Walking Methodologies in a More-than-Human World demonstrates that walking-with is an important methodology for thinking ethically and politically. Yet, Springgay and Truman assure us that ‘walking-with’ is best practiced with a method that betrays any strict adherence to method. While there is no stone left unturned (and if there is, it is because they have chosen to leave it there for the reader to engage with), their thinking is certainly not one that aims for an anchor. On the contrary, it is thought as provocation, as ‘research-creation’ of frictions, engagements (in)tension with the world. What a courageous intent given the spacetime in which they practice this endeavor, when global affect has reached a point of hatred with horrifying implications.–Patricia Ticiento Clough and Bibi Calderaro, Foreword to Walking Methodologies (2018)
Called back to Springgay and Truman’s 2018 Walking Methodologies in a More-than-Human World, dialed to a yes-hopefullysomething taking shape for next fall’s Conference on Community Writing in Detroit, October 23-25. So I meander back in again, leafing in this book released seven years ago, just as I was moving from Michigan to Virginia, a book I later excerpted for the seminars on research design I taught in Spring 2020 and again in 2022. Back then, I thought the book would sew throughlines with method as mess, with embodied wayfinding, with writing on foot, with more-than-words (or more-than-strong-text) rhetorical velocities, and with localized, here we are now, personal geographies. I don’t know how much of any of this carried over into practices or projects, yet, these few years later, it all still feels like a vibrant accrual, a bundle of possibilities I am not finished with, even if I can’t quite pinpoint why.
Yesterday, after a mid-morning dental checkup, some odontal dialogue about how the early September root canal on #19 has not fully quieted, humming as it does through a bite guard tested lately by a grim political horizon and other unsurenesses, personal and professional. I went to the office to polish and print a planning document for this Friday’s food studies meet-up, which I happen to be leading (on foodplaces), and to check off a few other minor to-dos. I remembered to pick up Walking Methodologies, to carry it home for re-reading. And again, as before, it strikes chords. For example, from the Foreword, the doing without anchor, a nod to groundlessness, or the summoning of method to call for its discarding strict, replicable proceduralism. I nod. Yes, this. This makes sense, these dotted footfalls. I am also drawn this time to the verbal methodology, ‘to walk’ supplying splendid, sensorial abundance, lattices of affect and memory, a well of noviceness, or beginner’s mind along the lines of ‘you can never step into the same river twice.’ This reminds me of Thich Nhat Hanh’s mindfulness essentials series, verbed as it is with eleven How to titles: How to Listen, How to Smile, How to Focus, How to Connect, How to See, How to Fight, How to Relax, How to Love, How to Eat, How to Sit, and How to Walk.1I might wish for a twelfth title, How to Draw. I would also pose with this exercise a recasting each verb as x-ing to learn, e.g., Walking to Learn, Relaxing to Learn, Listening to Learn, Drawing to Learn, and so on. Springgay and Truman’s WalkingLab and related research, when paired with the context of Hanh’s essentials, blooms consideration of what would it be to sketch and to explore methodologies verbed across this set: Listening Methodologies in a More-than-Human World, or Smiling Methodologies, Fighting Methodologies, Eating Methodologies, and so on. I suppose that’s what this thread loops me back to, a question, as a teacher, that cares for whether someone, in the frame of writing, or in the frame of being, is aware, reflectively, of experiences named by these (and other verbs). It’s nothing grandiose, just a simple provocation, to bundle as a set of teacherly a prioris questions like these (how do you eat, how do you see, how do you fight) and then to know, thereby, patchworks existential and if we are lucky that collage a more-than-humanism worthy of fostering.
Notes
1
I might wish for a twelfth title, How to Draw. I would also pose with this exercise a recasting each verb as x-ing to learn, e.g., Walking to Learn, Relaxing to Learn, Listening to Learn, Drawing to Learn, and so on.
Here in SW Virginia, it was 81-degrees Fahrenheit on Wednesday, the day after the 2024 U.S. presidential election, which yielded a sweeping mandate–a mandate damningly, tragically scored with misogyny, xenophobia, and economic desperation. Woo, don’t catch you slippin’ now. Bracketing momentarily the political climate, the unseasonably hot and dry weather of late tends to slip us into passing small talk about how uncanny it is, this late fall heat, to be sweating in the sun this time of year as the hens roam close gobbing grubs. We haven’t lived through the burning up of this planet before, most of us. We’re in its midst, the changes at a scale (and of an ideological order) imperceptible, what Timothy Morton theorized as a hyperobject, the everywhere all around and in motion planetslide whose signs are rising, whose mildest symptoms tempt us into grimly ironic reflections, “sun sure is warm,” “nice day for shepherding the flock,” “don’t remember the last time it was this hot in early November.”
But laxly waste and exhaust-addled ecocide is just a parallel, intertwined example to grasp the rebound of fascism, in that although perceptible, the most tangible forms of evidence (e.g., stark articulations direct from the mouth of the winning candidate, or concepts of plans drawn up in the Project 2025 report, an especially “rigid discombobulation”) are encased in a squishy frame of might-mean-nothing. In other words, overt threats and grim warnings can be dusted aside as meaningless, forgivable bloviation (“he long-talks and says lots of random stuff he doesn’t mean”). Many of his proxies and surrogates filled the air in the second half of the week with shrugs of uncertainty; “his waste and exhaust, though noncommittal and vague, is notoriously well-received by his supporters.”
But what even is fascism? If only it was as easy as pointing our cell phones at the sky and letting their lenses do the work of casting it in a purple-pink halo, the way we do with the Northern Lights, we’d know-know. See? Look here. The trouble, in part, seems to be from the inexact matches among the variations on fascism, their family resemblances abiding both similarity and alibi; alibi, or that skeptical, dusting-aside loophole that hedges and qualifies, ultimately dismissing the premise that fascism is upon us, queued up and substantively in motion.
In his 1995 essay, “Ur-Fascism,” Umberto Eco, who was born in 1932 and who grew up in Mussolini-era Italy, wrote about the common-ish features shared among fascism’s subtly shifted forms. If you, like I do, perceive that something deeply troubling is afoot, something dangerous, misguided, and poisonous, “Ur-Fascism” is a must-read; the contextual resonances add up; the fourteen features of fascism listed in the second half of the essay point a blazing, blinking arrow to the past eight years, to now, to January 2025’s inauguration, to this is US. A friend sent Eco’s essay to me late this week with the purple-pink haloed message, “so we are on the same page.”
An excerpt from Eco:
During those twenty years, the poetry of Montale and other writers associated with the group called the Ermetici was a reaction to the bombastic style of the regime, and these poets were allowed to develop their literary protest from within what was seen as their ivory tower. The mood of the Ermetici poets was exactly the reverse of the fascist cult of optimism and heroism. The regime tolerated their blatant, even though socially imperceptible, dissent because the Fascists simply did not pay attention to such arcane language.
All this does not mean that Italian fascism was tolerant. Gramsci was put in prison until his death; the opposition leaders Giacomo Matteotti and the brothers Rosselli were assassinated; the free press was abolished, the labor unions were dismantled, and political dissenters were confined on remote islands. Legislative power became a mere fiction and the executive power (which controlled the judiciary as well as the mass media) directly issued new laws, among them laws calling for preservation of the race (the formal Italian gesture of support for what became the Holocaust).
The contradictory picture I describe was not the result of tolerance but of political and ideological discombobulation. But it was a rigid discombobulation, a structured confusion. Fascism was philosophically out of joint, but emotionally it was firmly fastened to some archetypal foundations.
Reading Time: 6minutesSizing the Dark. In this illustration, a pair of figures (silhouettes) sit in folding chairs on a lit front porch. A small, circular table between them has a pair of drinking glasses on it.
The OnlyPoems Poem of the Month arrived via email last Monday. The assignment cycle has become routine by now. I have drawn an illustration to pair with the poem of the month every month since April, so October makes seven times. July and August were you-picks, where the editors chose between two drawings, so there have been more than seven illustrations, but all-told seven months, seven full moons. I count on the poem to arrive within a few days or as much as a week before the end of the month, but I don’t block out time on the calendar for drawing. Instead the drawing tides finds gappy hours or half hours here and there, usually later in the day. But last week, Monday, I taught until seven, and then Tuesday I was preoccupied with the 🍀Celtics-versus-Knicks🩳 NBA season opener, and for whatever reasons, I didn’t get around to drawing until Wednesday, and even Wednesday’s pixel work was a hard start–tentative, second-guessing, sand in gears. Chew on your Apple pencil until it gives you a toothache.
I pressed on and worked all the way through the drawing on Thursday, and gradually I felt the process pick up momentum, snowballing tints of what I wrote about last time, carrying on like poetic misprision: orbited in small but growing circles from a serendipitously keyed generativity–merely a phrase or line, follow what clicks. Maybe it is comparable to being towed out to sea, little one-person lazy river air mattress-style, calmly and without wavering, not heavy, slow barge or cruise liner or rusted armada. As an inventive process, the flow state also reminds me of secondary imagination, which I have not read about directly but heard CGB describe this past summer, citing Freud, pretty sure, as that which, as from dreams or hazy memories, reassembles something uncanny in language and images though not always bearing fidelity to reality. Here the peculiar and the ordinary eddy, swirl, inexact edges bounding them. This, if we learn to listen for it, sparks wonder.
Starfieldmentor.gif. An animated GIF shows five plastic chairs in a row. In the leftmost chair, a human-like figure twinkles and sparkles, its form made of stardust.
For this particular drawing, Sizing the Dark, I held closest (and returned) to a few images from middle lines, about sitting on the porch in folding chairs, about a yellow light. You can read them here. The poem’s phrases recalled an animated gif I have used in a couple of presentations over the years. I didn’t know it until a recent writing group session when I posted it to the chat and asked if anyone knew, but the image is a brief cut from The Bird and The Bee’s video for “Polite Dance Song.” That video released on January 1, 2008, but I never had heard the song, never had watched the video, only knew the gif. The gif is all over Pinterest boards from 2010, yet in post after post it appears unattributed. I always thought of it as the twinkling specter gif, stored where I can remember to find it under the filename starfieldmentor.gif. It is an image I first used in a talk about mentorship and social media at the Computers & Writing Conference at Purdue U in 2010. Seven years later, it resurfaced in a talk I delivered at EMU called “In Walks a Snowflake.” “In Walks” was a presentation about the unseen, inobservable company we keep–elders and mentors and relations who we carry with us when we enter a room, and about why and how to involve that inobservable company, literacy being all about involvement, as Deborah Brandt teaches us. The EMU presentation wasn’t as conventionally academic as most other presentations I’d delivered up to that point. There I was on January 20, 2017, presenting the talk about sponsors of literacy, sponsor avatars, ethereal relations, and snowflakes to a full room for the Academic Success Partnerships Scholars’ Banquet. Even more, Ph. took time out of his day to attend. He sat to my left and even took a photo of me as I stood full-throated and nervous on that platform, following script and slides, voice occasionally quaking, verklempt in moments like standing at shores of affective groundlessness can make us feel. Here is that photo he took.
In Walks a Snowflake photo. Ph. took this during the keynote presentation I gave at the Academic Success Partnerships Scholars’ Banquet, January 20, 2017.
I’ve used the photo as a professional head shot for a few years, and I have been cautioned casually by university PR types that it doesn’t quite pass the standards for the genre, that it is too much action shot, too much full body, that it is too much a younger person than I happen to be now, evidently all crow’s feet, withered by time and stress and sitting too much, and gray race stripes catching me up with other grandies. Holding out, my nonchalant defense is that I have throughout my career only used as professional photos images of me that were taken by Ph. and Is., as this underscores what an abundant source rejuvenates, to see myself as they have seen me. Whatever else can be said of that loop, it somehow always picks me up, brings me home.
And so with starfieldmentor.gif in mind, making its return every seven years or so, I read the poem of the month one more time and one more time the middle lines stuck. Silhouettes. Porch sitting. Folding chairs. Yellow light. Whiskey pours.
Line art for Sizing the Dark.
I think I drew rough sketches of the chairs first. Added the porch-like platform beneath them. Then attempted to fill in scenic details, fashion a secondarily imagined cyclorama, mulling over What porches do I really understand?, their architectures even crudely enough accessible to form lines without going about reviewing porches, studying their forms directly. There is this one, here at the end of Rosemary Road, front porch where I sweep leaves or pluck tiny hornet hives, where I sit and read and fiddle with ideas. Also the porch at the condo in Ypsilanti where the octagonal window holds on as unique 1970s punctuation, translucent and shapely. Once I recognized that porch to be this illustration’s porch, the lines fell easily. Perhaps for another post one day, is this what it means to be a so-called visual person?, to follow a step farther the overlaps among language, image, memory, and making as if special the thing stirred by these conditions?
Process video. The video shows the sketched lines, the filling in of color for the background elements (fence, porch, chairs), and the outlining of figures in each of the two chairs.
With the 2D illustration reasonably complete, late Thursday I added an animated element. I wanted the silhouettes to appear both empty-ish yet activated. Continuing in Procreate, I saved a copy of the 2D jpg, then added it as a background layer. With the selection tool and the outlined silhouettes, I could add layers to the animation and in each layer fill the space with color and texture. Finally, I added a fixed foreground layer with a yellow crescent, gaussian blurred, and tuned the frame rates until I found the twinkle rhythm I thought worked best.
Final version, Sizing the Dark. A pair of silhouettes sit in folding chairs on a lit front porch. In this animated version, their bodies are filled with moving patterns. I realize the OnlyPoems site may not be able to host or display the animated gif, but that’s digital life.
This entry is beginning to feel processually overwrought, so I’ll close with this, the final touch, about titling. I considered variations of porch lighting, porch light, leaving the light on, and so on. And then I stumbled onto this Charles Wright poem from 1977, “Sitting at Night on the Front Porch“–another vector altogether new to me but also familiar, in that it pointed to this animated gif I’d made, pointed toward what I meant, much as the animated gif pointed soft arrow and dotted line back to it. And herein was the drawing’s title:
“Sitting at Night on the Front Porch” by Charles Wright
I’m here, on the dark porch, restyled in my mother’s chair. 10:45 and no moon. Below the house, car lights Swing down, on the canyon floor, to the sea.
In this they resemble us, Dropping like match flames through the great void Under our feet. In this they resemble her, burning and disappearing.
Everyone’s gone And I’m here, sizing the dark, saving my mother’s seat.
After teaching the graduate seminar on Monday evening, I stumbled onto “poetic misprision” because I went looking for words or phrases meaning something like “inventive misreading.” Poetic misprision is credited to Harold Bloom, who wrote about it as an interpretive-hermeneutic misstep, such that while reading (and otherwise making sense of) a literary text, the reader follows a fork in meaning’s path and forges way through and along a kind of misunderstanding. Within this context, the causes, delights, and generative takeaways linked to this phenomenon are fuzzy, or not emphasized, not in the few snippets I’ve read, though this could simply be a reflection of how shallowly I’ve waded in.
For class, we had read Prior and Shipka’s 2003 chapter, “Chronotopic Lamination: Tracing the Contours of Literate Activity,” and the wisp directing us all to consider inventive misreading owed to one seminar participant disclosing a blink impression that the title was “Chronotopic Lamentation.” Dialogue played this out for a few minutes, but it brought me back to whether or not we had a fitting term for those clicks of miscomprehension that carry on and that sometimes become inventive (moreso than mnemonics or than retold tales for a chuckle, which are other gainful takeaways). In other words, extending from chronotopic lamentation the misreading flutters, buzzes, and chances spinning an unexpected web of meanings. I consider the phrase in this specific case more the happenprovenance of the seminar participant, so rather than revisit those meanings, for now I will simply note them as more than we expected and return to the point about poetic misprision.
Misprision seems to translate more or less as “to take wrongly.” And this fits well enough with reading lamination as lamentation, but ‘taking wrongly’ still does not venture through the looking glass as fully as I would like. ‘To take wrongly’ could come with a hermeneut’s scold. But the misread word worlds…or can world into a meticulous if entirely unintended and accidental yarn. Poetic misprision doesn’t authorize the weaver to carry out boldly the unraveling of pulled strings. But what then would be an apt name for the phenomenon of accidental, generative misreading at the level of a word or phrase? I am laminating the fact that the best I can come up with is heuristic euprision, so something like ‘to take and run away with.’
Reading Time: 3minutesWindthrown trees toppled by Helene on Friday, September 27, 2024: a 160 year-old red oak and a younger, long dead ash.
Fourteen days now since Helene winds laid the holler’s oldest tree on its side. A red oak. Another much older ash, long dead, hugged close to its side and toppled, too. When the red oak fell, the dead ash fell with it.
The ash’s naked trunk, having several years ago shed its bark, is inscribed with ash borer hieroglyphs, but those meandering assassins of ash stands are long gone from this scene. They’ve moved on. Scads of dead ash around here. Neighbor mentioned once that it is a bad omen to mess with dead trees. Don’t cut them down, he said. Along came Helene, not a superstitious one.
The red oak’s trunk is forty inches in diameter, which timestamps it to 160 years old, give or take. I emailed the photo above to a local arborist who last winter stopped out to pass his knowing eyes over the trees around here and to bid on some corrective pollarding for the black walnuts nearest to the house. But the arborist lives in a place that was washed hard by New River flood crest, plus no doubt the crew is taking on more urgent work over the last little while.
Wednesday I called a local sawmill. The hulking oak is too big for many loggers to cut on site. He told me about a couple of chainsaw millers from the Floyd area who might be able to slab it on site, thus making it possible to haul away. While red oaks are valuable, they are not as valuable as white oaks, black walnuts, and so on. He explained, too, that the size of this hyperion would be a problem for most mills. So although the tree has a lot of “board feet” lumber to it, getting someone to take on its transport and milling will be difficult. I listened. It was an earnest and generous conversation; free consultation of a sort. And afterward I wrote to the one chainsaw miller whose contact information I could find.
We haven’t decided to do anything with the windthrown tree. It stood there flourishing such a short time ago that it is taking some getting used to, its collapse. Walking Feta on the loop means witnessing accelerated leaf exfoliation, and the hummock and hollow shows for where an animal has burrowed beneath it, where water is puddled, where the upper third of the hummock is drying out. I read about how the hummock and hollow is a site for bursts of living, what might count as a bloom space, a swell of activity. So maybe that is that. The resting oak has already been disturbed enough. And in another 160 years how many of its acorns will have rooted?
In the among the branches, the post where I had mounted the phone of the wind is also on its side and the phone itself is tossed, not unlike the two times I accidentally bumped its edge with the mower’s roll bar and sent it dialing its own long gone elders with a plea of will somebody please discourage this clumsy fool from mowing back here. Heard! Heard. Left as-is, the sprawled crown won’t allow me to mow there again. But I would like to recover the phone, reconnect for this spectral time of year, maybe fasten it to the red oak. Or let the ash have a turn.
Nothing much especially conclusive in this. The uncertainty, the surprise, then wobble, then wilting loss, maybe, is the feeling set. A dry, cool feeling set, and crunchy. When a storm blisters a region as forcefully as Helene did western North Carolina, Asheville and surrounds, something about noting the end of one special tree and noticing it as an intensity doesn’t seem entirely appropriate. Sure, it is unfortunate, but the feelings, like breeze sweeping last summer’s tall standing grasses, are not quite structural enough to write into emotional terms. Whatever sense of loss folds into the everyday, a puff of metabole, ferried by a flash of rain and wind, thus crossing over, quietly, wondering what tomorrow holds and the day after that and next spring, too.
The towering red oak shown here, two weeks after the storm took it down.
Reading Time: 3minutes“Tropical Storm” Helene waterblading inland on Friday.
Always understood Wonder Hollow to be a soil course, a place where the mountain’s old and crumbling footings hold loosely: clay, rock, rubble, roots. With enough rain, the ground softens to mud. Add even more rain, the mud pushes back and water surfaces. Multiply by the slopes and angles, and, well, I guess the equation is water makes way and a soil course is just a relatively drier version of a water course. TropSto Helene made its way inland overnight. By now, noontime on Friday, its outspun ribbons are with wind and spray lashing at SW Virginia and lots of other places not especially well landscaped for giving water anyplace to go. The mood here is medium suspenseful; every little while wondering, is this the worst of it?
Rainwater collecting next to Side Shed at Wonder Hollow.
Lost power at home around mid-morning when I was making way to campus for office hours and figuring I could get a few things done here in Blacksburg. Raincoat, overshoes, umbrella. The Appalachian Power notification said the estimated restoration time was Sunday night at 11 p.m., but once I checked the map and saw we were part of a 1000+ outage, the scale gave me hope, and the power was restored within two hours.
Rare rapids at the French drain.
A. took a few photos of the holler-turned-river, the highest water we have seen in these three years. The four pullets had to be moved, as the chicken tractor happened to be parked in the middle yard as the waterway formed. Wisely they’d taken to their coop, which is I guess 30 inches off the ground, so while it was alarming, no lasting harm came of it.
More rainshed, mid-yard.
The one lasting harm of the day, so far, is that Helene toppled the century-plus oak at the back of the holler, near the phone of the wind. It was massive, healthy, a leaning elder and a friend back there, its branches patting me on the shoulder when I mowed, else giving shade to deer who often gathered under it. Can’t come up with much more to say about it, so witness it, sit quiet in that witnessing, rehearsing its wonder so as not to forget it too quickly. In this era of intensifying weather, what?, is AI gonna plant a new one, flex its might and set it vertical again, restore its roothold? Right, quiet, witnessing.
And otherwise safe, if soaked.
Still more rainshed, mid-yard. On its side, the century-plus oak at the back of the holler. Maker only knows how the see-through catalpa next to it held on.
A couple of recent conversations led me promisingly to Caitlin DeSilvey’s work from around 2017 related to her book, Curated Decay: Inevitable Loss and Other Opportunities. Although the book itself hasn’t arrived yet, I’ve learned from reviews and by watching Desilvey’s 2018 Handbury Historic Preservation lecture at UVa that historic preservation scholars consider her work postpreservationist, in that it keys on the cyclical generativity hinging decay to renewal and renewals again to unavoidable decay. I especially appreciate about Desilvey’s research that it accords with gone-noting as I have been studying and otherwise coming to terms with it in recent years, and so I thought I would highlight just a few more points from the lecture and consider their implicit connections to more than aging structures and their contents (e.g., sheds pulled to leaning and their rusty, or dusty inventories).
At one point DeSilvey says, “There is always a politics to loss.” I remember vividly a question posed to me after a talk I gave a few years ago that suggested gone-noting should strive for more causal and jurisdictional attribution. In other words, when a journal, listserv, conference, publisher, or other so-called structure of disciplinary participation lapses, gone-noting its lapse and marking it for possible renewal or repair is sort of like again and again bowing to “graceless turnover” (North) but without bringing us up close to root causes. Certainly politics play a part in loss, though such politics are not neatly codified nor attributable to individual actors. These do not tend to be a megaphonic politics of campaign texts, candidate yard signs, or bumper stickers. The discontinuation of EM-Journal years ago at EMU may serve as one simple example. Although its short run was successful if judged by its accomplishments, like 1) publishing period issues of student writing from first-year writing and across the disciplines; 2) featuring writing from selected senior capstones in economics and anthropology, which in turn were used instructionally, and 3) apprenticing graduate and undergraduate students to developmental, technical, and copy editing and related publishing workflows, it could not gain even modest support from administration. We had included a sunset clause in the charter (owing, notably, to advice I’d once heard Bill Hart-Davidson give), declaring an end if after three years it did not have modest support, and in 2014, the journal shuttered, lights out. To return to the point about the politics in any loss, it would be challenging to locate tangibly the executors of those politics. Tempting as it might be to link them to individual decision-makers, in retrospect I see it more as a case of running decisions through the befuzzed filters of austerity and agentic shift, with the agentic shift pointing to managerial spreadsheets and the budgets sort of articulated therein. In far too many cases, considering the ends of writing program related things (albeit in my limited experience), the politics of loss owe to an lossy economic surrounds. With this example, I am led again to a scale question I have not resolved just yet, about the scales of gone-noting, about big gones and little gones, or perhaps about gones whose discontinuation affects the polis within the political as distinct from the oikos/house within the economic. Some gones are planets; other gones are lint.
This all leads to another keen turn of phrase in DeSilvey’s presentation, “continued ruination as management.” The phrase strikes me as worthy of return, especially given the repeated pattern of how we (in public systems) frequently aw-shucks in the faculty lounge about declining state appropriations, longing for creative and resourceful workarounds, commiserating about how tough it is to do the same (sometimes, more) with less. We do not as of yet have in higher education Officers of Continued Ruination any more than Officers of the Encouraged Parrhesiast. Change takes time; titles don’t always keep pace, and the regents know we cannot afford more administrators but perhaps we can do with just one more fiscal bard whose song sings of infocratic spreadsheets. Formula fed, resulting tabulations are never enough due to new construction and despite gainful investment profiles, stacked endowments, cheddared hedge funds, and superlative credit ratings.
DeSilvey turns to personal stories to contextualize the permission she extends to using palliative metaphors for buildings (around the 25 minute mark of the lecture, specifically). In a few cases, I have noticed others commenting on academic programs, departments, colleges, and even entire university systems using palliative metaphors, implicitly extending care ethics and related public health, healing, and medicinal ethics to institutional entities. The same for the field: a journal on its last breath, an unwell conference or organization, a hypersomniacal listserv. I take from DeSilvey’s go-ahead that the palliative predicts a gone-going arc, that it scores pronoiacally an alignment of setups more aptly figured as breakdowns. The use of palliative metaphors notes a decay path. I can’t quite come up with the right word for this. It’s not the same as a chreod, or canalized path, but it does seem linked to -hodos, or pathing. Rot, decomposition, half lives: these terminologies name something similar, yet I would like to have a term that is chreod-like while denoting decay curation. For now, composting will do, I guess, though compost hearkens to organic breakdown. In the context of a budget committee I have served on, I once heard an institutional/organizational variation of this called “reduction exercise.” I’m going to hold this detail open, wait on the word, and imagine that doing so will bring along a name for ‘chreod gone to decay.’ Possibly ‘atropheod,’ for wasting path.
My last highlight, for now, from the lecture holds onto the notion of ruderality, or the plant species who root first and participate in the reclamation of disturbance zones. Ruderality (from rudur, Latin for “rubble”) considers what grows amidst interruption, what roots within-across entropic landscapes. In the previous EWM entry, I mentioned the Spanish needles showing up with yellow-flowered force all along the embankments where I live here in SW Virginia. Their seeds attach to everything, and evidently, this assures for them a formidable expansion, especially in places subjected to bulldozing within the past decade. I wonder, too, about the interruptive landscapes that are not terrestrial/biospheric but that instead track toward what Han calls the psychospere. When attention structures are bulldozed, as can be and oftentimes is the entropic case with streaming media, social media, and especially email, what grows there, what reading and writing are possible, what roots relational and holds, substantive enough to accrue memory or meaning. I suspect I’ll be holding onto ruderality as a model for thinking about aftermaths and what rustles hopeful in anything noted as gone.
Reading Time: 4minutesSpanish needles (Bidens bipinnata) thriving all along the banks at Wonder Hollow.
Not sure whether I will have to mow it one more time, but since today is autumn equinox, I guess this afternoon’s buzz around the holler counts as the last official cut of Summer 2024. It had been a few weeks, maybe three?, since I had carried the weed eater to the raised beds garden, to the micropark, or to the unevennesses immediately behind the front shed. Hardest of the weed eating is at the micropark because it is mucky in places, extra uneven, and prone to kicking up mud if the machine’s angles are off by even 10 degrees for a tenth of a second. A muck misstep means ankle deep in glop. Easy to do, despite the handfuls and handfuls of rocks I have carried and planted so dutifully to bolster the creeksides. When weed eating, eye protection takes the brunt of the mud, although that brunt today included a cord-kicked hunk of dolomite from where the gravel road meets the grass; it deflected audibly clonk! from the left side of the eyewear. In moments like these I feel relief from the close call and congratulate myself for taking every precaution to buffer my eyes and ears from the worst of it.
Today’s weed eating stirred an underground hive adjacent to the first of the five tiger grass tufts, the one nearest to the stump that housed for the past few months a thriving pair of orange marigolds and sage. When I transplanted the sage in May I was worried for a couple of dry, hot weeks that it wouldn’t take, that the relocation shock combined with the harsh midday heat would prove too much to withstand, but then it showed me I was wrong and went on flourishing. Possibly it was the hardiest of any of the curated plants around the holler this summer, though the volunteer morning glories, which started on their own but later were sent spreading up a twine path (thus becoming curated, sort of), have a strong case. They are their own trophies, so congratulations one and all is the spirit. I don’t know what exactly were the stinging insects living it up in the underground hive. The few that scouted me as a threat-nonthreat were mild mannered, appearing to be fogged by the change of seasons and not so keen on having a serious and stinging chase-off. I was able to finish the trim around the tiger grasses after a few minutes and didn’t get stung even once, thankfully.
Three summers of this have taught me the subtler features of the chthonic many who burrow into the mud around this time of year. Can’t see their houses, but their doorways give away which is a snake, which is a frog, which is a turtle, and which is a crawdad. Neighborhood is sort of frog frog crawdad crawdad crawdad snake and then turtle, with snake and turtle being far fewer in number than the rest. The crawdad doorways are the littlest, and the turtles are the biggest, as far as I can tell. Banks are lined with various doorways this time of year, which makes me wonder whether they have subterranean encounters with one another, whether their soupy abodes abide a sharing ethic or a competing ethic. Maybe some of both. The water lettuce atop the pond has split and doubled half a dozen times. There isn’t any fruit to speak of but the stems are thick, almost thick enough to harvest for a cooking experiment except that the advice on water lettuce edibility is mixed. The creekside weed eating sends up strong perfumes, too, as the watercress and mint are abundant and hearty this time of year. I leave most of it alone; both plant types have recently bolted and late season pollinators do well to have a few more dabs at floral pollen. Careful as I am it is impossible to be surgical about the edges, and so there is an occasional spray of aromatic plant pulp. Or fungus. Thursday’s heavy downpour queued more mushrooms than I could count near the long-piled stack of wet wood in the micropark. There, too, I tend to leave well enough alone, as the edge of the woods there not far from where Bitumen, Fluffy Foot, and Cinnabon were killed at the end of June hugs a sharp embankment with quite a bit of poison ivy vining across it.
With the weed eating done, I switched to the Gravely for mowing the terraced paths, the upper holler and the strip above the ledge. The strip is just four widths of the mower, twice down and back, quick. All of the rider mowing took me maybe two hours, give or take. I carry short and long handled clippers and a handsaw on the mower because the edges are prone to thorny shoots, and so maybe ten or twelve times along the perimeter I stop the mower and clip the sharp appendage of a wineberry or whatever. If I left them to growing–and especially sunlight seeking–wherever they wanted, I would get slashed upon riding by. Maybe from the heavy rain the other day, but a lot of the megaweeds are tilting, buckling under their own late season weight, surrendering, giving back to the holler’s soil course. Several milkweed plants near the phone of the wind were giving over to gravity, but it’s late enough in the season that I didn’t have to maneuver around them all that much. Figure it’s fine to mow and mulch them. I do wish I had a better option for one of noxious plants I haven’t identified1Stepped outside to get a photo and run it through the plant identifier app. It’s Spanish needles, aka beggarticks.. It is run amok along the unmowed banks. As its season ends, it shares with the world a small yellow flower followed by a starburst of seeds, which, by late fall will spring onto clothing and stick like velcro to anything it touches. Earlier in the summer I felt hope in thinking there weren’t too many of them returning, but now, today, I see there are hundreds. The solution, I think, is to avoid them. Hope they don’t burr up in Feta’s fur. They’re unmanageable otherwise. As I mowed, I kept thinking about ruderality, or those plants (and more?) that thrive in disturbance zones. I need to lookup the plant one of these days, but by numbers and by observable health, it is home here on this small corner of Appalachia, home here at the end of Rosemary Road.
Notes
1
Stepped outside to get a photo and run it through the plant identifier app. It’s Spanish needles, aka beggarticks.
Reading Time: 6minutesPhoto [I’m retitling “Bloom Spaces”] by Matt Artz on Unsplash
A full month has blinked by in this run-up to the start of classes on August 26. That’s the day of our first meeting in ENGL6524: Theories of Written Communication. Recent weeks at the end of Rosemary Road included welcoming four new pullets, building a new coop and run, welcoming a rooster, hosting A’s friend from Minnesota, hosting Is. and then driving her to Michigan for her birthday, completing the final external promotion review letter of the season, and keeping aging grandpa’s pace with the rest of it all. This week I picked back up with class preparations, and I am making headway on the online hub for the class and the documents that will live there: syllabus, schedule, project descriptions, and bibliography. Here, for example, is the elaborated course description I settled on well enough to plug it into the landing page and syllabus:
Our seminar-styled study of theories of written communication this semester will begin with 1) considerations of what theory (θεωρέω, theóreó, 🔭) is and what it does, 2) how/why to engage with the theorizing sojourns and sightings of others, and 3) how this “bloom space” called theory has made us feel, especially as it hands a bouquet of possibilities to writing and rhetoric. Together we will read articles and chapters, book intros, and dissertation intros grouped with selected theoretical antecedents, thereby listening carefully for how theory circulates. Themes among these small sets include -isms and -graphies, root metaphors, academic writing and its alternatives, intellectual genealogies, expertise, rationalism, literacy development, and how we write. Readings will include selections by Gloria Anzaldúa, Mikhail Bakhtin, Deborah Brandt, Michel de Certeau, Manuel DeLanda, Yrjö Engeström, Harvey Graff, Joy Harjo, Cynthia Haynes, Julia Molinari, Beverly Moss, Stephen Pepper, Louise Phelps, Michael Polanyi, Malea Powell, Paul Prior & Jody Shipka, Jenny Rice, Jacqueline Royster, Kathleen Stewart, Eve Tuck & C. Ree, and more. Class activities will include weekly writing, discussion, a substantive project (Theory Deck/Microanthology), a presentation, and a course reflection.
For five or six semesters I have focused weekly writing on delimited increments called Nineties, which are ninety word flash responses later tuned stylistically because a ninety must have ninety words (allowing ±5) or a multiple of ninety. Like with The Hundreds, the incrementalism tends to elicit intensities, touched nerves, goose bumps, books thrown across the room, PDFs dragged to Trash, the felt weight of worlding now. So, 185 words is okay, as is 87 words. But 200 words is a bust. Although it may seem at first wrapped too snugly in a quantitative obsessiveness, it abides the principle of liberation by constraint, providing one less thing to think about, encouraging stylistic precision, and implicitly inventing an economy of intentional scope (favoring neither reductionism or expansionism by default). I continue to think there is value in a short planning pitch around Week Four or Five, and a share-out pitch nearer to the end of the semester, but then again, the schedule is busting at the seams and the readings and step-back readings will have to be cut back if there are two pitches. The larger project is also taking shape, though I have not written a prompt yet. I foresee it living up to the title Theory Deck/Microanthology, and assembling through defined sections: cover, frontmatter/intro, three articles, chapters, or excerpts, each with two theoretical antecedents (so sixnine pieces total), and a glossary of 6-8 elaborated keywords. Each section will have a suggested deadline, and then the eleven seminar participants will alert me to what sort of feedback they would like to receive: conference, audio comments, written comments.
I am still sorting out the order of readings and project pieces, and I am fairly sure I will have to scale back a bit (to say nothing of whether I have the willpower to stand at the scanner for hours getting this into accessible shape). I have already begun to understand that the book and dissertation intros will have to scale down from four of each to “choose one” from a set of four options, but even this might turn out to feeling denser than we’d like. Cake sponge needs air bubbles. And some class meetings will give us 30-40 minutes at the end for returning to the in-progress projects and for pace-keeping check-ins. Allowing for that possibility, here are the readings I am, for now, feeling good enough about and taking steps to assemble. Weekly placeholders are lightly and noncommittally noted, and second tier bullets are the corresponding step-backs:
Eve Tuck and C. Ree, “A Glossary of Haunting” (2013) (Week2)
Stephen Pepper, World Hypotheses: A Study in Evidence (1942) (excerpt) (Week3) Julia Molinari, What Makes Writing Academic (2022) (excerpt) (Week3)
Jacqueline Royster, “Academic Discourses or Small Boats on a Big Sea,” AltDis (Week4)
Deborah Brandt, Literacy as Involvement (1990), excerpt
Beverly Moss, “Creating a Community: Literacy Events in African-American Churches,” Literacy Across Communities (1994)
Malea Powell, “Listening to Ghosts: An Alternative to (Non)Argument,” AltDis (Week5)
Michel de Certau’s The Practice of Everyday Life (1984) (excerpt)
Joy Harjo, “The Woman Who Fell From the Sky” (1994)
Jenny Rice’s CE article, “Para-Expertise, Tacit Knowledge, and Writing Problems” (2015) (Week6)
Cynthia Haynes’ JAC article (later updated in The Homesick Phone Book (2016)), “Writing Offshore” (2003) (Week7)
Gerald Graff, “Hidden Intellectualism” (2001)
Manuel DeLanda, “Extensive Borderlines and Intensive Borderlines” (1998)
Paul Prior and Jody Shipka’s “Chronotopic Lamination” (2003) (Week8)
Mikhail Bakhtin’s The dialogic imagination (1981) (excerpt)
Yrjö Engeström. From Teams to Knots: Activity-Theoretical Studies of Collaboration and Learning at Work (2008)
Gloria Anzaldúa, “Putting Coyolxauhqui Together: A Creative Process,” Counterpoints, 1999, Vol. 90, How We Work (1999), pp. 241-261 (Week10)
Louise Phelps, “Rhythm and Pattern in a Composing Life.” Ed. Thomas Waldrep. Writers on Writing, Vol. 1. New York: Random House. 1985. 241-57. (Week10)
Book intros or first chapters (Choose one.) (Week11)
J. Logan Smilges’ Queer Silence (U Minnesota P, 2022)
Manning, Erin. The Minor Gesture. Durham, N.C.: Duke University Press, 2016. (excerpt)
Malhotra, Sheena, and Aimee Carrillo Rowe, eds. Silence, Feminism, Power:Reflections at the Edges of Sound. London: Palgrave Macmillan, 2013. (excerpt)
Debra Hawhee, A Sense of Urgency (U Chicago P, 2023)
Fukushima, Annie Isabel. Migrant Crossings: Witnessing Human Trafficking in the US. Stanford, CA: Stanford University Press, 2019. (excerpt)
Vivian, Bradford. “Witnessing Time: Rhetorical Form, Public Culture, and Popular Historical Education.” Rhetoric Society Quarterly 44, no. 3 (May 27, 2014): 204–19.
Jennifer LeMesurier, Inscrutable Eating (Ohio State UP, 2023)
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press, 2006. (excerpt)
Oum, Young Rae. “Authenticity and Representation: Cuisines and Identities in Korean-American Diaspora.” Postcolonial Studies 8, no. 1 (2005): 109–25.
Eric Detweiler, Responsible Pedagogy (Penn State UP, 2022)
Arendt, Hannah. “Reflections on Little Rock.” Dissent (Winter 1959): 45-56.
Ellison, Ralph. “Leadership from the Periphery.” In Who Speaks for the Negro? by Robert Penn Warren, 268–354. New Haven: Yale UP, 2014.
Dissertation intros or first chapters (Choose one.) (Week12)
Walwema, Josephine. Tactile Interfaces: Epistemic Techne in Information Design (2011, Clemson)
Buchanan, Richard. “Wicked Problems in Design Thinking.” The Idea of Design. Ed. Victor Margolin and Richard Buchanan. Cambridge: MIT Press, 1995. Print.
Ong, Walter. Orality and Literacy: The Technologizing of the Word. London: Routledge, 1982. Print. (excerpt)
Sackey, Donnie. The Curious Case of the Asian Carp: Spatial Performances and the Making of an Invasive Species (2013, MSU)
Mol, Annemarie. (1999). Ontological politics: A word and some questions, in J. Law and J. Hassard (Eds.), Actor network theory and after (74-89). Malden, MA: Blackwell and the Sociological Review.
Callon, Michael, and Law, John. (1982). On interests and their transformation: Enrollement and counter-enrolment. Social Studies of Science, 12(4), 615- 625.
Faris, Michael. Rhetoric, Social Media, and Privacy (2012, Penn State)
Cooper, Marilyn M. “The Ecology of Writing.” College English 48.4 (1986): 364-375. Print.
Wysocki, Anne, and Johndan Johnson Eilola. “Blinded by the Letter: Why Are We Using Literacy as a Metaphor for Everything Else?” Passions, Pedagogies and 21st Century Technologies. Eds. Gail E. Hawisher and Cynthia L. Selfe. Logan: Utah State UP, 1999. 349-368. Print.
Carr, Allison. Negative Space: Toward an Epistemology of Failure (2014, Cincinnati)
Rose, Mike. Lives on the Boundary. New York: Penguin, 1989. Print.
Stewart, Kathleen. (2010) ‘Worlding Refrains’ in M. Gregg & G. Seigworth (eds) (2010) The Affect Theory Reader. London: Duke University Press, pp. 339-53.
Heap for scanning selections.
I glance it and see a heap of a list, with pairings or trios matched with ten of the fourteen weekly meetings. I’ve opted for no readings ahead of meeting one, the 26th. And I want to hold as a clearing Week Nine for project starts and for a round of dialogue focused on one well-begun component. Readings fall away at the end of the semester, too, allowing space in the two meetings after the late November break for short form presentations about the projects and for reflecting on what theories of written communication amounted to. My hope as I continue planning is that by the end and all throughout, ENGL6524 will feel like something we’ve been in, recalling that line I can’t stop thinking about from Kathleen Stewart’s “Worlding Refrains,” “Anything can feel like something you’re in, fully or partially, comfortably or aspirationally, for good or not for long” (340).
In what will be the fourth new grad class prep for me in two years, in seven more Mondays, I will begin teaching ENGL6524: Theories of Written Communication. 6524 is one of four required core courses in VT’s rhetoric and writing PhD program. The course description, which I would carbon date back to the program’s launch in 2007, reads, “Studies in theories applied to written communication. May be repeated twice for credit for a total of 9 hours when the topic varies.” Two sentences. The first sounds quite a bit like tautology, or maybe even doublespeak because the repetition isn’t varied enough: theories of written communication is a class that promises studies in theories applied to written communication. Notable here is that this graduate program also features an MA-level (5xxx-numbered) class called “Composition Theory,” and by implied design, I guess this means that theories of written communication and composition theory are demarcated well enough that these are two classes but not one and the same. The second sentence from the course description suggests that the class could be repeated not once, but twice, for a total of nine graduate credits. Trouble is, the class is only offered once every other year, or one time in each two-year cycle of coursework. So it hardly seems possible to repeat it even once, much less twice.
As I’m prone to doing with most classes I teach, I have been mulling over possibilities for several weeks albeit in a low-key, backburner sort of way. I notified the bookstore on Tuesday that I will not be ordering any books for the class. Instead we will sift then trace theoretical antecedents from shorter units of scholarship: 1) published articles, 2) book introductions, and 3) dissertation introductions (or first chapters). In practice, several weeks (~9) of the semester will entail reading the article or chapter along with the theoretical referent and, as such, learning to alternate similar to the way theater-goers might, between actors and props, and a cyclorama, or backdrop. Finding and following theory’s antecedent traces should, if things go well, reward us with a repertoire for theory-finding and, in turn, for theorizing. The approach is similar to the one taken in Cultural Conversations: The Presence of the Past, a textbook that I happen to be familiar with not only because I taught with it a few times but also because a professor and mentor in my MA program at UMKC, Stephen Dilks, was the book’s co-author and co-editor. Cultural Conversations laid out a two-step archeology: a historical-archival text, a contemporary uptake, and then contextualizing pieces that drew connections and filled in gaps. Our upcoming fall semester is fifteen weeks long, but some of the weeks will focus on short-form presentations, or pitches, conferences, workshopping one another’s work, and so on. The class will include weekly writing and a larger project designed in the spirit of anthologics, or assembling and introducing an album of theoretical favorites, influential and inspirational beacons for scholarly offerings students one day hope to create, whether with their own dissertations, with articles or chapters, with teaching materials, with all of it, and so on etcetera.
I want to begin the class with some consideration, together, of our experiences with theory, especially if there are any adverse reactions to theory. I am thinking here both of fear and loathing. Under what conditions, if any, has theory been scary? Are there theories that you loathe? That elicit worry? Why? Like distasteful foods, how many times would you suggest trying a theory before disqualifying it, ruling it out, casting it aside, or dismissing it altogether? This opening segment, then, points to the title of this entry. With theoroses, or something like theory’s neuroses, we might begin to parse why and to what extent theory designated as such may be offputting, difficult, time-consuming, perhaps even abruptive, steep, hazardous-seeming, or even upsetting, dare say violent. Part of this line of inquiry is meant to open up a greater awareness of our dispositions toward (or against) theory and what has formed that disposition. And part of this line of inquiry is meant to reset theory with a light-admitting aperture of possibility. If there is a third part to this line of inquiry, it rests in a few questions I don’t know the answers to yet: Must theories be named to be useful? Must theory be communicable to be useful? Can scholarship proceed with unnamed theories, and might there be any advantages in (or rationale for) shedding antecedents? Can scholarship in rhetoric and writing be theoryless?
Paired with the theoroses check-in, I want us to read Eve Tuck and C. Ree’s “A Glossary of Haunting.” The glossary is a list of keywords, and these keywords are followed by vignettes, images, and microhistories/microanalyses. The set is referential, naming other texts, but it is also personal, heeding gravity in the co-authors’ standpoints, which intersect in their collaboration but also outwardly to their respective and sometimes overlapping ways of being, knowing, and acting. So I am imagining this as an imitable text; each project (theory microanthology) will include a custom glossary of haunting and an introduction to the contents, including some engagement with the question-led threads above: fear? loathing? named? unnamed? possibilities opened? foreclosed?
Some of what I’m sorting out includes, Where to start with theory? And, How well-formed a grounding case, or object of analysis, will serve us well in coming to terms with any theory? There is of course the French critical deck with cards featuring major figures from the 1960s and 1970s. There is, alternatively, a cluster of more contemporary theorists who have given language to deleterious and destructive -isms, late Capitalism, the Anthropocene, climate collapse, globalization, and colonization and its aftermath. And, too, there are earlier models, like Stephen Pepper’s World Hypotheses: A Study in Evidence , which looks into root metaphors for formism, mechanism, organicism, and contextualism, notably nodding toward but then leaving out animism and mysticism. In yet another deck, we could have theories that direct us to consider phenomena differently still, such as with CRT, standpoint theory, intersectionality, and misogynoir, though this might also include Polanyi’s The Tacit Dimension (1966). Whichever thread I begin to work with, it pulls the others, and eventually what surfaces returns to the other part of the course title, written communication.
I would like our step-back antecendent throughlines to follow a narrowed few specific choices. Early maybes are from Alt Dis, such as Royster’s “Academic Discourses or Small Boats on a Big Sea,” stepped back to Deborah Brandt’s Literacy as Involvements (1990) or Beverly Moss’s Literacy Across Communities (1994), or Malea Powell’s “Listening to Ghosts,” stepped back to de Certau’s The Practice of Everyday Life (1984) or Harjo’s The Woman Who Fell From the Sky (1994). Another possibility is Jenny Rice’s CE article, “Para-Expertise, Tacit Knowledge, and Writing Problems” (2015) stepped back to Polanyi or to Stewart’s Ordinary Affects (2007). Another is Cynthia Haynes’ JAC article (later updated in The Homesick Phone Book (2016)), “Writing Offshore” (2003) stepped back to Worsham, “Writing Against Writing” (1991), Graff, “Hidden Intellectualism” (2001), or De Landa, “Extensive Borderlines and Intensive Borderlines” (1998). Another is Paul Prior and Jody Shipka’s “Chronotopic Lamination” (2003) stepped back to Bakhtin’s The dialogic imagination (1981) or Engeström for a check-in on CHAT. And for the book introduction step-backs, I am thinking in particular of the winner, runners-up, and perhaps a few other nominees for the RSA Book Award this year: Hsu’s Constellating Home (2022), Hawhee’s A Sense of Urgency (2023), Smilges’ Queer Silence (2022), LeMesurier’s Inscrutable Eating (2023), Detweiler’s Responsible Pedagogy (2022). And this leaves as yet-to-be gathered a small set of dissertations whose introductions and/or first chapters we’ll read similarly.
I’ll pause here, this entry vining long enough and several other to-dos lingering. But I hope to return to this, to say more about the short-form weekly writing, the intervals of pitches and workshopping, the build-ups to the larger project, which I hope will find synchrony with lead-ins to our exams process at VT. I would also like to work back to first principles, to say a bit about what I understand theory to be and do in the context of research, scholarship, teaching, and writing, both within and beyond the academy, and also to revisit the commonplace in rhetoric and composition that theorein requires practice, or application, that theory without practice is baseless, harmful, chaotic-evil, etc.
