Showing posts with label Violence. Show all posts
Showing posts with label Violence. Show all posts

Saturday, October 7, 2017

Pedagogies of Survival: Teaching Trauma in Traumatizing Times


“Here begynnyth a schort tretys and a comfortabyl 
for synful wrecchys, wherin
thei may have gret solas and comfort”

The Book of Margery Kempe
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Compassion and Comfort

I ask only that we feel together for a time. I cannot tell you to imitate my method. I cannot tell you to imitate my feelings. I cannot fix this, these traumas new and old. I ask only that you listen for a time to my feelings and you feel your feelings alongside mine. If something I feel resonates with you, perhaps the sympathies will better us and strengthen us. I blush to say that our compassions, our feeling-together, may comfort us. By comfort I mean that fortification that being-together can give to those it connects. Comfort embiggens us so that we might together face the traumas which might crush us alone. Somehow, the comfort of feeling-together makes us a one that is more than two, yet bigger than one alone. I seek comfort that I might offer comfort, something I do not have on my own. I ask that we feel together because the feelings come without my asking, because I cannot ignore or avoid the feelings and so they must be faced. The seminar must go on, students and teachers must go on. Yet, how do we do this, yet remember as Edutopia does, "When Students Are Traumatized, Teachers Are Too." Many of us need more than a "pedagogy of trauma" but also "a pedagogy of survival" that will not only instruct our students but assist in a collective reclamation of life, power, and self.

This past week has been a representative embodiment of much of the work I struggle with this semester and other times in my work as a scholar, mother, and activist. This past week I have been tasked to teach trauma in a traumatic time to traumatized students. I take one this task as someone who has also struggled with trauma. How do I teach a seminar, "Beyond Male and Female: Histories of Transgender and Non-Binary Gender," discussing how bodies are stolen, imprisoned in mental hospitals, subjected to abusive conversion therapy, and pressed towards suicide in Dylan Scholinski's memoir, The Last Time I Wore a Dress? Can you possibly engage pain that students in the class not only understand but have experienced, and still feel? How do I teach my seminar, "Racism and Human Diversity: Medieval Narratives of Blackness," discussing how the trauma of slavery meets the horror of sexism in the stealing of bodies in Beloved by subjugation, rape, and torture? If each lesson plan has an arc, a beginning, middle, and end, where is it that I can bring my students? Certainly we do not live in a world without the ghosts and illness of white supremacy, racism, sexism, and their thieveries. And the text does not offer any such wholesale escape or escapism. There is liberation, there is hope, there is exorcism, but the scars and pain remains. I cannot tell the students how to fix trauma, where they might run to flee racism, how they might undo the knots of sexism and rape. I can offer them what teachers (including Dylan Scholinski and Toni Morrison) have taught me: how to survive, how to leave, and how to reclaim what has been taken, broken, killed. Yet this requires us to feel where and when we are, to feel where we and others have been, to feel together and find some strength which we might call comfort.


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Trigger Warnings

My students are tired, so tired, and the trauma we must discuss and share is triggering of wounds that have not scabbed. The rape, suicide, torture, death, and abuse of racism, gender, and disability that our texts ask us to feel-with is so heavy and our students are already carrying so much. The hope is that, even if the texts cannot lighten our loads, at least they can give strength through a shared affect and struggle. Yet these connects are hard and demand what Morrison calls a thick sort of love. These are connections that happen at the point of wounds and scars. When students ask to leave the room, I commend their self-preservation and self-care. When they return, I am grateful for their compassion. These are the skills that students have learned to survive trauma. These are good skills. These are lessons we need to share and on which we are trying to build. Comfort may help us survive but it is no guarantee. Some of us may break under the strain. These are the stakes of our learning about trauma and survival, these are the costs, and these are our hopes. Some view "trigger warnings" as extraneous to teaching, even antithetical to teaching because it seems to offer our students an "out" from dealing with difficult learning. I don't see warnings that way. I see the warning a part of the lesson. I see the warning as part of thinking about trauma. I see the warning as part of survival. I see the lesson as part of this survival. This is the lesson Denver learns in Beloved: if one can leave, sometimes one must leave. Students do not leave class because they are experiencing the lesson on trauma any less but because they are experiencing the trauma and the lesson that much more.

A dilemma in teaching about trauma is that trauma rarely exists within a discreet period of time or along a linear temporal frame. Trauma is less like a line than an organic vine with recursive bends back toward the points of unresolved hurt, away from points of pain, and run all through with a twisting anxiety. As instructors, we teach our students to be ever conscious about context, and so we must also be. This is another way that "trigger warnings" may serve as more than a deterrent or excuse. Trigger warnings is a way of acknowledging that traumas we have experienced may not be over simply because we have been able to show up to class. This week, as we discuss the KKK, slavery, the persistence of racism and its damage, white supremacists are once again marching. This week, as we discuss transphobia, the systematic isolation and exclusion of transgender, and the despair unto death felt by trans and other non-binary persons, the federal government works to take away job protections for non-cisgender persons. This week, as we discuss rape and the abuse of women, the same federal government makes it harder for such women (all women) to reclaim agency over their bodies and sexualities. This week, as we discuss violence and the hate that will not die, a mass shooting kills several dozens and harms countless. Do we offer our students escape and refuge? Or do we offer them a place to rally and resist? What if some students desperately need the former and other students are eager for the latter? What if we, the instructors, are feeling crushed under the weight our times? Our times can be poignant reminders of the lingering significance of texts and histories that may be decades or centuries old. Our times can also leave us speechless, unable to think or argue because we feel so much. Some lessons are meant to transport us somewhere, lead us to some conclusion. Some lessons are meant to help us sit exactly where we are, when we are, and help us to exist and survive together. Sometimes, a lesson is successful not because of what students walked away with but because students (and ourselves) were able to walk away.


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The Lessons that Don't Happen

This sum of trauma may be that the best lesson plan is sometimes the lesson that does not happen. There is power is being able to consider the people in the room, consider the time and context of the room, to consider the instructor in the room, and then change the lesson. What are some of these changes? What lessons emerge when we let go of the classes that won't happen? (Lesson 1) Students have more power than they may know. I have had classes where I've worked to help my students understand trauma in a text. Other times students understand this trauma uneasily well and the lesson becomes learning with them how to survive. Showing our students that we can change, change our directions, change our locations, change our plans, is a way of teaching them the lesson that things don't have to be this way. We have the power to adapt, evolve, respond to our environments. By listening to the students in the room, we teach (or remind) them about their own power. (Lesson 2) Remind students its okay to think with their feelings. At the start of my seminars, I tell my students that nearly all my classes teach the same three lessons but in importantly distinct forms, embodiments, and contexts: how to perceive power dynamics, how to affect/effect power, and how to wrestle with the ethics of power. Understanding that emotions are key to how social power functions and is manipulated, and affective well being is essential to ethical considerations, is a lesson students do not get enough. By acknowledging the struggle of working through pain and fear as well as the ethical role of compassion and comfort, we place our student's experiences in the center of a class, not somehow outside them at an impossible objective and amoral distance. (Lesson 3) The classroom is not the only place where learning and growth can happen. Again, sometimes the best lesson is the lesson not given, when we teach our students about the power to turn a class day into a mental health day: to get sleep, to take a long lunch, to lighten a crushing work load, to find comfort in their own way. As Edutopia succinctly writes, "Brains in Pain Cannot Learn." This may feel like giving up, giving students the day off, but in our humility we are reminding students of their own power to survive, enact self-care, and learn. 

In the end, a pedagogy of survival is not a lesson plan I can set in advance or summarize for those looking to imitate it. Trauma is like a cancer, a form of life that grows and changes. Likewise, survival requires adaptability and transformation in response to classroom environments and the lives that populate them. The lesson is to be able to let go of our lesson plans when our students and circumstances change. This does not mean that there are no ways forward. There are many ways forward. Which ways is best for you and your students greatly depends on who you are, where you are, when you are teaching, and what we all bring to the classroom. On each of my seminars, I ended the last class of the week by compiling lists of ways in which we can reclaim our power, our lives, and survive. We drew from their experiences and the text's offerings. Among the list was the comfort of writing, the comfort of reading, the comfort of sharing one's feelings with another. In its own way, this is a function or hope of www.ThingsTransform.com. This is a corner of the internet where we may share a corner of our minds and hearts. For that, I thank you. Thank you for feeling-together with me for a time. I do not know what it is you felt but knowing you are there gives me some comfort. Sitting alongside my self, I am not sure what lesson I walk away with, but I am grateful that tonight I can walk away from my work, leave it here, and go engage with the things that transform me.


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Sunday, March 10, 2013

Undeath in the Tween Years: Chaucer & Twilight


"They're gonna clean up your looks 
with all the lies in the books...
They said all teenagers scare the living shit out of me
They could care less as long as someone'll bleed
So darken your clothes or strike a violent pose.
Maybe they will leave you alone, but not me"

Teenagers, MCR

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Working in trans, queer, and disability theory in the field of medieval literature, I have found myself compulsively seeking what Eve Sedgwick calls "reparative readings" of rejected persons, narratives, cultures, and even time periods. I have come to firmly believe that a smart reader makes a book smarter. While Twilight has been a public success, it remains an abject or guilty pleasure for many serious academics. In many respects, however, the things that attract readers to Twilight queerly reflect much of the allure of medieval literature; including shared relations to time, conflicts and magical realisms. Pulling Twilight and Medieval-Early Modern Literature together becomes not only a queer project of appropriating from the mainline but a medieval project of messing with the archive. Enjoy!

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Tween & Middle Ages

The teen years are not so far behind me that habits that grew up in that time of my life have totally transformed into their young adult version. Conversely, the experience of being a teen is not so enveloping of my day to day experience that I cannot see forests for the trees.

That said, spending my spring break dipping into the popular fiction of Stephanie Meyer’s Twilight Saga (conveniently passed the time in which reading it would be significant and I will be able to be more charitable in my reading of the book) and the Prioress's Tale has brought up memories of a perspective that has lost a degree of intensity (although by no means relevancy) in my current circumstances: the experience of occupying a vulnerable position of power.

Living alongside Bella Swan as she began to be courted and dominated by Edward Cullen proved to be far less objectionable than I had anticipated. Asking myself why I am not more offended by the blatant chauvinism and stalker-like behavior of Edward, I came up with the answer, “well, isn’t that how any dom(inant), of any gender, would behave towards their sub(missive)?” Coming from a queer theoretical and subcultural perspective, the particularity of the Bella/Edward story resonated with the S(ub)/D(om) world I knew.

Indeed I'm not the first person to make the connection between the Twilight romance and Sub/Dom culuture, as evidenced by E.L. James, citing it as the inspiration for her book series 50 Shades of Grey.

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Resonance

Indeed, calling it a “resonance” rather than a representation, I feel does more justice to the literature as well as to the readership. Rather than pining down the book’s meaning or making it stand in for all male/female, all heterosexual, all human/non-human, all dom & sub, all x & y relationships allows the book to live and retreat into its own particularity which resists being instilled as an allegory or meta-story. It loses deific power as the universal love-story at the same time as it loses its demonic power as the universal story of patriarchal dominance. 

Instead, via resonance “something that is constituted here resonates with the shock wave emitted by something constituted over there. A body that resonates does so according to its own mode” (the I.C., the Coming Insurrection 12).

The Invisible Committee’s (the I.C.) concept of resonance as a revolutionary mode, functions well as a mode of literary scholarship, because it allows us to bracket the question of direct causal or representative story-telling; i.e. Bella does not submit to Edward because she is a woman and he is a man, or because she is a sub and he is a dom, because she is a human and he is a vampire, because she is a X-ist and he is a Y-ist --- rather, Bella’s submission exists in its own world and may resonate with the experience of a human, submissive woman elsewhere but was not written as a result, as a cause, or any other direct reaction to her experience. 

“[Resonance] is not like a plague or a forest fire --- a linear process which spreads from place to place after an initial spark. It rather takes the shape of a music, whose focal points, though dispersed in time and space, succeed in imposing the rhythm of their own vibrations, always taking on more density” (I.C. 12-13).

Bella (in Twilight), Sub/Dom Culture, the Coming Insurrection, and myself, all resonate together through this reading (as the very form of this reading), in part because we are all concerned about power. Each of us exist as submissive bodies that yearn for dominance or else to become dominant, but experience our position in relation to power as ever under threat, as unstable, inconstant, and contingent.

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Teen Vampires

The experience of the Sub, the Teenager, and the Human strike a common chord: here we are regarded as powerful, but always with the permission of something else, there we are outright dominated, and ever in both and between there is a sense that our power might be taken away.

The Dominants, Parents, the Vampire, may give us room to stand with them as equals but the moment that we move counter to their wishes for us, they might insist on their privilege over us to bring us back in line. We have power insofar as other powers abstain from exercising their power and desire over us. The Scholar, like the Doms, the 'Rents, the Vamps, desires the submissive body to be independent but fears that it might run too far away or get into danger, thus putting them beyond our power to feed off their life-blood and affection.

Edward’s hold on Bella, keeping her close and yet resistant to either devour her or make her into a thing equal to and like him (a vampire), evidences this tension. Bella calls Edward out on this treatment: i.e. giving her piggy-back rides (279), watching her while she sleeps (293), dancing with her feet standing on his, telling him that this behavior makes her "feel like I'm five years old" (488). Indeed, it is an extension of Bella’s contingent power with her father, and to the reader, which gives her a life of her own only insofar as they do not insist on pinning her down.

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Undead Choirboys

Such resonance moves between texts, harmonizing with the song of the Prioress’s boy in Geoffrey Chaucer's the Canterbury Tales. There, he is given a voice through song, but given only the form, not yet trusted with the meaning of the words (he could not understand Latin, "For he so yong and tendre was of age"). There, he walks through the Jewish quarter of the city to school, on the contingency that they allow him to pass (for a time) unhindered.

The Jewish population too exists in this city in a "Iewerye" (a ghetto), on the contingency that they are not expelled, pay additional taxes, function as the bankers for the city, and generally submit to the dominant Christian overlords (from which the child descends and with which his song resonates). At a moment when the boy passes through the Jewish Quarter, singing his song of the Mother Mary (the Ave Marie and Alma Redemptoris)  a few members of the Jewish population are convinced by an oppositional Satanic spirit to reject the sonic dominance of the child; silencing him with death. In this moment of rupture, the silencing violence against the Jewish people of the ghetto reaches a breaking point, resulting in an another act of violence that spurs on the murders being put to death and even heavier domination of the "Iewerye." Power breeds resistance which can be co-opted (by the city and the narrator) to justify further oppression. Even death is no escape.

Miraculously, the child is brought back to a kind of contingent unlife by the intervention of a parental (Mother Mary) figure, who with the help of an enchanted grain ("[which] she leyde... up-on [his] tonge"), his song continues despite his death. This child’s particularity continues to resonate and exercise power, as a sonic agent of the dominant religion and Mother Mary in particular, with the physically powerful Jewish men/adults, with parents, with other children, with the unliving, with vampires, with teen-agers, with Bella/Edward, and with us.

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Un/de(te)r-mined/ Lives

The power of the Prioress’s Tale and the boy’s song is contingent on the reader, but its vulnerable efficacy has persisted in a partially alive/autonomous state as well as in a partially dead, passé, pinned-down tradition of medieval literature. The Text and the boy are both undead vampires in a sense, sucking life-blood from the reader, just as we are drawn to it and bite into it for nourishment. This unlife has thus allowed the boy’s singing dead body to continue on for centuries until it can sit (literally and literar-ily) on the shelf next to Bella and Edward. 

The resonance of vulnerable power-positions and power-plays continues to connect them with my lived experience.

While the particularity of the Prioress’s song-boy and Stephenie Meyer’s teen-vampires are in a sense removed from my current circumstances, I continue to harmonize with their song of feeling uncertain about one’s position in a community, the feeling that one’s autonomy and life are contingent on dominant forces not exercising their power over me, shutting down my song and closing my book. And yet, this resonance reminds me also of all I will never know of the unlife of teens, boys, and vampires. What comes next for such Un/de(te)r-minded Lives?

To quote Twilight: Eclipse, "who the hell knows? This isn't the time to make hard and fast decisions, this is the time to make mistakes... to change your mind and change it again, because nothing is permanent." In other words, Things Transform, and that involves the demands for support in undeterred undetermined lives.


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