who you are, it doesn't matter what you look like, it doesn't matter how you start, and it doesn't matter your circumstances. Here in this nation, every American's life must be filled with the possibilities that come from their God given gifts, one nation, under God, indivisible, with liberty and justice for all.

Fiorina’s rhetoric invites many questions:

  • What’s up with this allegorical interpretation of the iconic blindfold of Lady Justice?
  • Might Fiorina’s status as the only woman at this debate shape her rhetorical choices?
  • Can the Bechdel Test (or Bechdel-Wallace Test) apply to personification allegory?
  • How might this vision of America differ if it invoked Lady Fortune or Lady Philosophy?

I'm sure ITM readers will discern many other uncanny affinities between contemporary political discourse and medieval rhetorical traditions. I'll be curious to find out what other gems this election cycle will offer.

Monday, September 07, 2015

Medievalists and the Global Refugee Crisis

by JONATHAN HSY

[UPDATED September 8 with more links! Scroll to the end of this post.]

This entry falls somewhere between a compilation of links/resources and a proper essay. In this blog posting, I wanted to reflect a bit on the global refugee crisis that's currently in the news and consider how (or if) medievalists might respond to what's happening in Europe and elsewhere.


Part I: Medievalists on Twitter




[Images from my twitter feed yesterday (September 6), including premodern iconography of the biblical Flight into Egypt.]

The image above is a screenshot from my mobile device yesterday morning—and it happens to provide a sample of different ways medievalists (premodern academics) are engaging with media coverage of the plight of refugees in Europe and other places around the globe:
  • The Refugee Tales Walk is a collective effort by activists and storytellers to showcase the stories of refugees indefinitely detained in the UK; taking its cue from Chaucer's Canterbury Tales, the project tells stories of lives in transit. Note this brief blurb on the Global Chaucers blog; you can also follow "Refugee Tales" on Facebook or on twitter.
  • Kees Teszelszky, historian of early modern Dutch-Ottoman-Hungarian relations, chimed in on the plight of refugees by tweeting depictions of the biblical Flight into Egypt (Mary, Joseph, and infant Jesus on horseback) from 16th-century sculpture and stained glass; another tweet suggests the recursive history of refugees in transit through Hungary in particular. [Medievalists.net also linked to an article about medieval refugees fleeing Hungary during Mongol invasions.]

Popular media (especially social media) has deployed the adjective “medieval” to varied ends: sometimes the term targets refugees themselves, but other times refers to the perceived mentalities of governments (European as well as Middle Eastern) in response to this crisis [I won't link to particular examples here, but a quick search for "medieval" and "refugee crisis" certainly brings up examples].

In mainstream news media, people of varied religious backgrounds are discussing the ethics of refugee welcome, including

Historical context: In an earlier conversation on twitter (after the mass murders in the Emanuel African Methodist Episcopal Church in Charleston, SC, and subsequent news coverage of an online racist screed attributed to the shooter), Karl Steel stated that we as medievalists must be prepared to disrupt racists’ idea of "Europe." As indicated in the article about nativism and xenophobia linked above, the refugee situation has laid bare political anxieties over a "Muslim takeover" of Europe, and related fantasies of a white, Christian nation can become the implicit or overt basis for excluding refugees from over land or sea—and not only in Europe but also across the so-called “Global North” of industrialized countries (e.g., Australia, Canada, New Zealand, United States).


Part II: Discomforts of Analogy



[Top half of image: The opening to The Man of Law's Tale (illus. Edward Burne-Jones) in The Kelmscott Chaucer (William Morris, 1896) depicts Constance set adrift on a rudderless ship. 
Bottom half of image: In the opening scene of the 2003 BBC adaptation of The Man of Law's Tale (written by Olivia Hetreed, directed by Julian Jarrold), Constance is a Nigerian refugee.]

In addition to addressing a broader historical view of "Europe" and its meanings over time, how might medievalists think more carefully about analogies made between the lives of medieval people and refugees today?
  • The Refugee Tales Walk (mentioned in Part I) provocatively invites people to contemplate similarities between the plight of present-day refugees and experiences of medieval travelers, with a clear ethical and political objective: building compassion and solidarity with displaced peoples and using art and storytelling to combat prejudice.
  • In a blog post from over a year ago, Steve Mentz reflected on Caroline Bergvall's book Drift (2014), a work that juxtaposes the Anglo-Saxon elegy "The Seafarer" with the story of a boat of Algerian refugees that was seen—but not rescued—by NATO vessels in March 2011.
  • Chaucer's The Man of Law's Tale tells the story of Constance, a tempest-tossed and much-imperiled protagonist. Her story begins in Rome, but her subsequent transit to (Muslim) Syria and (pagan but Christianizing) Britain—with many travails and dangers in between—have invited comparisons between this story and refugee experiences in the present. In a 2003 adaptation of The Canterbury Tales for the BBC, six tales were set in modern multiethnic Britain. The Man of Law's Tale (written by Olivia Hetreed and directed by Julian Jarrold) casts Constance as Nigerian refugee who mysteriously washes ashore in northern Britain—and the story goes on to consider modern-day complications of race, trauma, religious community, and cultural assimilation. This adaptation is complete with a scheming mother-in-law figure and courtroom drama scene (all present in Chaucer's original), and I've found this attentive adaptation useful when teaching my medieval literature classes. [For more about this production, see Susan Yager's 2007 article; I also address some linguistic aspects of this adaptation in a 2014 essay collection.]
I'll end this post by referring, in a roundabout way, to my own discussion of medieval Constance narratives (Chaucer's rendition as well as analogues by Boccaccio, Gower, and Trivet) in my book Trading Tongues (2013). The focus of my analysis on that book was on perpetual disorientation of the protagonist and she moves across space and language. Earlier this year, Pamela Troyer reviewed my book in the Rocky Mountain Review, and I was intrigued by her account of how she brought my chapter into her classroom. I quote these paragraphs here not because of what Troyer says about my book itself but what rather for her attentive reflections on the varied perspectives and life experiences of students from recent immigrant backgrounds:
After reading Trading Tongues, I experimented with Hsy's ideas in a required course I teach that includes readings from Canterbury Tales. The class had students majoring in literary studies, secondary or elementary education, and creative writing. Three of them were bilingual and most of them from area public schools, which are now multilingual communities; the Denver Public Schools posts its "top languages spoken" as Spanish, Vietnamese, Arabic, Somali, Amharic, Nepali, and Russian. Since we only spend six weeks on Chaucer's works, I have never assigned the Man of Law's Tale, but after reading Hsy's treatment of the Custance story [...] I wondered if the students might identify with her traumatic experience of geographical and linguistic displacement. [...]
I fully expected the class to be perplexed and stymied by the strange elements of the story and by Custance's impossible travel trajectory—the story is so medieval!—but a surprising number of the students related to her vulnerability and powerlessness. They saw her as a recognizable victim of racial violence, religious persecution, and sexual harassment, bartered by "pimps" or "slave traders." A student whose parents immigrated from Guatemala wrote with unexpected clarity that Custance "is just like many women in the world today, a social outcast with no access to justice except the fantasy of God's grace." My students found Custance's peripatetic suffering plausible and accessible. What they found "medieval" and unrealistic was the conclusion of the story: Custance survives her travails (the French root of travel) without having been raped or beaten and without losing her healthy child to kidnappers or death. Unrealistically she is reunited with her people in material comfort in her homeland. One first-generation American summarized it as "typical immigrant wishful thinking." (Troyer 98)

Troyer's discussion tantalizingly ends there, and there's much more about this classroom experience that could be explored. How does an affective response to a seemingly alien medieval world change how one thinks about (im)migraiton, desire, hope, nostalgia, life trajectories? I'll just end this posting by asking few questions. What are the ethical investments of medievalists in this current humanitarian crisis (or any crisis, for that matter)? How (or should) we address urgent present-day concerns in our scholarship, in our classrooms, online, or in the streets?

UPDATES [September 8]:

Saturday, January 03, 2015

Scale of Catastrophe: Draft Syllabus

click to enlarge
by J J Cohen
[read Karl first!]

I announced it here a year ago (and check out the drowned world pic from the Holkham Bible I used to illustrate the post): beginning later this month I will be teaching a seminar at the Folger Shakespeare Library on The Scale of Catastrophe: Ecology and Transition, Medieval to Early Modern. I'm very much looking forward to working with so many materials outside my scholarly comfort zone, and participants from across the US who have far more knowledge of much of the early modern archive than I possess.

Here's the draft of my syllabus, aided immensely through crowdsourcing some discussion of course texts via Facebook and Twitter. A heartfelt thank you to everyone who offered suggestions. At this point I've cut about 50% from what I had crammed onto the original: we have only so much time, and it is going to take some marathoning to get through what's here already. I'm very happy to hear suggestions for augmenting the course biography (primary as well as secondary sources) -- and if anyone want to point out that a work I've chosen is not going to work as well as I am anticipating, please let me know. I'd also really love to have advice on specific editions of Raleigh and Heywood to use (or avoid). To download the draft syllabus as a nice PDF, click here.

The Scale of Catastrophe: Ecology and Transition, Medieval to Early Modern
Medieval and early modern texts imagined the world as intercatastrophic: precariously flourishing between a Flood that only Noah and his family had survived and a fiery apocalypse to come, the purging of the mortal world. Although the Deluge was in the distant past, divinely promised never again to arrive, medieval and early modern writers share a vocabulary for transition in which both fire and flood are invoked to mark historical breaks and anxious moments of transition. This seminar will pair medieval texts fascinated by survival in the face of cataclysm with early modern texts that carry the stories they offer into new realms. Participants will investigate how the scale of catastrophe is narrated, where scale is size (local, global, cosmic) and structure, a ladder [scala] that arranges nature into hierarchy. We will consider the gender of catastrophe, mapping whether women tell different stories against and within catastrophe from men, and contemplate the frequent linking of disaster narratives to stories of race. The schedule of readings frequently pairs medieval texts with early modern ones that reinterpret them. Participants are expected to bring their own research to discussion and assist in the creation of a course archive. The seminar meets Thursdays 1–4:30 p.m., 29 January through 23 April 2015, excluding 12 March, 2 April, and 9 April. Participants are asked to attend the GW MEMSI symposium "Transition, Scale and Catastrophe" on Friday March 20 in lieu of the Thursday March 19 seminar meeting.

January 29
Promise/Threat

Genesis chapters 1-25 in the Douay-Rheims or King James translation (both if you have the time; the Latin Vulgate as well if you have the skill)
Holinshed’s Chronicles: Britain and the Flood (“of Noah & his three sonnes”):
Laurie Shannon, Accommodated Animal chapter 1 (“The Law’s First Subjects”)

February 5
Fire/Water

Beowulf (in Old English if you can; otherwise Seamus Heaney’s postcolonial Irish translation, including his foreword)
The Londoners Lamentation” (on the Great Fire)
Greg Garrard, Ecocriticism (pay special attention to chapter on “Apocalypse”)

February 12
Between Deluge and Deluge

Chester play of Noah’s Flood
Chaucer, “Miller’s Tale” “Franklin’s Tale”
“True report of certaine wonderfull overflowings of waters, now lately in Summerset-shire, Norfolke, and other places of England” (disaster pamphlet)
Albrecht Dürer, “Dream Vision” [of deluge]
Rob Nixon, Slow Violence and the Environmentalism of the Poor (Introduction, chapters 1, 4, 6, Epilogue)
Sharon O’Dair, “Slow Shakespeare: An Eco-Critique of ‘Method’”

February 19
Foundation or Apocalypse

Geoffrey of Monmouth, History of the Kings of Britain
Des Grantz Geanz and De origine gigantum
Karl Steel, “Woofing and Weeping with Animals in the Last Days” postmedieval 1 (2010):187-93
Anne F. Harris and Karen Eileen Overbey on Lush Ethics (“Field Change / Discipline Change”)

February 26
Not Sustainable

William Camden, Britannia (“Author to Reader” “Britaine” “The Name of Britaine” ‘The Downe-Falle or Destruction of Britain” “The English Saxons” “The Danes” “The Normans” “The British Ocean”)
William Shakespeare, Cymbeline
From PMLA 127.3 (2012): Eleanor Johnson, “The Poetics of Waste: Medieval English Ecocriticism,” Tobias Menely, “The Present Obfuscation”: Cowper’s Task and the Time of Climate Change, “Sustainability” cluster short essays by Stacy Alaimo, Dan Brayton, Stephanie LeMenager and Stephanie Foote, Steve Mentz

March 5
Rough Seas / Bookwreck

William Shakespeare, King Lear
Lear story and its aftermath in Holinshed
Peregrine Horden and Nicholas Purcell, The Corrupting Sea chapter 8 (environmental history without catastrophe)
Steve Mentz, At the Bottom of Shakespeare’s Ocean

Friday March 20
Symposium on "Transition, Scale and Catastrophe" @ GW


March 26
Material Elseheres

John Mandeville, Travels
Walter Raleigh, Discovery of Guyana
Serenella Iovino and Serpil Oppermann, “Stories Come to Matter” (Material Ecocriticism)
Stacy Alaimo, Bodily Natures chapter 1 and 4
Drew Daniel, The Melancholy Assemblage, “Introduction”

April 16
To Weather

Thomas Dekker, The Wonderful Year
John Heywood, The Play of the Weather
Lowell Duckert, “When It Rains” (Material Ecocriticism) and “Maroon” (Prismatic Ecology)
Tim Ingold, Being Alive: “Earth and Sky,” “The Shape of the Earth,” “Earth, Sky, Wind and Weather,” “Landscape or Weather-World?”

April 23
Presentations. Retrospect. Prospect



Friday, September 26, 2014

Teaching the Prioress, again: Shock, Awe, and Innocence

by KARL STEEL

Obviously, read Jonathan Hsy first, below, before you read me. His stuff on Vikings is great. And do your darndest to get your paws on Inhuman Nature!

Now, my post.

I've just commented, with some befuddlement, on two classes of short papers on the Prioress's Tale. I had introduced the Tale with, yes, a Trigger Warning that went something like this: "As this is a class on race and racism focused on medieval texts, many of the readings will, or at least should, horrify you. Chaucer's Prioress's Tale is one of them. It's antisemitic. For the last 50 years or so, the main debate has been whether Chaucer or the Prioress is to blame for its antisemitism. But there's no way around it: it's awful."

Despite all that, about half the papers said something like "I think this story is antisemitic," "it seems unfair to Jews," "it seems to be trying to say Christians are good and Jews are evil," "it tells us that antisemitism is really old," or, the variant, "the antisemitism in the Prioress's Tale is still around today."

I warned them, but they're still shocked. I'm befuddled but I'm also delighted, because the tale really is that horrible.

I've tried to push them towards more direct, more specific engagement, not only with the tale's antisemitism, but also with the anxieties, concerns, and assumptions that antisemitism requires to have any force at all. When a student says "this shows that medieval Christians were antisemitic," I, of course, say "the earliest written account of this kind of tale is the 1170s; they're confined to northern Europe; so we have to get more specific"; but when a student just condemns the tale's antisemitism in the broadest possible terms and walks away, then I have to lean on their good conscience. At the least, I have to teach them to close read. My main questions:
  • What's the relationship between ignorance and holiness? In other versions of the tale, the boy's 10 years old; here he's 7, just before the age of responsibility, killed before he learns how to read. The nun herself wants to become like a child of 12 months old, unable to speak even. The Prioress herself snarks at the monk, and even the 'holy abbot' in the tale is, in a way, the one to kill the boy. And what does this suggest about the way that 'simplicity' and 'goodness' tend to be equated? Is there something sinister about this?
  • Similarly, why do you assume that the Prioress's intense feeling for the Virgin has to be faked? Why do you assume that simplicity and simple expression are more authentic than fancy talk?
  • The central myth of Christianity is a martyred god who resurrects. This is the story Christianity needs to tell. While the tale blames the Jews, sort of, for killing the boy, Christianity, especially medieval Christianity, needs martyrs. The tale itself, I'll remind you, is an antisemitic fiction. So, who killed the boy? Not the Jews. The tale did. And why was the tale told? Christianity. Or to get a free dinner. One or both of these, I'd argue, is what actually killed the little boy. Think of the way that detective shows chase after killers, but need to kill women, especially women, to start the story...
  • The tale blames Satan for inspiring the Jews to murder; or it thinks Satan makes his nest in Jews' hearts. Are the Jews responsible or not? Unlike other versions of the tale, the Jews don't murder the child out of a sense of religious duty. The Prioress's Tale isn't a Ritual Murder case, but rather a random, unthinking act of violence. Also: the tale has a pure little boy who -- as a sign of his pureness -- sings a song he barely understands and who tends towards intellectual neoteny. The Jews do what they do because they have to; the boy does what he does without understanding. They're both machines, objects not agents, the one evil, the other good. Why does Chaucer strip agency from both Jews and boy?
In the next class, I'm also going to talk about this painting:



This painting, by or based on Edward Burne-Jones, appears regularly in my students' presentations on the Prioress's Tale. Probably yours too. No wonder: it illustrates the Wikipedia page on the Tale, and dominates the Google image search results. Though I've recommended ArtStor for images, the students go with what's most readily at hand (probably yours too). I imagine, though, that even if they'd gone to ArtStor, they'd find much the same stuff (but as the Brooklyn College library website is shockingly down....).

I'm going to tell them this: the image, featuring a standard pre-Raphaelite pose for Virgin and clergeon, is itself antisemitic, and just a little more subtle than the images, just as popular in presentations, of hooked-nose Jews (there, usually, to show the continuing force of antisemitic stereotypes). I thank the St Louis Museum of Art (warning AUTOPLAY) for making some of this clear to me: the image invites us in, opening the gate to let us join the virgin and boy. The Jews and the murder are in the background, cut off absolutely from the virgin by the garden wall, barred from this innocent paradise. Now, the St Louis Museum seems perfectly fine with this, and perhaps my students too, though far more innocently. As I'll argue next week, the painting is as antisemitic as the tale itself to the degree that it reproduces without condemning both the tale's hatred of Jews and its saccharine logic of sanctity.

I'll say the painting, in fact, aims to become like the Litel Clergeon. It pretends not to understand the tale. It just presents the encounter between boy and (virgin) mother -- the virgin mother who can belong to the boy entirely precisely because she remains a virgin1 -- as the tale's actual content, while forgetting, as much as it can, how the tale proves the boy's innocence by hating Jews and by murdering the boy. The painting pretends to be a holy fool and is all the worse for it.

 For more on the painting, see Eileen way back in 2007, who saw it in St Louis, and writes well about:
all the ways in which various anti-semitic discourses and even meta-anti-semitic discourses [whether in the form of apocryphal stories, reductively stereotypical tropes, satire, etc.] are made to kind of "disappear" in or move into the background of our "readings" of various texts.



1 The psychoanalytic readings come automatically, don't they? The Jews, Satan, and even the Abbot are all men who want to interpose themselves between the boy and his mother, cutting him off. The boy, refusing to learn to read, doesn't want to enter the Symbolic or doesn't want to give up on the good object of his virgin mother. The Prioress wants to be a like a child of twelve months old or less. It's basically fill in the blanks by this point, yeah?

Saturday, August 23, 2014

Intersections: On Annoyances, Mistakes ... and Possibilities

by JONATHAN HSY

[This posting forms part of a thread on race and diversity in medieval studies and academia as a whole; see previous postings by Michelle Warren (on twitter: @MichelleRWarren), Dorothy Kim (on twitter @dorothyk98) and Helen Young (on twitter @heyouonline); note also our own Karl Steel in a related thread here and here.]

Making space

This series of guest postings about diversity and medieval studies (expanding to race and “things medieval” more broadly) might look like it has been carefully orchestrated but has actually been quite spontaneous—this whole thing emerged organically from conversations in person and over social media with other medievalists, and I hope this venue will continue to spark timely discussion and make space for new voices and different vantage points (so far we’ve featured junior and senior scholars, women and men, people of color and white folks, US and non-US contributors, writers attending to race in the historical past as well as our present).

I did want to point out to our readers who might be new to this discussion that matters of race in medieval culture (and our perceptions of the medieval past) will be explored further in a forthcoming issue of the academic journal postmedieval edited by Cord Whitaker: “Making Race Matter in the Middle Ages,” Vol 6, Issue 1 (2015). This issue will build upon formative discussions launched by medievalists (our own Jeffrey Cohen, Geraldine Heng, Suzanne Akbari, to name just a few) and expand how we think about cultural encounter/exchange and reorient approaches to Jews and so-called Saracens, Moors, and Mongols (among other “others”) in the medieval past.

This particular blog-series on ITM has had an “academic” professional tilt—but these contributors have also taken a chance to reflect more informally to draw from personal, practical, and everyday experience. Opportunities to reflect in this more personal ways about embodied experience in professional spaces are precious few (although the collaboratively peer-reviewed digital journal Hybrid Pedagogy has published a series on pedagogical alterity offering varied perspectives on how embodied experience shapes teaching)—and in general the more conversational flexibility of blogging is one aspect of it that I find absolutely vital.

As a medievalist who is both Asian-American and identifies as gay or queer (depending on the context), I can easily consider myself one of those “divergent bodies” referenced in Dorothy Kim’s excellent posting. Most of these blog posts on ITM have had an Anglo-American (i.e. US-oriented) center of gravity, but I’ve participated in conferences in (Anglophone and Francophone) Canada, UK, Europe, and Australia, and my reflections in this posting apply to my motion through majority-white spaces here and abroad. Through my experiences across these venues, I know all too well what it feels like to be “the only one” in a professional setting, and (often before I realize I’m even doing it) I can find myself strategically counting bodies in the room and reassessing “how I belong” in any given social or professional space. In my own posting here, I reflect on my own experience and suggest how we can all work together to change things in the real world (hint: undergraduate teaching).

Let’s talk about Asianness—for a moment

I’ll address my concurrent and overlapping identities soon, but first I’d like to say a few things about the whole “being Asian thing” in particular. Being a person of Asian ancestry (i.e., a person with a face that “reads” to others as Asian) in medieval studies is a peculiar thing. In my particular experience as a US-born, native English speaker (with varied capacities in other languages, living and dead), I’ve learned to strategically toggle between marked and unmarked “otherness” in the field. I present myself in ways that most people would consider “professional” and I can be more or less “processed” as if white—but there are times in professional settings when I’m jarringly reminded of how I’m unavoidably “different.”

Most of the time my “perceived otherness” emerges through awkward exchanges or other minor annoyances. I can’t tell you how many times I’ve been mistaken for “the other” Asian guy in the room (or at the conference, in the department, at the meeting, in the archive). There have been times (inside and outside the US) when I’ve randomly been redirected toward the lone scholar from Japan who just happens to be at the conference ... as if the mere fact of our “shared-Asianness” means we must automatically share the same interests or something (I’m never sure what exactly the expectation is when this sort of thing happens). If I state I have interests in medieval travel literature, people unfamiliar with my work often assume I work on Marco Polo and China (which I don’t). Even a seemingly innocuous question (at a conference reception) like “How did YOU get interested in medieval studies?” opens up a whole can of worms. Depending on how it’s asked, such a question sounds as if I need to explain or justify my very presence in a space that is “naturally” coded as white.

In these sorts of interactions I don’t believe the deliberate intent is to offend, but the effects of such exchanges—even (or especially) if they involve someone who is “trying to be nice”—are still harmful. These episodes send (conscious or unconscious) messages that “add up” over time (see here, or even more pointedly, here) to remind you that you’re a perpetual outsider and you must continually re-explain, assert, or justify your very presence in professional spaces.

One complicating factor of growing up Asian-American more broadly is a toggling between perceived relevance and irrelevance in contemporary US conversations of race; such discourses can often cast racial difference in terms of reductive black/white binaries. When the events in #Ferguson first began to unfold, perspectives of Asian-Americans (among other nonwhite and nonblack groups) were ignored—and its only recently that people have addressed how the “model minority myth” deployed by Asians and non-Asians alike can serve to devalue black bodies in particular.

What I find so curious about “being Asian” in a broader US landscape of race discussions is how often Asians are not actually discussed as Asians but rather as a way for people (usually in the white majority) to discuss other things. Asians became Stephen Colbert’s “trope” to mock Native American mascots—a move bravely and justly confronted by writer and activist Suey Park, creator of the #NotYourAsianSidekick hashtag. And we live in a world where a totally unfunny white dude will try to use “Asians” as a trope to satirize discussions of white privilege—and when actual Asians point out why this is a problem, he claims “it’s not about Asians” and Asian-Americans are just too humorless to get the “joke.”

When it comes to discussions of race and the “monochrome Middle Ages” myth that Helen Young has addressed (which extends beyond the US per se), Asians strangely get trotted out yet again as part of this rhetorical “invoke and ignore” strategy. George R.R. Martin’s quip “There weren’t a lot of Asians in Yorkish England” is meant to signal that the mere idea of Asians being present in a fictional medieval-ish world is so completely outlandish that one can’t entertain it (direwolves and dragons on the other hand, TOTALLY FINE).

These kinds of social messaging from inside and outside the academy can make a person of Asian descent like myself feel systemically unwelcome, marginalized, or excluded—in the broader sphere of (Anglophone) discourses/ideas, but also in the much more “rarified” field (medieval studies) where I actually claim the most professional training and expertise. My particular Asian-American perspective is, of course, only one aspect of a much larger landscape, and I admit I am speaking from a particular US-based perspective here. The broader structural issue we all face (regardless of where we are) is the urgent need to re-code what it means to think about “things medieval” in the academy and outside of it. In other words, there is not just “one way” a person should look, speak, act, think, love, or move in order to be recognized as legitimate.

Intersections and institutions

I started off by discussing systems of “Asian exclusion” because an unstated “model minority” myth (in addition to homogenizing the varied experience/backgrounds of all people of Asian ancestry) has a way of making it seem like everything’s just fine and dandy for Asians and Asian-Americans in higher education. My anecdotes offer a few reminders that change still needs to happen on the inclusion front. I also focus initially on my identity as Asian-American since race is (in my own case) a category of difference that I do not voluntarily disclose but one that others readily perceive during a first encounter. At this point, I want to broaden this discussion beyond my own situation to consider intersectionality—how it informs so many kinds of social and embodied difference. 

This concept of intersectionality has its origins in black feminist thought and reminds us that it’s not “all or nothing” when we discuss (conscious or unconscious) prejudice and its effects: gender, class, ethnicity, race, sexuality, religion, disability, age, rank, employment status—it all interrelates. You can be advantaged along one kind of social axis while also be disadvantaged by another.

While I’ve mentioned my own particular intersecting kinds of otherness in the field, I acknowledge my varied forms of insider privilege. Broadly speaking, I enjoy status as a tenured faculty member at a diverse, research-active urban institution in a progressive gay-friendly environment. I am a native English speaker and can rely on important information around me being in English. I was raised Protestant and the academic calendar always accommodates Christmas and lets me enjoy time with family. I can walk and I can enter any building on campus without needing to scout out a ramp first. I am male and cisgendered (i.e., my gender identity matches the biological sex assigned at birth). I hold a PhD and both my parents earned graduate degrees.

In pointing out these social advantages I claim, I stand by what Dorothy Kim has stated: those of us who have tenure or hold otherwise claim privilege should be committed to making medieval studies (and academia) a safe, inclusive, and accessible space for all—and to change the conception of “what’s possible” now and in the future. As far as the present-day profession is concerned, many different kinds of people need to be included in leadership positions and planning roles.

We can all do things informally to change the climate of our professional meetings too. When the Society for Medieval Feminist Scholarship publicizes lactation rooms at the International Congress on Medieval Studies at Kalamazoo, it sends a message that medievalists who also just happen to be working mothers are welcome and valued. Participating in a polyglot Chaucer reading or actively helping to promote a new Chaucer adaptation that features a Nigerian/British/Icelandic cast sends a message to attendees of the Congress of the New Chaucer Society that the field isn’t just Anglophone and isn’t exclusively white. Organizing an informal gathering of LGBT folks and allies at a local queer bar (big thanks to Anthony Bale for first floating this idea on social media!) sends a message that medieval studies is a safe place for many kinds of people.

As far as the future of the profession is concerned, a big part of cultivating a more diverse faculty is attentive mentorship of graduate students. This informative report on mentoring first-generation and graduate students of color offers sound advice for anyone pursuing graduate study (not just those advising people of color). It’s important to note that broader socioeconomic factors can play a role in the complexion (deliberate pun) of academic medieval studies. Nonwhite people and/or ethnic minorities might not necessarily have access to the kinds of cultural capital and early training (especially in European languages, living or dead) that would “track” a person toward a humanistic field like medieval studies (or Classics, or Renaissance art history, for that matter). Mindful early guidance of students of color who might have promise in the field is thus a very important thing to keep in mind for both for faculty who are white and for those who are people of color. It made a huge difference for me that I had (white) undergraduate mentors who proactively engaged with my interests in medieval studies and were realistic about the challenges that would come with this path.

How faculty diversity matters

In her posting on diversity and mentoring, Michelle Warren deferred the question of why diversification of faculty is important. I’ll take up this baton by considering the undergraduate classroom: teaching is, after all, the most significant way that we academics actually make a difference every day. Again, I’ll refer to my own experience here. I teach in the department of English at George Washington University, in Washington, D.C., and the general trend has been that some (but not by any means the majority) of students we have in our medieval and early modern classes turn out to be US-born ethnic minorities (this reflects our general undergraduate demographics). In addition, an increasing number of students at my institution as a whole are “international,” i.e., not from the US (I’ve had quite a few students from South Korea, mainland China, Iran, and Ghana, for instance).

Having a person with an Asian face in the classroom—in a field where one might not expect to encounter one—can create a more expansive “horizon of expectations” for all kinds of students. The very fact I’m there sends a message that medieval literature isn’t “just for white people,” and for those students for whom English is a second language my presence send a message that anyone can “do” Middle English. And broadly speaking there is something very empowering about having sustained interactions with “someone like you” as an authority figure when you have never had that experience before.

I’m stressing here that “being there” is more than “faculty diversity window-dressing.” It’s also what I do outside the classroom that counts. In casual conversations during office hours, I’ve found it interesting that it has so far only been the nonwhite students (US-born and those from outside the US) who have felt open with disclosing the real family or cultural pressures complicating their decisions to pursue interests in English or in a humanities discipline—more than a few students have expressed to me a kind of obligation (even burden) to obtain a “practical” degree or one that is perceived as more reliable, lucrative, or otherwise more prestigious “back home.”

My sense in these (often unsolicited) interactions is that they give students a chance to “vent” but also to give some thought to what an education is “for,” what they want out of it, and how to manage the discordant cultural expectations they face—a conversation they might not have any chance to pursue otherwise. I think there’s an intangible benefit to at least giving students the chance to gain exposure to a wider sense of “what’s possible” with their life-paths, and to explore modes of reading, creation and expression that they find rewarding—even if they end up don’t actually end up majoring in English or pursuing medieval studies.

At this point I have a less clear sense of how students’ experiences have been shaped by interacting with faculty member who isn’t straight. I teach Chaucer’s Pardoner’s Tale in the vast majority of my courses, and we inevitably end up discussing the Pardoner’s body—which reads as indeterminate in terms of modern-day categories of gender and sexuality—and the text offers an opportunity to think critically about discourses we’d now identify as homophobic. I use more informal words like “gay” and “gay-affirming” in class (or when discussion turns to theory and politics, the term “queer”) to signal that homophobia and transphobia are unacceptable in the classroom. (I’ll also mention my partner in passing just as any other instructor might casually mention his or her spouse.) I find that after the class on the Pardoner’s Tale (which tends to be early in the semester) students can become more open to discussing gender and sexuality in the texts we read. While I find students don’t specifically open up to me about matters of sexual orientation in office hours, I do find they will feel OK expressing interests in (say) queer theory—and of course this doesn’t necessarily mean that any such student self-identifies as queer. This all just means that Im trying to do the best I can to create a safe space for everyone no matter how (or if) they might self-identify.

Owning mistakes—whoever you are

So what are the next steps here? A huge part of creating a more inclusive medieval studies involves changes that are systemic, structural, and professional (as other postings in this thread have addressed). But what can a mere individual medievalist do? One strategy is teaching in more open-minded ways about race and embodied difference, as Helen Young suggests at the end of her posting. 

But another significant part of the learning process (i.e., growing as a human being!) is owning your mistakes and changing your behavior when you recognize there’s a need to adapt. When someone makes an offensive comment (even when it might not be consciously intended), call out that person’s behavior—and be willing to check your own assumptions when YOU discover you’ve messed up. [All of this is “easier said than done,” I know.] In this spirit, I offer a few anecdotes to suggest how I’ve negotiated my own place in the medieval literature classroom—with particular reference to some interactions with kinds of embodied difference that are not my own.

Teaching The Prioress’s Tale

In my experience teaching at GWU, I’ve found the vibe to be largely secular. Reflecting the broader demographics of this institution, my classes typically include at least some students who see themselves as ethnically or culturally Jewish (even if not strictly “observant”). I quickly learned that teaching Chaucer’s Prioress’s Tale—a story full of anti-Semitic rhetoric and violence—presents challenges as well as opportunities. It has always been my strategy to make the text’s anti-Semitism a key part of class discussion, and this usually engenders a productive discussion of how we perceive anti-Semitism in the past and the present. It can also provide an opportunity for students in class to collectively consider how notions of Jewishness are disseminated in literature or other forms of cultural messaging.

There are have been times, though, when I’ve made mistakes. One year, I cluelessly scheduled the class session on the Prioress’s Tale on Yom Kippur which meant that the Jewish students in class were absent (including ones who weren’t otherwise “observant”). Of course, I couldn’t help but notice the irony of conducting a discussion about anti-Semitism and the expulsion of Jewish communities from medieval England in a room totally devoid of its Jewish classmates (and I’m sure some students in class picked up on this too). I’ve since learned to, you know, actually pay attention to the list of religious observances that our university disseminates and be more mindful in my class scheduling.

I’ve also learned to be more careful in how I frame our discussion of this tale in the first place. One time when we were discussing this text in my class, a student abruptly disengaged from the conversation. I noticed this shift in behavior (she was otherwise a reliably active participant) and I asked if something was bothering her—and it turns out she had reached a point where the text was to her as hurtful as reading Nazi propaganda. I’ve since made it my strategy to prepare students for the discussion by stating (in the class session before we read this text) that it an ugly and hateful text (specifically, it’s anti-Semitic) and we are going to have a frank discussion this about this aspect of the work.

Throughout these discussions I’ve learned, too, not to make any assumptions based on a student’s name or appearance—much as I would not want someone to make assumptions about mine. Some students may choose to disclose being Jewish in a classroom discussion (I’ve found in this case it’s not unusual for some to do this), but others may not. And some of these voluntary disclosures can be unexpected: I have had more than case where a student with an Asian face and Anglo name turned out to be Jewish.

In some of our conversations online and in real life, our Jeffrey Jerome Cohen has made the point that presentations at medieval professional venues shouldn’t silently “assume a shared belief in Christianity.” The same goes for the undergrad classroom: keep in mind the possibility for different vantage points and what that really means. Think about how to make the classroom a space where everyone can engage.

Disruptive bodies

In one of my classes, a student had a foot injury and as part of his recovery process he had to stand or walk out of the classroom at certain intervals. When he revealed to me later that he was struggling getting from class to class and sitting for solid blocks of time, I suggested he consult our Disability Support Services; he found the office was helpful in informing his instructors about his mobility accommodations even if in these emails the student would always put the term “disability” in scare quotes (he, in this context, did not self-identify as “disabled”). Initially other students in class were confused by this student’s actions and thought his movements inside and outside of the room were distracting—but once (with his permission) we took a moment to briefly explain the situation and how we were conducting class, we all adapted to this new rhythm.

From this experience, I’ve since realized that the “disability boilerplate” on my syllabus (i.e., language that describes accommodations and resources for students who have disabilities) should be explained on the first day. It could be the case that someone who might benefit from accommodations (in terms of the room’s spatial configuration or its pacing) might not think of himself or herself as “disabled” in the first place (and the question of what social factors would make someone avoid identifying as disabled might warrant some consideration too). As an instructor, I need to send the message that the classroom is a space for all kinds of bodies and minds. 

Some practical tips: Put some thought into what you want to include in your course syllabus regarding flexibility to many modes of learningBefore you categorically ban all laptops from your classroom, consider having an open discussion with your students about how and why they use the technologies available to them, remembering there may not be “one proper way” to keep notes or attend to class discussion (see for instance Rick Godden’s great blog posting reminding instructors to “not assume that everyone approaches information, be that digital or print, in the same way”). This isn’t just about “conforming to a top-down policy” from university administration. Adapt your language to the particular shape of your course and the community that YOU really wish to cultivate.

Being "the only one."

Given my own experience in educational and professional spaces, I try to be more sensitive to what it feels like being “the only [insert your category here]” in class and to be more mindful of how the particular composition of the classroom can inflect a discussion. In one of my classes, we were discussing the Travels of John Mandeville and its description of “Ethiopians” and discourses of blackness and beauty. There happened be only one black student in class that day, and as we approached this topic many of the classmates’ glances began to drift, as if on cue, toward this person…perhaps in anticipation that this student would soon speak up, or otherwise just to gauge her reaction; in any case, it was an unconscious and unspoken shift in the class dynamic that “singled out” the student in a way that obviously made her uncomfortable.

This student avoided eye contact with me as this was happening (clearly she did not want to be called upon) and, picking up on this weird classroom dynamic, I redirected the conversation by inserting myself in the moment. I said something to the effect that “as a nonwhite person I find these Eurocentric racial discourses cause me great discomfort. We obviously have both white and nonwhite people in this room, so what are some ways we can all approach reading this passage today?” I found that at this point all the students felt they had more of a “way into” the discussion and there was no longer this perception that only one “type” of person bore the burden of responding to this passage. It was one way to give us all permission to openly acknowledge the many different bodies in class and to engage in a shared discussion.

Although I touched base with this particular student later about things in office hours and we had a productive conversation about this and made sure she hadn't felt alienated, I don’t doubt that I could have done better—but I at least tried to “call out” a (subtle) shift in class behavior as it was happening and do something productive with it. (For another perspective from a different kind of classroom and urban environment, see this blog post.)

Knowing others

In her recent book Toward a New Rhetoric of Difference (2014), Stephanie L. Kerschbaum reworks current discourses about diversity in higher education by adopting what she terms a “microinteractional” perspective on how we present and define ourselves in shifting contexts. Her book, which focuses on the writing classroom, attends to interactions that transpire not along pre-determined scripts or markers of difference but dynamic configurations that emerge through institutional spaces. Kerschbaum draws upon some of her own lived experience of deafness and reminds readers that difference is not a “fixed” or stable category but “dynamic, relational, and emergent” (57). One message I take from her book beyond the specifics of teaching writing is that we (those of us who teach) should be careful to avoid engaging students (and one another) along the lines of any pre-conceived social norm.

Kerschbaum’s experiences as an instructor and a deaf woman both inform her work. Early in the book, she observes: “I regularly find myself making minute adjustments in response to unfolding awareness of how others perceive my deafness and assume its relevance for our interactions” (7). Later, she reveals that “[a]s a deaf woman who is often the only deaf person in the room,” and her particular “interactional preferences” shift from moment to moment depending on the context (24-25). In this posting, I’ve reflected on some of my own forms of intersecting difference and some of the microinteractional adaptations I’ve made in my own behavior. 

Microaggressions are real. Prejudices and misperceptions are harmful. But we’re all in this together, and—to repeat something I’ve stated on this blog before—I hope that when we move through our various social and professional spaces we can strive for a more informed and mindful empathy: a sensitivity to always-emergent forms of difference, and an earnest effort to know and to engage with others unlike ourselves.