I started reading Heather Williams’s Self-Taught: African American Education in Slavery and Freedom on day two of my bronchitis-ridden body’s stubborn attempt to trudge out into the snow and do things, after resting (eg not going to the gym) for a highly irritating four whole days. Day two witnessed the same thing as day one of trying to emerge from sickville too soon: intense dizziness, fits of violent coughing, and the urgent, urgent need to crawl back under the covers after begrudgingly admitting to my concerned girlfriend that she’d been right in the first place: I’m still too sick to be out and about.
So, naturally, I decided to get ahead in course readings. Which brings me to Williams’s Self-Taught. After getting through a page or so — quickly excited by her presentation of a methodology that necessarily runs a blade through the mandate of periodization — I realized something else with glee: I was reading through this text without a problem. My dragging eyes and utterly exhausted mind were having no problem processing Williams’s introduction. Which is when it hit me how beautifully this book is written, and how it performs the kind of access that the history that infuses its pages emphasizes.
In her own introduction of this book to us (by way of the syllabus), Carmen reminds us not to “try to sound like Grad-Student-Turned-Derrida-Extraordinaire” (which I appreciate more than I can possibly describe. No syllabus has ever made me snort with laughter before. Life seems… complete now.). This reminder is particularly apt for this text, because — while it is supremely researched and is by leaps and bounds the most powerful monograph contribution to U.S. educational history that I can think of — the text itself defies expectations of what scholars are “supposed” to write like. It does not make itself incomprehensible in the name of “sounding academic.” Instead, its poetics are of a different kind: its incisiveness is made all the more powerful by the crystal clarity and accessibility of its language.
Perhaps as important as the history it provides is the rhetoric with which Self-Taught provides it. Williams brilliantly rewrites the typical codes with which dominant historical narratives refer to freed people and enslaved people: almost always identified alongside the note that x person was a slave, freed person, or former slave, dominant histories (like the rest of society) rhetorically establish whiteness as the identity that need not be spoken. Williams, however, only ever identifies white historical actors as such, making Blackness the default identity, decentering default whiteness from her history.
With each new personal literacy journey that she portrays, Williams rhetorically forces her readers to assume the Blackness of that the historical figures she discusses (who most often go nameless in white accountings). This centralization of Blackness in her narrative style reflects the centralization of Blackness in the history she tells, which powerfully situates Black Americans as the force behind the creation of a public education system in this country.
This issue of centralization comes up for me all the time while I’m teaching. With each syllabus I design, lesson plan I write, and lesson plan I change on the balls of my feet, I am constantly considering the immense impact of my white privilege in a CUNY freshmen writing classroom. We are taught — through everything we are exposed to — that teaching generally, and teaching writing specifically, is for white people (because everything is for white people). We are taught it so deeply that I hear colleagues say too proudly, too often, that they teach Octavia Butler’s work… amidst an otherwise overly bleached literary backdrop. Always the exception, like Frederick Douglass, for example, is always figured as the exception in narratives of Black literacy history. (Except, of course, in Williams’s telling.)
So, in the interest of refusing to only tack “other” things onto whiteness — in the interest, rather, of completely decentering whiteness, as much as my white body permits in the classroom — the question I ask myself during the design of my courses is always “what will this do for my students of color?” How can I centralize the various narratives of my students of color in my courses, such that I am not teaching an imaginary white classroom? (This imaginary white classroom is what white liberals inadvertently picture when they go simply for ‘awareness of oppression’ and tokenizing teaching agendas whose backbone is in fact, always, the re-centralization of whiteness.)
Williams’s Self-Taught is an excellent enactment of narrative construction that refuses to put whiteness at the center, recreating Blackness as the default. It is therefore, now, an aspirational text for me, both in terms of sharing the history it provides with my students, but also in learning from its models of accessibility, refusal, and reclaiming.
Tags: Black Literacies, Comp/Rhet, Composition History, Composition Studies, Course Work, CUNY, Curriculum, Freshmen Writing, Heather Williams, Lesson Plans, Literacy and Education, Self-Taught, White Privilege, Writing Classroom