Writing How I Know

I’ve been thinking a lot about Wordsworth’s sonnet “Nuns fret not” for the last three weeks, usually around 4:30 in the morning (4:38 to be exact). I’ve especially been thinking about “the weight of too much liberty” moment near the end of the poem. I’ve been thinking about weight and liberty in my writing lately—what it means to choose a specific kind of book project and what it could mean to let that go.IMG_7242

This moment is an interesting/unnerving chapter for me. It’s interesting (and exciting) because Written/Unwritten is taking me to places and into conversations that feel so meaningful to the work faculty of color want to do. I really couldn’t have asked for a better first year with it, and I think it will continue to do good working going forward. I know people will want to talk about it more, and I’ve figured out a good way for those conversations to be useful for faculty of color and people who really want to be their allies. But it’s also been unnerving. I’ve felt this (mostly) internal pressure to make sure it doesn’t eclipse my British lit. work. I love nineteenth-century literature, and writing a book about it actually feels quite timely to me as I see the U.S. in a very particular cultural crisis, especially as I follow the tensions between black women and white women who claim to be their allies. It feels to me that the tensions of women’s studies feminism has spilled into national discourse and debates at the same time that black artists are using the tropes unique to eighteenth and nineteenth-century culture to push back against racist structures.

It will sound impossibly earnest and quite yawpish (in the “Dead Poet’s Society” sense of the word), but I feel I MUST write this book, and I can’t wait to write it. I had a conversation about it a few weeks ago, and in the notes I took to prepare for the meeting the first thing I wrote was “I want to write a book that everyone wants to read.” I’ve never felt that way before. I didn’t even feel that way about Written/Unwritten. I did that book for black women and other faculty of color (not a strategy I’d recommend, by the way), and it’s been because of the grace and openness of a lot of people who saw a broader community for it that it’s being read so much beyond the original audience I imagined.

I feel this book differently and babble about it (that’s the only word for it) to my friends and colleagues when it comes to mind (pretty much all the time). When there’s no one else around, I talk to myself.

Then, in the middle of a long week in Texas, I had an invitation to write for a publication I admire and longingly read. I’d given a talk in Denton Wednesday and was sitting in a hotel room in El Paso on Thursday, putting the finishing touches on a conference paper while trying to revise the book proposal, when the invitation showed up. I knew pretty instantly what I wanted to write about but also was sad to realize I will always have to choose between two modes and, as I’ve come to understand, two audiences. The invitation didn’t come from an academic journal, and so I was almost tempted to put it on the back burner. Almost. I decided to fold it into my writing schedule even as it meant I was keeping up this tug-of-war about my voice and some “audience.”

This has me thinking more carefully about the discipline of writing and how academic writing disciplines me. By this I don’t mean the intellectual back -and-forth between peers asking one another good, if sometimes tough, questions about the work we do; I am talking about the discipline that demands a certain performance of an argument.

So in the middle of this process, in this prison I’ve embraced, I’ve been waking up at 4:38 in the morning, wondering about how I write and for whom.

I am a (fairly) disciplined writer. I have also been (fairly) disciplined.

The proposal I ended up with was a disciplined one, but when I was asked if the book in the proposal was the book I really wanted to write I was stunned by the ferocity of my ”no!” And surprised by how little I’d understood my own ambitions for this book. If you’ve met me, you know that lack of confidence is not something I seem to struggle with, but if you know me you know I don’t always trust that what I want to say or write a) actually needs to be said or written and b) that I’m the person to say or write it. This can be a good thing if it keeps me from being strident or glib. But it was getting in the way of my vision for this book.

So I went back to the drawing board. I mean that almost literally. I got out a piece of white paper and drew boxes and then arrows and phrases and then pulled prose out of that. I’m still doing that. It’s been harder to restructure the book, but I think that’s mostly because I’m in such a hurry to write it. I’ve also learned that the Written/Unwritten work is so outward facing that I really need the kind of internal, more quiet work of this book—reading archival notes, thinking about images, figuring out the textual habits of abolitionist writers. After a public talk on Written/Unwritten I really just need to sit in a café with a pencil and paper and notes.

What I thought I needed to work out is what it means to write for my discipline, and then, as I was scratching out notes about why Austen may have been wise not to write more explicitly about the slave trade, that writing 101 command “write what you know” came to me, and I wrote a note to myself: “write how you know.” What I should have written is “write how YOU know.”

It’s a pretty terrifying thought. A whole book writing how I want to write sounds lovely. I’m not even sure what this means or if this is what we all do, and it just feels important to me because my second book will be my first in some key ways. So I don’t know.

I know it’s unnerving.

I am a (fairly) disciplined writer. I have also been (fairly) disciplined.

So we’ll see. I spent the better part of two days just staring at a book cover and jotting down what it shook loose in my brain. I’ll start reading again soon, but I’ve been seeing what comes to me unprompted by the discipline. I’m curious to know what I’ll pull out of these last years of reading, teaching, and talking about British abolitionist lit. I’ve already let go of the disciplinary boundaries of “R”omanticism because they’re not really useful for the trajectory of this book. And I’m less interested in the chapter structures I was raised to emulate. I’m curious to spend time this week looking at the discipline proposal I originally wrote to see what is packed in there that might be buried under the performance of my arguments. I found “brief solace” in this performance, in this discipline proposal, and it is written in a way that I write, but it’s not necessarily written how I write. That’s the turn I’m planning to make.

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Protecting Writing Time

A new friend asked me this weekend how I keep myself motivated to write. I had some answers that weren’t particularly original. But one thing I advised didn’t really have anything to do with writing—that is, the act of getting words on the page and the work that surrounds writing. I told my new friend to skip a committee meeting that sounded like it wasn’t actually useful, didn’t really require her attendance, and, most importantly, was frustrating her.

It took me a long time to really understand that, for me at least, the work of writing is about how I manage my energy all the time, even when I’m not writing. My goal is to keep myself as calm and focused as possible so that when I sit down to try to concentrate a host of other things don’t pop up to distract me.

I learned this the hard way.

When I was trying to write for tenure (this is different than the writing I’ve done after tenure which has been to: save the world, rescue long-ignored writers, make people laugh, and save my friends from my long rambling theories), I developed a particularly bad habit. I would sit down to write and almost immediately start thinking about some intractable problem, often about some department nonsense or something in my personal life. These problems were real, and they were important, so I’d try to write something but they would be right there nagging at me until I would get so genuinely upset that there was no way I could write.   It got so bad that thought of writing made me anxious because my writing sessions were not actually about writing.

I’m pretty sure this habit formed because I was afraid I didn’t have anything useful to offer with my writing. I was also fresh out of graduate school and didn’t really have a sense of how journal submission worked. I knew that you wrote a thing, you submitted it, someone might like it and another someone would not only NOT like it but make that clear in the cruelest way possible (“this person writes like a second-year graduate student”*), you rewrote it, and two years later it might get published.

Intractable problems that made me cry were so much more appealing.

They were the perfect way to avoid the thing I was afraid I couldn’t do. This is all clear now, but it wasn’t for a while.  But I figured it out one day, and it has stayed with me for more than a decade.  I remember sitting in the Starbucks in Upper Montclair, NJ and kind of feeling good about the writing for the day when this pattern started up again. I tried a few times to push the thoughts away, until I finally made a kind of weird pact with myself. I told myself that if I concentrated for just this small amount of time, I could fret about the intractable for the whole rest of the day. It worked.

The thing I hadn’t learned, especially about departmental problems, was how to keep them from feeling intractable in the first place. That’s a thing I’m still learning, but when I advised my new friend to avoid a meeting that I didn’t think was helping her and that even seemed to be taking away from her, my advice was based on my own experience as I’ve learned to be a lot more judicious about how I spend my time and more mindful about what I actually do in committee meetings. It’s not enough for me not to take on too much committee work, especially since I’m an associate professor who is expected to do this work.

I guess the best way to explain it is that I’ve come to understand that writing is central to how I see what I’m supposed to be doing right now. It is the most rewarding work I do, and so I’ve worked to build a life that makes it the easiest thing for me to do.

I have a ton of ideas and love brainstorming about how to fix problems, so committee meetings can be like catnip for me. I also have strong opinions and am kind of uptight, so committee meetings can also be draining. Then when I get home, the work of unwinding from meetings takes up a lot of time and energy. I replay things, seethe over bad behavior, fret about what’s next. That can bleed into my writing time.

So I cut back—not on my meetings so much but what I do in them.   It’s tempting to think I can solve any problem (and maybe I can), but the humbling truth is that a lot of things run along just fine without my input.  And if they don’t the sky won’t fall. Now my calculation is always (always, always, always) about figuring out how much time and energy a committee will take away from the writing I want to do. I carry a draft of whatever I’m working on with me into meetings (an actual print draft) to remind myself that while I have obligations to my colleagues and my department, those obligations end when they take away from the energy I need to write.

I spend my social time with people who are happily engaged with their writing, even if we moan, wrestle, and fret over it. One of my favorite memories from the summer was sitting in the park listening to music with friends and then finding myself talking about writing with a friend over dinner.

I don’t get into protracted email exchanges, and if I feel myself wanting to use email to snap at people who piss me off I close my computer and go for a walk. I figure I can either spend time trying to prove my point (like that ever happens in an email exchange) or I can go for a walk and see where things look the next day. I have a say-it-to-my-face rule for students who get upset about class or a grade. I apply that to myself.

There’s a saying that opinions are like assholes; everybody has one. I think rather highly of mine (my opinions, that is). As a result, I don’t share them so much and only when I think people will a) actually listen and b) they’ll do actual good. It was hard at first (I have A LOT of opinions), but I felt so much better after meetings that I had more energy to write.

Writing time is still the time when big things show up that might get in the way of the work.   I’ve been grieving for the last year, and often the waves hit while I’m writing. I’ve learned to let them wash over me (I always have tissues with me) and then keep on writing. It is that central to the work I want and need to do.

 

 

*I was in my third year as an assistant professor.

 

 

On Writing What Needs to be Written

I was asked to write an essay for The Atlantic reflecting on Jane Austen’s bicentennial, and I was so glad to do it. I have a complicated relationship with Austen, but I’ve made my peace with it, primarily because I read her with such great students. So, I’m happy with her and about how she’s been celebrated. What I’ve not been so happy about is the trajectory of my research agenda. I started two book projects at once—a collection that turned out to be Written/Unwritten and a book on the history of the novel. Written/Unwritten found a publisher first, but it also felt more urgent. When I finished it, I planned to turn back to the book on the history of the novel, but that work felt perfunctory, like a performance of what I thought I should write back when I was a graduate school.   I gave it a year, but I kept saying I was writing the book on the history of the novel but then giving conference papers on British abolitionist lit. My thought was that I’d write the book I was supposed to write and then write the book I wanted to write, one about abolitionist literature, genre, sugar, motherhood, amelioration, and sugar some more. I wanted to write about sugar bowls and gender and kept looking longingly at these tantalizing books on the subject.

“You have to write the book that wants to be written…”
–Madeline L’Engle

There’s no one thing to point to that ended up with me in an administrator’s office explaining that I wanted to use a research grant to look in different archives for different stories about England in the nineteenth century.  Seeing my students ask more questions than I have answers for in my abolitionist literature class is part of the reason.  I also know the energy it takes to get a book done, and it just didn’t seem like a good idea to take that on without totally invested in the project. It also feels like I can do more to make my research matter if I take up the questions I’ll explore in this book. They haven’t gone anywhere in centuries, and now seems like the right time when more and more people are seeing what a lot of black folks have always known about race, racism, and racial violence.

It’s scary. I was sitting in an archive in April, feeling slightly nauseous about the work ahead of me.  And I don’t want to be a person who quits a project half way through. I’m trusting that what people who know me well say about me is true—I’m not quick but I am very persistent. I’m also trusting that I’m a clearer writer and thinker now than I was when I planned the other book.

Of course, the moment I started working on the book proposal, all of the research I’ve been doing was relevant to this project but in a new way. And at least one of those former book chapters is on its way to being transformed into a journal article—where I suspect it will actually have more impact. Somewhere between the conference-length essay and the 9,000-word chapter draft is a stunning, erudite consideration of Mary Shelley, Felicia Hemans, Genre, and Byron. I’ll find it. People have been interested in seeing me write more things like this Emma piece in the Toast, and I’m working on that too. It’s hard in a different way, but it’s a good struggle, and I feel lucky to have people waiting to help me get it done.

This means I write more than I used to. I’ve spent most of the summer writing (that and walking off two years of stress and anxiety), reading, and putting together a research agenda that makes sense. I’m this close to finishing what will be first big journal article on British abolitionist lit, co-editing a cluster issue on abolitionist lit with Manu Chander (it’s gonna be GOOD), and balancing two different kinds of book proposals. So we’ll see. If you’re a praying person, pray for me. If you’re not and you see me in a café or bar writing, buy me a drink.

A letter to my student

A student wrote me:

Dr. Matthew,

As a hopeful future educator, DeVos' hearing downright broke me.
Her basic lack of knowledge about our school system and it's prevailing 
issues is yet another example of the shitshow replacing Obama's 
administration. 

It's at times like these, when I feel the most despair, 
that I truly miss your classroom where you offer hope and resilience 
to this kind of nightmare. 

Hope you're doing well. 

And I wrote her back:

It’s a dark and sad time, XXXX.

I woke up yesterday so sad and angry that America chose such a horrible human to follow such a devoted public servant.

My plan is to continue do small things in my corner of the world.  I’ve been collecting toiletries for women in the shelter I pass on the way to school.  I’m trying to make sure that when I participate in social media conversations I offer solutions and suggestions more than complaints and that I try to show how the world works for those who are trying to make their lives work without the benefits I get to take for granted.  I pray everyday that there is more compassion and respect in the world.  I try to read books that remind me that the human spirit is stronger than we all know.

The hardest thing is to feel helpless, like there is nothing I can do, but I try not to think about it that way too much. My goal is to find one public issue that I think is the most important and to learn all I can, then share what I know, and support it with whatever resources I have.

You and your classmates really helped me understand my own feelings about the election.  So thank you for being so open. Your outrage and disappointment give me hope. If you all care, then I know we will all find a way to thrive.

If you can, take courage in the fact that you are not alone in your outrage.  And remember that there are mechanisms already in place–organizations and groups of people–who have been here before, who have seen far worse, and who are ALREADY at work.

Protect your spirit.

Yous,
Tricia

CFP: “Alterities and Abolitionist Forms: Genres of British Abolitionist Literature, 1790-1830”

abolition lit art

I’m so excited to be working with Manu Chander on a special journal issue.

Alterities and Abolitionist Forms: Genres of British Abolitionist Literature, 1790-1830

Essay length:                             7,000—8,000 words
Abstracts due:                           31 March 2017
Essays due:                                1 November 2017

The conversation about literature that circulated in response to Britain’s debates about the slave trade has moved beyond considering Equiano’s Interesting Narrative as the representative text of British abolitionist discourse.  Debbie Lee and Peter Kitson’s eight-volume Slavery, Abolition, and Emancipation: Writings in the British Romantic Period (1999) was followed by projects that not only upended considerations of the Romantic canon as a whole but also made clear how deeply ingrained questions of national identity and race were to the major figures of the period. Lee’s Slavery and the Romantic Imagination (2002), Paul Youngquist’s Race, Romanticism and the Atlantic (2013) and Evan Gottleib’s Global Romanticism (2014) along with others have prompted questions of alterity, national identity, and genre that underpin Romantic-era literature.

As part of the current critical discourse that takes up questions of alterity and globalism in the wake of newly discovered abolitionist texts and lines of inquiry, we seek essays for a special journal issue that invites contributors to engage collectively with “abolitionist forms”–literary genres and formal innovation, as well as cultural formations (societies, organizations, coteries, etc.), and diverse, non-verbal means of communicating about slavery and emancipation (material goods, visual texts).

Although we are open to essays that take up issues and ideas related to the texts, figures, and movements associated with the period, we are particularly interested in essays that take up the following questions,

  • Can we speak of abolition as genre—as a way of producing/marketing literature, a series of expectations, a discrete set of purposes, styles, forms that cross traditional generic boundaries?
  • In what ways did abolition inspire or require new forms of literary communication, or revisions of traditional generic categories?
  • Where do form and content intersect in abolitionist texts?
  • How did the cultural limits placed on white women writers shape their complicated investment in the abolitionist movement?
  • How did abolition contribute to the formation of social groups in which historically marginalized subjects were given voice?
  • To what extent can we speak of abolition in the singular and what are the limits of history that can be exposed/transcended by theory/literature?
  • How does the use of new technology to uncover/recover under examined sources and the proliferation of online archives shape discourses around raced bodies, particularly for novices?

Editors
Manu Samriti Chander is an assistant professor of English at Rutgers-Newark. His research interests include British Romanticism, colonialism and postcolonialism, and aesthetic theory. He is the author of Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century, forthcoming from Bucknell University Press, and the editor of Egbert Martin: Scriptology (Caribbean Press, 2014). He currently is developing a second book project, Art Fights: Aesthetic Controversy and the Lessons of Modernity, which pursues a cultural trajectory from poetic works of Wordsworth and Keats, to the novels of Mark Twain and Vladimir Nabokov, and the films of D.W. Griffith and Stanley Kubrick.

Patricia A. Matthew is an associate professor of English at Montclair State University. She focuses on the history of the novel, Romantic era-fiction and abolitionist literature, and diversity in higher education. She is writing a book about representations of the body and the discourse of disease and illness in Romantic-era fiction. She is the co-editor with Miriam Wallace of a special issue for Romantic Pedagogy Commons (“Novel Prospects: Teaching Romantic-Era Fiction”) and has published essays and reviews in Women’s Writing, Nineteenth-Century Gender Studies, and the Keats-Shelley Journal. She is the editor of Written/Unwritten: Diversity and the Hidden Truths of Tenure (University of North Carolina Press, 2016) and has published essays and books reviews on diversity in higher education in PMLA, The ADE Bulletin, Signs: Journal of Women in Culture and Society, The New Inquiry and The Atlantic.

Back in the Romanticism Saddle Again

Teaching

I took a break from teaching the Big Six for a number of reasons–mostly because it was all beginning to feel a bit rote (if it’s October it must be Blake).  It’s also been more interesting for me to teach the literature of the period around a specific historical debate (Britain’s abolitionist movement) than to teach it as a survey I feel I’m marching through.  But I found myself missing Frankenstein and Coleridge, and even had fond thoughts about Wordsworth, my favorite poet to mercilessly mock. My first thought was that I would revamp the reading list, but I’ve decided to stay with the texts I know I can teach well while trying to fold in what I’ve been thinking about when it comes to how we understand the period.  I’m thinking specifically of the role visual culture plays in how the Romantics and their readers saw themselves and the cultural shifts they faced.  British abolitionist literature lends itself to this. At least I think it does.  That might say more about how I stumbled into it (seeing the cover of the OUP Belinda and wondering about the black figure in the portrait), but I’m hoping for a class where we read image and text at once.  I’ve been thinking of new writing and research projects for my students. This is a constant pedagogical project for me as I try to move beyond the traditional writing assignments while still sticking close to what those assignments are intended to teach.  Based on student feedback, I’ve realized I need to spend more time helping them through the assigned readings, and so one thing I’ve done these last weeks is go through all of my  lecture notes and reading guides/questions and pulled together the best bits and pieces for each assigned reading.  Reading nineteenth-century literature requires a certain set of reading practices students don’t always have, and I need to find ways to help them build a reading (and not just a critical) vocabulary so that they can have a more nuanced understanding of our poems and novels.

Research: Conferences

I’m at the International Conference on Romanticism in Colorado in October and am trying to pull what I promised in this abstract into a cogent argument (for those who read Opie, I’ll focus on the pineapple in Adeline Mowbray):

“Blood Sugar, Genre, and British Abolitionist Literature”

 If, as Pamela Gilbert argues in Disease, Desire and the Body in Victorian Women’s Popular Novels, “Genre operates not only as a way of binding the reading processes, but of locating the text within the ‘boundaries’ of a ‘space’ within the marketplace” and if, as Debbie Lee explains in Slavery and the Romantic Imagination, the 1783 Zong case brought the truths about the slave trade “terrifyingly close to home,” how can we understand the different functions of fiction and poetry produced by middle-class English women not only to help abolish the slave trade but also to gain entry into public discourse? I explore this question by considering The Woman of Colour a Tale, Amelia Opie’s “The Black Man’s Lament; or, How to Make Sugar,” and the abolition narrative in her roman à clef Adeline Mowbray. By juxtaposing these texts against Southey’s sonnets “On the Slave Trade” and Hannah More’s “The Sorrows of Yamba,” I argue that women writers worked within the formal constructions of poetry and against the generic constraints of the novel to make radical claims about the effects of the slave trade without losing the sheen of respectability that didactic writing conferred on them. By considering the corporeal as a trope that ties all of these texts together, I argue that the popularity of the novel during the Romantic period was not just a result of its sensational elements but was also a byproduct of a culture that understood its ameliorative powers, even as figures like Dr. Beddoes argued that novels would destroy the nation.

Pray for me, people (actually pray for Hannah More because I probably won’t talk about “Sorrows” as much as she would hope).

Research: The BOOK

One of my mentors took me out for dinner and asked, “If someone requested the manuscript right now what could you give them?” The answer almost made me want to crawl back to my desk. I think this ICR conference paper could be the missing link for the third chapter (I have a draft of the whole book, but the intro is a quite drafty). If so, that would be pretty huge. That would mean the three main chapters are in pretty damn good shape. Part of the problem I have is that I sometimes think I’m writing three different short books instead of one big critical tome. I think that shorter books are more my style, but I don’t know that shorter books would be the best first way for me to take on one of the larger question the book tries to answer, namely how does Romantic-era fiction help us understand proto-feminist contributions to debates about the body? If I can get the proposal out soon (and very soon), my reward will be focusing on two other projects I’m wildly excited about…so excited I could talk your ear off about them if you let me.

Somewhere in all of this I’ll be talking about Written/Unwritten (seven pending invites and counting…*), but I suspect I’m about to become a person who really does write on planes and in hotels over breakfast.

*Yes, I will come to your school or department to talk with your faculty, administrators, and graduate students about diversity in higher ed, but it really does seem as if my calendar will fill up, so, at the risk of seeming a bit pushy, I advise you to get in touch with me sooner rather than later with firm dates.

 

Written/Unwritten Essays, Interviews, Appendices

It’s hard to explain how honored I am that people from across the country trusted me with their stories and ideas.  They have been so patient and supportive, and I’m unbelievably proud to have gathered their stories here.

Pre-order at UNC Press • Discount Code: 01DAH40

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Foundations

Responding to the Calling: The Spirituality of Mentorship and Community in Academia
Houston Baker, Jr with Ayanna Jackson-Fowler

Building a Canon, Creating Dialogue
Cheryl Wall with Rashida Harrison

Navigations

Difference without Grievance: Asian Americans as the Almost Minority
Leslie Bow

In Search of Our Fathers’ Workshops
Lisa Sánchez González

Identities

Tenure in the Contact Zone: Spanish is Our Language Too
Angie Chambram

‘Colored’ is the New Queer: Queer Faculty of Color in the Academy
Andreana Clay

 Manifestos

Performative Testimony and the Practice of Dismissal
Jane Chin Davidson and Deepa S. Reddy

Talking Tenure: “Don’t be safe. Because there is no safety there anyway”
Sarita See

Hierarchies

Still Eating in the Kitchen: The Marginalization of African American Faculty in Majority-White Academic Governance
Carmen V. Harris

Musings of a Lowly Adjunct
Wilson Santos

Activism(s)

Balancing the Passion for Activism with the Demands of Tenure: One Professional’s Story from Three Perspectives
April L. Few-Demo, Fred P. Piercy, and Andrew J. Stremmel

 “Cast your net wide”: Reflections on Community Engagement When Black Lives Matter
Patricia A. Matthew

Appendices

Talking Tenure Newsletter
Maria Coter, Paul Faber, Roxana Galusca, Anneeth Kaur Hundle, Rachel Quinn, Kirisitina Sailiata Jamie Small, Andrea Smith, Matthew Stiffler, and Lee Ann Wang

 University of Southern California Analysis of Data on Tenure
Jane Junn

Making Labor Visible
Kim F. Hall