The “White Turn” in Composition Studies

When I first tried to publish “ ‘This the ConscienceRebel’: Class Solidarity, Congregational Capital, and Discourse as Activism in the Writing of Black Female College Students,” I must admit that I was taken aback by white resistance in composition studies— the field to which I am most closely aligned by nature of the work that I do but certainly not by the nature of my politics , aesthetics, or pedagogies.  I was not surprised that the white editors saw the work— a text that focuses on working class Black female college students— as irrelevant to the wider field.  But, I must admit: I was surprised that it was Black female scholars in the field who gave the white editors rhetorical ammunition.

black womenIt was Black female reviewers who brought up the point that most professors reading the article would be white and have mostly white students and so would not be able to relate to the content.  Yes, you heard that right.  It was Black female professors who made that claim.  And I shouldn’t have to tell you that the white editors went to town on that right there. Besides the fact that it undermines all Black women when Black women see themselves as tangential to educational research, the idea that the majority of college writing classrooms today mostly enroll white, middle class students IS FALSE!  That’s not historically accurate and it certainly does not apply to an era where higher education gets browner and browner every year. Whiteness in this field gets maintained by scholars of color as much as it gets maintained by white scholars and it’s time we start talking about it.

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Still… Teaching to Transgress

I’ve been thinking a lot lately about bell hooks’s book, Teaching to Transgress, in part based on her series of taped, public dialogues that she has been doing at the New School (and her upcoming keynote address at NWSA) and, in another part, based on my own current teaching location.

I have felt for a long time now that if we want to talk about a radical, transformative education for young people of color, we need to be teaching in the schools that actually enroll them in large numbers.   I have said it and I have meant it. And I do not mean after-school programs, though our presence there is vital. I mean bearing witness to the day-to-day of current schooling regimes as an insider there, not merely as an academic researcher/note-taker. You can call me an Old Skool Black Studies Scholar in that regard, because I just can’t see giving all that I know how to do solely to white students at a privileged university, no matter how much they might need to see and hear someone like me.  I have worked now in three spaces as a tenure-track professor at colleges whose enrollments are largely or mostly students of color from racially subordinated groups: a state university (not the flagship campus, but a space trying to be that); a private university; and a city university. Teaching to Trangress in these spaces is more than just a notion, especially when it is so dauntingly unwelcomed by what Sylvia Wynter would often call “the grammarians of the social order”— those academics whose intellectual lens are so deeply ingrained with dominant reproductive modes of racism and social stratification that their sole, intellectual job is the maintenance of our current systems of logic. You don’t even need to strain your mind and imagination to recognize who these folk are.

Today, I have been looking at the ELA Regents exam in New York State, the state exam in English Language Arts.  Here is the August 2014 exam posted on the state website:

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Frat Boy Culture: Life under Institutional Racism, Part II

Though working at a conservative, denominational university could never have been a very good fit for someone like me, I must admit that I miss some of the piousness of a religious institution. A strange confession, surely, but it was a nice reprieve from what I call the frat-boy culture of academia.   I began to really notice frat-boy culture in graduate school, though that culture plagued my undergraduate years as well. As an undergrad, I just assumed frat-boy culture was what folk would someday grow out of. No such luck.

I was, quite honestly, floored by the nature of sexual activity in graduate school where everyone was sleeping with everyone, married or single. When you are the one drop of chocolate in the flymilk, you know better than to think you have enough privilege and power to participate in this culture… though I have certainly seen more than a few black men get fully entrenched (grad school has a way of making them forget that they are black, but they usually get THAT reminder soon enough). Here we were in graduate school and a man could sleep with 3, 4, 5, 6 different women in his program/college and not even think twice about it… AND even get a few of them pregnant! Professional conferences are no different. It’s all fray-boy culture. You can see why a religious university, for all of its problems, was a nice, short breather in between all of that. I never once suspected my chair, directors, dean, etc to have slept with every young woman/man who walked past them and I am the type of person who once I SUSPECT it, I know that that ish has gone down. It’s not to say that power and whiteness are not everywhere exerted and celebrated in other ways on such religious campuses, but it is not inserted THAT way.

inferiority complexI am NOT talking about upholding respectability politics here, which really just becomes a buy-in of black inferiority.  Critiquing and rejecting respectability politics does not mean we lose the critique of frat-boy culture and its role in maintaining power and inequality. Notice here how I am critiquing male dominance and not women who use their sexuality to manipulate and vie for power (think Kim Kardashian, Mimi Faust, or the “video hoe”). It is just TOO played out to keep castigating individual women or, on the flip side, to call them sexually revolutionary or powerful (all the while, of course, ignoring that race determines which women will be most denigrated for these sexual choices). Insomuch as white fraternities have been marked with the most economic and political power in U.S. history of higher education and beyond (go to any campus and see who has the biggest and nicest frat houses…or who has them at all), then I connect frat-boy culture with whiteness and patriarchy.

frats on FOXFrat-boy culture is about power that gets controlled through sexual domination. For sure, religious universities are still controlling sexuality (with the Bible), which explains why whiteness and power were not ruptured in any way on a campus where the men kept it in their pants. But when you are in a closed-door meeting with a white man and woman who have surely had (maybe still have) sexual relations, let me tell you: THAT shit is palatable. You are navigating a whole other kind of terrain when they vie to maintain their whiteness and position over you. Like I said, I KNOW frat-boy culture so I can spot this in a minute. That’s the most powerful position you can be in though. When you are in the academy and workplace, you need to be able to read the hell outta EVERY aspect whiteness and power… sexuality is always a marker. That’s how frat-boy culture and inequality work.

“When They Reminisce Over You, My God!”: Reminiscing Racial Violence, In and Out of School

Thank you to Crystal Belle and the organizers of the Trayvon Martin Effect Conference at Teachers College for this weekend’s events and for inviting me to attend!

What are the words you do not yet have? What do you need to say? What are the tyrannies you swallow day by day and attempt to make your own, until you will sicken and die of them, still in silence?
—Audre Lorde, Sister Ousider, The Transformation of Silence into Language and Action

The stories that I am telling here all began with the image that you see above of Trayvon Martin, Jordan Davis, and Emmett Till.  When I pieced the images together, all I could hear in my head were the words of Pete Rock and C.L. Smooth from their 1992 album featuring T.R.O.Y./They Reminisce Over You, dedicated to their friend Troy Dixon.  It’s the end of the first verse and C.L. Smooth’s last two bars that propels the stories that hits what I think is at stake when we let everyone know that we refuse to forget Trayvon or Jordan or Emmett or any black boy:

Déjà vu, Tell You What I’m Gonna Do

When They Reminisce Over You, My God!

It is the way that CL Smooth hits that last bar, the way he uses sound of his voice to achieve the emphasis he wants to make.  He is making a promise to the world that the weight and impact of this death, via the reminiscence, will be felt for generations to come… because you see, for me, that weight and that re-remembering is exactly what I think schools quite actively and deliberately keep us from doing.