Resources by Gregory L. Cuéllar

“I just do not know if I have it in me to write another paper” were one student’s words midway through my Hosea exegesis course. By this time, I was on my third semester of pandemic teaching. Zoom fatigue had set in alongside our unceasing grief for the daily Coronavirus death tolls. Hearing each other in a virtual space that seemed coerced and yet routine was not limited to a spotty Wi-Fi signal or faulty audio equipment. Our hearing—that kind we learn from—had fallen numb. Pre-pandemic, the design and pedagogical approach to my Hosea exegesis course had reached a sweet spot. I had a good learning balance between group work (contextualizing the biblical critic and reading in community) and individual final projects. As for the psychosocial dynamics of this space, it was easy to read the feeling states in the room—enervation, anxiety, but also, surprise, discovery, or intrigue. And by midway through the course, everything in my syllabus usually went as planned, barring a few late papers. As such, hearing to learn and learning to hear seemed to work harmoniously with our embodied practices in the classroom. The abrupt shift to pandemic teaching posed unique challenges to my hearing-learning reflexes. Upon reflection, the issue was not auditory but rather a stale hollowness of presence or what I call “the hollow hearing effect.” Arriving at this diagnosis of the learning experience was, indeed, a process, beginning with the shocking midsemester flip to online teaching to running a new learning platform to revamping my syllabi for a new virtual world of teaching Bible. Soon, the rhythms of my synchronized classroom felt random and sluggish, in part because of our connectedness to the globe’s misery but disconnectedness on Zoom. Then comes spring 2021, the semester of my Hosea exegesis course. Going in, I recall feeling optimistic about my redesigned syllabus. Instead of my usual “reading in community” group assignment, I had students contribute asynchronously to a video community commentary. Here, students created a ten-minute video in which they read their English translation of the assigned Hebrew verse, highlighted one major poetic feature, discussed two contrasting interpretations, and lastly applied their reading to a contemporary issue (e.g., trauma, migration, empire, gender, violence, justice). Below each uploaded video commentary, students had the opportunity to pose questions and offer constructive feedback. Each week, their online community commentary unfolded according to plan. Although their feedback fell between modest and missing, their videos showed a genuine and critical engagement with Hosea. I was especially moved by their applications of Hosea to various contemporary issues (white privilege, anti-black violence, family separation at the Texas-Mexico border, reproductive justice, the pandemic, etc.). Despite the decent success of this assignment, students were still coping with the constraints and hardships caused by COVID-19. While I could help them decipher the trauma in Hosea, I had difficulty reading their own learning woes online. By week ten, it finally became apparent that my syllabus’ mechanical precision did not exempt students from the grief-inducing complexities of a global pandemic. Their day-to-day angst of forced immobility and family separation were coupled with a weekly dose of prophetic texts rife with trauma, violence, and abuse. Add to this their application of Hosea to contemporary traumas, and the results were a learning breakdown. Once I was made aware of this, I felt like I do when I travel with my family through an international airport. Usually, I am leading the way to our connecting gate. Without looking back, I soon go from a steady walk to a marathon-style stride. Though I arrive on time, my family is nowhere to be seen. Out of breath, they finally arrive asking angrily, “Why didn’t you stop for us?” Hence, though I made it to week ten of my syllabus, my students were “crawling towards the finish line.” Unlike my airport marathon, I decided to put the brakes on my syllabus two weeks before my Hosea exegesis course ended. As a remedy to my students’ learning woes, I decided to offer them a second option for their final project. In lieu of an academic exegesis paper, students could submit an art exegesis project. Indeed, my recourse to art was not some random contrivance. From the standpoint of prophetic literature, the art of poetry served as a viable care-strategy for coping with the traumas of imperial conquest. Moreover, artmaking and the traumas of forced migration have been central to my advocacy work in the US-Mexico borderlands (see Arte de Lágrimas: Refugee Artwork Project). Thus, to turn to art for a final project made sense at a deeper level. In the end, every student in the course submitted an art exegesis project, which included original art, an art talk, and reflection. Here is an example of one student’s triptych art exegesis (oil paintings):   “I Will Tear” (Hosea 5:14)               “I will love them freely…And lengthen his roots” (Hosea 14:4-5)               “And Shall Arise among your people” (Hosea 10:14)           Among the responses, one student stated, “It revealed to me things about the text and about myself that I don’t think I would have seen doing my standard mode of exegesis.” As their teacher, it gave me a way of hearing my students that was far from hollow but rather healing.

For many of my students, voicing themselves is not the issue. Mostly, they are terrified of revealing their authentic voice. Although I empathize with them, my role as teacher obligates me to keep them faithful to its discovery, even if their authentic voice is not a fixed thing. Hence, I approach this pastoral work with the understanding that their respective voices are dynamic and ever-changing, not along a linear trajectory, but within the messy cycles of their precious lives. In this way, my role as teacher is to inspire them to discover a self-authenticated speech power that when activated they can proudly hear and see themselves. And yet despite my good efforts, I inevitably have students who have despairingly succumbed to the notion that their voice is not worth hearing. Achingly, such devaluing of self is often the result of a combination of adverse and even abusive social, political, and economic forces that they have encountered over the course of their lives. For other students, the issue is not worthlessness but often anxiety in hearing those facets of their voices that expose their privilege and cultural bubble. To cope with either one of these voice-silencing impulses, students usually opt for a masking scheme that I call, the plagiarized voice. Here, the goal is to disguise their authentic self, with all its flaws, foibles, and flavors, by appropriating other people’s authentic voice. Beyond simply quoting word for word from another author without giving proper credit, which is a dishonest academic practice resulting in dismissal, students assemble a composite voice using a default collection of words and phrases. There is also the habitual deployment of go-to concepts and argumentation that are indiscriminately plugged into their writing. The entire production points clearly to the concealment of their authentic voice. Another giveaway to this masking tactic is when students carelessly employ—whether in their writing assignments or class participation—trendy keywords, particularly the kind that they think would trigger a better grade from me. Knowing that my scholarly voice reveals an ethical commitment to the themes of “postcoloniality,” “migration,” “trauma,” “empire,” “violence,” “colonialism,” and “marginality,” students surmise that by sprinkling their writing with these words enough times a higher grade will magically appear. It is not that these themes are off-limits in students’ writing, for I teach that they are critical to understanding the cultural, social, and political instincts of the writers of the Hebrew Bible. Furthermore, these inscribed instincts belong to the sacred otherness of the biblical text, and hence we should resist colonizing their language and cultural points of view. At issue here, however, is when these themes and concepts do not cross-pollinate with a student’s authentic self in ways that show their close reading, creativity, and courage. Indeed, the lived experience with imperial violence that permeates much of the Hebrew Bible requires attentive and respectful listening, such that the felt pain behind the text is not diluted by sanitized scholarly jargon. If pain and suffering are common to all humans across time and space, then students should be able to hear themselves in the stories and poetry of the Hebrew Bible. Likewise, theorizing on ancient forms of colonization also requires a spectrum of diverse dialogue partners, some with expertise in literary analysis and others who write about imperial violence from first-hand experience. In my view, inviting a mixed range of reading partners (preferably in nonhierarchical fashion) is vital pedagogical practice that allows my students to fine-tune their authentic voice. In other words, the aim is not to harvest a new collection of catchy phrases but to hear oneself in relation to a rich variety of other voices. For example, when students encounter a rape scene in the biblical text—troublingly, there are many to choose from—how do they respond to the expert critics who gloss over this egregious form of violence? Or if students hear from authors who write about their first-hand experience with exile, does their testimony strike a chord in ways that could help students better exegete the biblical text? Notably, teaching future pastors the Hebrew Bible at a Protestant seminary is in many ways about authentic voice, specifically the divine voice. It is this pursuit of authenticity that my students are expecting—and frankly pay—to receive. The divine voice is not something that can be reproduced through Generative AI, for the authenticity of God is revealed through the realms of faith. And in the end, they will be practicing this pursuit each time they take the pulpit. For it is here that their congregants gather, expecting to receive from them an authentic word from God. As a teacher, when I think of this sacred moment, liberating students from the plagiarized voice becomes even more urgent.

For Gloria Anzaldúa, the borderlands are rooted in US-Mexico geopolitics in which the border wall is both a socializing project and an everyday policing structure. Although Anzaldua’s activist hermeneutic of the borderlands has a state of transcendence in view, it remains politically grounded given that her experience with borderlands is inextricably tied to a US-inflicted social wound on the people and the landscape. Here, political activism functions as a spiritual exercise, which, for Anzaldúa, was achieved through the power of the pen. In essence, her recourse to writing as a political act stemmed from her understanding of the power that archives have in defining identities and shaping social realities. In this sense, the border wall functions as an archive of US imperialism, racism, and anti-immigrant sentiments. Through her writings, therefore, she aims to trespass on this archive, or more specifically cross the border wall by offering a counter-reading of the history, culture, and beauty of ethnic Mexicans. The notion of border wall as both politics and an archive speaks to how borders and walls in general are the result of a cultural value system and shared social beliefs about the Other. The southern border walls separating the US from Mexico are a reality based on the widespread belief that ethnic Mexicans are entirely inferior and hence more prone to criminality. The genealogy of such myths can be traced to the mid-nineteenth century and the expansionist ideology of Anglo-American Manifest Destiny. This ideology relied heavily on a theology of providence, which, in turn, made the Anglo Protestant Church its most ideal ambassador. Thus, any trespassing on the archives that legitimate the current southern border wall must be attentive to the North American Church and its scientific and literal uses of scripture. For those churches acting more as agents of the state, crossing the border wall is considered not just a crime against the state but even more a sin against God. This conflation of state agenda and divine will is also operative in chaplaincy services provided in US immigration detention facilities, to the extent that convicted border crossers are led to accept detention and deportation as part of their Christian duty. In the US-Mexico borderlands, border-crossing points to a transgressive act; yet for an activist hermeneutic of the borderlands, this act of transgression can be harnessed in a methodological way, especially as it pertains to the interpretation of scripture and its interpreters. Just as Anzaldúas’ notion of borderlands helps us to reframe the hermeneutical enterprise as an awareness of and interchange with otherness, taking up border-crossing as a decolonizing reading strategy cannot avoid the US-Mexico border writings of Américo Paredes. Because Paredes’s border-crossing strategy operates primarily as a response to US expansion over Mexico’s northern territory, it is attuned to not only “border wall as archive” but also to “border wall as a colonizing discourse.” When applied to an activist hermeneutic of the borderlands, border-crossing as a strategy for reading scripture implies a transdisciplinary engagement with the biblical text and its interpreters. Although crossing and converging multiple-theoretical discourses is essential, the lives of everyday people in the borderlands attunes our social justice gaze toward the material and spiritual suffering of people rather than ideas alone. As Paredes reveals in his discursive border-crossings, the lived experiences of border people often fall out of view in the professional theoretical literature and hence in the classroom. The cultural values and rules of self-making that govern disciplinary boundaries tend to dismiss the cultural productions of the colonized Other, arguing that they lack critical-thinking skills, leadership instincts, and refined aesthetics. Crossing over the borders that regulate the dominant hermeneutical enterprise with the cultural archive of those wounded by US border walls is not only a transgressive move but more importantly a liberating strategy for minoritized communities of faith. Their lived experiences with empire, violence, and forced migration serve as a vital commentary to biblical texts that bear witness to some of the same wounds. Here the lived commentary of border people and the human traces in the biblical text interact in kinship ways, from common themes to the postcolonial traumatic condition. By transgressing the boundaries of the dominant hermeneutical enterprise in this way, readers expose the synthetic nature of various Western scientific methods and their inability to deliver on their positivistic promises. Also, the lived commentary of border people emerges with increased value within the professional literature, which, in turn, may lead to their revaluation in the social justice realm.

The social justice issue that I have consistently raised in my biblical exegesis courses has been US immigration. As I tell my students—mostly white middle-class Protestants fixed on parish ministry—engaging this topic in a sermon will likely incite some criticism from parishioners or even set in motion a premature resignation.  Despite my school’s borderlands location and the exilic content of the Hebrew Bible, pivoting to the topic of US immigration in a biblical exegesis course cannot be done haphazardly. In terms of texts, I find that Genesis (12–50), Exodus, Psalms 120–134, Second Isaiah (40–55) and Lamentations are especially apt for engaging this complex sociopolitical topic. What is unavoidable in these texts are stories about people on the move because of famine, jealousy, conquest, or faith—to name just a few. Yet still, connecting these biblical stories to the lived experiences of migrants in places like the US-Mexico border is by no means a linear process. No matter how convinced I am that Abram’s journey from the Ur of the Chaldeans to the land of Canaan (Gen 11:31) is a migration story, in order to bring my students along I must confront the assumptions that inform their understanding of migration. A common assumption they often have about migration and by extension immigration is that both phenomena represent a social problem or challenge. At the source of this assumption is indeed not an ancient notion of migration but rather their nation-state formation. By contextualizing the latter, students discover that the problems most associated with migration and immigration in US dominant society—like border crossers as “illegal,” economic strains, cultural threats, and spreaders of disease—stem from Western nationalist forms of inclusion and exclusion. After discovering their own nation-state biases about immigrants, I find it easier to shift to the theme of migration in the biblical text, contrasting along the way the ancient assumptions that likely informed it. As opposed to nationalist thinking, the biblical text often starts with the assumption that humans are free to move and that this movement constitutes an act of faith rather than a crime. Emphasizing the freedom of movement and the faith that accompanies it in the biblical text, I then pivot to US immigration and the sociopolitical injustices produced by the nation-state’s control of human mobility. Though migration studies, forced migration studies, and refugee studies are useful resources, their approach to immigration is often based entirely on the modern concept of the nation-state and hence tend to view borders, citizenship, and state sovereignty not as human constructs but as natural to our earthly existence. This nationalist-centric agenda can also be transferred unwittingly over to the biblical commentary material that relies on the social sciences.  For this reason, I supplement my immigration bibliography with migrant artwork (See https://artedelagrimas.org/), particularly the kind that emphasizes the freedom of movement and faith as in the drawing below: Dayana, “Mi Jornada (My Journey),” colored pencil and marker, 2014, 9 x 12, Arte de Lágrimas Gallery. Dayana is from Guatemala and was 7-years old when she drew this art piece about her asylum-seeking journey to the US. She and her mother travelled by car and then by bus. She remembered that the road was long and gray (left side). Her picture narrative ends with them crossing the Rio Grande on a makeshift raft (lancha). She first drew the rocks (piedras) in the river and then the river banks. Next, she drew the makeshift raft in the middle of the river with her and her mother inside it. I asked, “Did anyone say good bye to you?” She replied, “My aunt.” She placed her aunt on the Mexican side of the river waving goodbye. I then asked, “Was there anyone else?” Not saying anything, she removed the rosary from around her neck and traced the plastic crucifix over the Rio Grande. She then began to sing the hymn “En la Cruz, en la Cruz, yo primero vi la luz, y las manchas de mi alma yo lavé, fue allí por fe yo vi a Jesús, y siempre feliz con El seré (At the Cross).” Her and her mother sang these words while on the raft. In the drawing the cross is the symbol of faith that accompanied Dayana’s migratory movement across the Rio Grande—the symbol of a territorially bounded state. Like Abram’s story, her faith assumes the freedom of movement.

Gregory L. Cuéllar, Ph.D. Assistant Professor of Old Testament Austin Presbyterian Theological Seminary My introduction to Old Testament course has served as an experimental site for decentering racializing master-narratives, especially those that have contributed to the marginalization of the Other in the Texas-Mexico Borderlands. As a Latino biblical scholar, decentering represents an important pedagogical tactic that is shaped and informed by various forms of critical theory, postcolonial theory, and archival studies. This theoretical apparatus also draws heavily upon a lived experience of marginalization as an ethnic-Mexican in the Texas-Mexico Borderlands. Moreover, the present racial crisis in U.S. society has made...