{"id":6764,"date":"2007-06-13T22:15:26","date_gmt":"2007-06-13T22:15:26","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2007\/06\/13\/how-far-can-we\/"},"modified":"2007-06-13T22:15:26","modified_gmt":"2007-06-13T22:15:26","slug":"how-far-can-we","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2007\/06\/13\/how-far-can-we\/","title":{"rendered":"How Far Can We Drift?"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

I’ve been re-reading Cynthia Haynes’
\n"Writing Offshore: The Disappearing
\nCoastline of Composition"<\/a> over the past two days. I’d read it this spring, even
\nreferred to it in my CCCC paper and in my dissertation prospectus. But
\nthis time I wanted to work at it more slowly, soak in it. <\/p>\n

This time around, I kept finding floating crumbs that made me think this is
\nthe 50-page scholarly article version of China Mieville’s The Scar<\/i>. I
\nprobably can’t do justice to this in the time I have right now, but I will try.
\nConsidering that The Scar<\/i> is an adventure on the high seas about a
\nhybrid, hodge-podge floating city (Armada, as dappled and remade as composition
\nstudies) and the fetishistic Lovers who command the peculiar conglomeration,
\nthere are surprising tie-ins. [Spoiler alert.]<\/p>\n

<\/p>\n

Haynes writes of her own sea-ward excursion, a whale-watching trip into the
\nArtic Sea. This is the event that primes her call for writing offshore,
\nfor abstraction, drifting, and groundless solidarities that offset the anchor
\nthat is argumentation<\/i>, the root of composition’s "pedagogical juggernaut"
\n(673). On abstraction and composition’s containment of it, a "thunderous
\nbreach"!<\/p>\n

Just there, beneath the seas of Eckhart’s theological detachment and
\n\tHeidegger’s secular withdrawal, we witness the thunderous breach of our
\n\twhale–abstraction. But unlike Melville’s Ahab, we do not slaughter the
\n\tabstraction and lash it to our vessel in order to preserve some divine
\n\tbalance between Kant’s a priori<\/i> and Locke’s tabula rasa<\/i>. We
\n\tlet it be abstract; we withdraw, move away, and tread in astonishment. Into
\n\tits wake I would have us sail as awakened teachers of writing and rhetoric,
\n\tinviting students to detach themselves from us, from the ground–and to
\n\tthink in<\/i> the abstract<\/i>, in writing. (677)<\/p><\/blockquote>\n

Leap from Melville’s whale to Mieville’s avanc, a too-deep-to-be-seen mythical
\nunderwater creature, harnessed by the Lovers in an attempt to tow the floating
\ncity and its castaways toward their destination, the mysterious scar. Preparations:<\/p>\n

\n\tThe frantic work continued, and below the water, the shape of the avanc’s
\nharness grew slowly more solid. It was ghosted, its outlines in girders
\nand wooden supports, like an abstract for some implausible building. As the days
\nwent on it grew a little more substantial, its intricate spines and gears more
\nlike something real. It grew through extraordinary efforts of the crews. The
\ncity was on something like war footing, every iota of industry and effort
\n\tcommandeered. People understood that they were careening at breakneck speed into
\na new epoch. (345)<\/p><\/blockquote>\n

Back to Haynes who would have us steer "toward an abstract horizon" (671):<\/p>\n

The diverse senses of converting argumentation pedagogy to teaching
\nabstraction could also include teaching how to achieve distance, to detach from
\none’s preconceptions, distill concepts, condense language, and translate
\nmeanings. Learning to abstract would involve learning the alluring nature of
\nlanguage, how it draws you away, how it seduces you. (715) <\/p><\/blockquote>\n

What are the limits of this seduction? I ask not because I’m doubtful of
\nHaynes’ push-off from the shore but because I find it reassuring, even
\nencouraging, her discussion of abstraction. For the Armadans, including
\nTanner Sack, the underwater specialist given to morphing amphibious, and Bellis,
\nthe translator of many languages, containing the avanc took a turn:<\/p>\n

The avanc is sick.
\n\tTrying to continue its mindless motion at the rockmilk engine’s command, it
\n\tslows and slows. It is–what? Bleeding, wounded? Fevered? Chafed sore by the
\n\talien reality around it? Too mute or stupid or obedient to feel or show its
\n\tpain, the avanc’s lesions are not healing. They are shedding their dead
\n\tmatter in suppurating clots that eddy free and drift up like oil, expanding
\n\tas the crushing pressure lessens, enveloping and suffocating fish and weed,
\n\tuntil what breaks the waves with a mucal slurp is a noisome coagulate of
\n\tinfection smothered sea-life.
\n\tSomewhere between two and three thousand miles into the Hidden Ocean, the
\n\tavanc is sick. (491-492)<\/p><\/blockquote>\n

A groundless solidarity between the whale of abstraction and the harnessed
\navanc? Uncertain. But why not work at this in a course, say an unlikely graduate
\ncourse, one piled high with ground\/sea allegories for the discipline, for
\ndiscourse, and so on. <\/p>\n

A few of the readings:
\nHaynes, Cynthia. "Writing Offshore: The Disappearing Coastline of Composition
\nTheory." JAC<\/i> 23.4 (2003): 667-724.
\nRoyster, Jacqueline Jones. "Academic Discourses or Small Boats on a Big Sea."
\nALT DIS: Alternative Discourses in the Academy<\/i>. Christopher Schroeder,
\nHelen Fox, and Patricia Bizzell, eds. Portsmouth, NH: Boynton\/Cook, 2002. 23-30.
\nMcComiskey,
\nBruce. "Introduction." English Studies: An Introduction to the
\nDiscipline(s).<\/i><\/a>
\n<\/i>Neel, Jasper. "Reclaiming Our Theoretical Heritage: A Big Fish Tale." Olson
\n3-11<\/a>.
\nMieville, The Scar<\/i>.
\n
\n
\nDeadliest Catch<\/a><\/i>, season I.
\nSid Perkins on “Flotsam Science.”<\/a> Week of April 28, 2007; Vol. 171, No. 17 , p. 267.<\/p>\n","protected":false},"excerpt":{"rendered":"

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This time around, I kept finding…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[639,676,178,679,674,675,185,678,291,417,677],"class_list":["post-6764","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-abstraction","tag-argumentation","tag-composition","tag-drift","tag-ground","tag-reason","tag-rhetoric","tag-sea","tag-teaching","tag-theory","tag-whale"],"yoast_head":"\nHow Far Can We Drift? - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2007\/06\/13\/how-far-can-we\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Far Can We Drift? - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 3 minsI’ve been re-reading Cynthia Haynes’ "Writing Offshore: The Disappearing Coastline of Composition" over the past two days. 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