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In Interfaith Justice and Peacemaking, an integrative core class which explores the history of tolerance, intolerance, and interfaith efforts in the United States, one of the core texts we use is Eboo Patel’s Out of Many Faiths: Religious Diversity and the American Experience (2018). Central to Patel’s argument is that America needs new, more inclusive civil religious narratives. His book chronicles some of the ways in which Americans have expanded civil religious narratives in the past, however imperfectly, through the invention of the phrase “our Judeo-Christian heritage” in the mid-twentieth century as well as through expanding notions of whiteness. According to Patel, we are at a pivotal juncture in our nation’s history. We need new narratives. Without them, whole swaths of people will continue to feel unwelcome and alienated, and since the health of our civil society depends on civic participation from all of its citizens, our failure to create new, more inclusive stories of who we are could have disastrous consequences. In Out of Many Faiths, Patel focuses on the Muslim-American experience in particular, highlighting ways in which Muslims have been excluded from American society, not unlike what Jews and Catholics experienced at other moments in our history. He also highlights ways in which Muslims are working to expand our civil religious narrative. The somewhat off-color and yet unexpectedly unifying SNL monologue delivered by Aziz Ansari the night after Donald J. Trump was elected president is, according to Patel, one such example. Towards the end of the semester this year, I invited students to highlight other recent examples in the media of artists and performers and making efforts to expand our civil religious narrative. One student presented on Jennifer Lopez’s performance of “This Land is Your Land” at the Biden/Harris inauguration. He argued that Lopez’s performance of this important American folk anthem expands the civil religious narrative by linking a population of people who sometimes feel unwelcome—Hispanics—with a powerful and pervasive American symbol, suggesting that they are. Another student presented on the Black Eyed Peas’ 2009 release of the song “Where is the Love?” featuring black and brown Americans against the backdrop of one of the most prominent of civil religious symbols, the American flag, to the tune of the powerful lyrics calling for unity and love. Just days after these presentations, I attended our university’s commencement in which a Jewish student was asked to deliver the invocation. Given that my university is Jesuit Catholic, this felt like an important moment. I was moved to tears by the eloquence with which she invoked a spirit of blessing upon our community. I’m not sure asking this student to deliver the invocation was an expansion of our civil religious narrative, given that Americans are already generally comfortable with prayers from Christian and Jewish traditions. It did, however, feel like a possible expansion of what it means for us to be Jesuit. Perhaps inviting students of various faiths to lead us in prayer is not a watering down of our Jesuit identity, but rather a truer expression of who we are. Or was it merely token, even exploitative? Did asking her to represent herself in this way cover up all the ways in which we have failed and continue to fail to build a more inclusive community? As part of a faculty reading group on Khyati Joshi’s new book White Christian Privilege (2020), several of us have been discussing the question, how is Regis Catholic? On a micro level, it’s the same question I have been asking my students to think about all semester, how are we American? In other words, what values hold us together? And can those same sets of values be used as a source of inspiration to build a more inclusive and religiously diverse community? My students in Interfaith Justice and Peacemaking struggled to answer this question. When discussing the narratives we tell about who we are as a nation, some identified with Nikki Haley’s speech at the 2020 Republican convention, where she argues that “America is not a racist nation,” or, as she describes, at least not fundamentally so. Other students found Zenobia Warfield’s (2021) story of America, “This is America,” more compelling. In it, Warfield argues that the white supremacist insurrection on the capital wasn’t un-American as many claimed; it was in fact emblematic of who we are as a nation, as “this country was founded on violence and desecration.” This was a difficult, emotionally-laden conversation to facilitate, the kind Khyati Joshi urges educators to engage with, rather than shy away from. For we all have different levels of investment in the systems that uphold religious and racial hierarchies and dismantling these systems requires emotional introspection (209). In the faculty reading group on Joshi’s book we reflected on our recent participation in our university’s commencement ceremony, discussing all the moments when we were asked to participate in both civil religion and the traditions of our Jesuit university. Not all of us were comfortable removing our hats, or standing for the national anthem, and though moved by the invocation performed by our Jewish student, some of us worried she had been used. We do not have consensus about what it means to be a Jesuit university, and thus how we should represent ourselves at such a ceremony. Nor is there consensus about who we are as Americans. If we want to expand our civil religious narrative, how do we go about doing so? Do we need to build consensus first? Does that begin in the classroom? Does it take place in the planning of commencement ceremonies? There is a lot of emotional investment in these questions. Fears will surface when we start to talk about changing the narrative of who we are at a national or collegiate level—fears that reshaping, or expanding, will result in something being lost. I would argue that neither our national identities, nor our religious identities (at the personal or college level), need to be lost in order for us to become more inclusive, but identities do need to change, and there will be growing pains that come with that change. It is my hope that Joshi’s approach, of foregrounding the emotional together with the intellectual, can provide us with useful resources as we navigate these growing pains. Image #1         Jason Leung @ Unsplash  Image #2         Lucas Alexander @ Unsplash  Image #3         Jordan Crawford @ Unsplash  Image #4         Koshu Kunii @ Unsplash 

As a writer and a teacher I am always looking for ways to inspire my creativity. This summer I have committed to a practice of getting out in nature. I will be visiting national parks, state parks and doing some cabin stays. The goal is to incorporate the sounds and sights of nature as I seek times of solitude, stillness and quiet as keys to my inspiration. The first such trip this summer was to The Getaway two hours north of Atlanta, with a stop by Chattahoochee– Oconee National Forest. The video below shares my experience. My hope and prayer is that you might be inspired to find the practice of being in nature, solitude, stillness and silence as a means to fuel your creativity as a teaching professor.  Photo 1: CHATTAHOOCHEE–OCONEE NATIONAL FOREST @RALPH BASUI WATKINS Photo 2: THE GETAWAY @RALPH BASUI WATKINS  [su_spacer size="20" class=""] [embedyt]https://www.youtube.com/watch?v=CuhjCWFrAic[/embedyt] [su_spacer size="20" class=""]

At Nashotah House Theological Seminary, a crucial element of our participation in the seminary’s Anglo-Catholic tradition is the student body and faculty’s regular presence at morning prayer, mass, and sung even-song. In the seminary’s beautiful chapel, surrounded by stained glass and hand-carved wooden statues, we sit in the antique wooden choir stalls lining the chancel and join together in worship. As a junior faculty member, I quickly learned a Nashotah House tradition: your choir stall is not yours to determine. The seats are assigned based on seniority, and priority is zealously guarded. Where you sit matters. This tradition of established place carries its own ethical challenges and requires its own ethical interrogation. What assumptions regarding hierarchy and privilege in our tradition and amongst our student body and faculty does it underwrite? To provide one example, our tradition has come into conflict with our commitment to ensuring that students with mobility challenges have equal opportunity to participate in worship, requiring questioning and ultimately changes to our tradition. Teaching social justice in a tradition requires inviting students to engage in a similar (although broader) excavation of that tradition. Of course, a crucial part of this teaching involves learning alongside my students how to step outside the tradition to critically confront the moral and ethical failure of Anglicans, such as the use of Anglican theology at times to support slavery and colonialism. This critical engagement requires accepting that our seats often are gained at the expense of others, and may require change and even surrender on our parts. These moral failures have been well documented and extensively explored, so excavating the resources for critique has been fairly straightforward. An unexpected joy of this type of excavation, however, has been how many good and constructive resources for social justice remain to be uncovered in the tradition. The Oxford Movement which launched Anglo-Catholicism accompanied liturgical revision with a serious theologically-grounded commitment to working for social justice, spanning generations of the movement and manifested in many different forms. Excavating these resources provides the opportunity to invite students into a different form of engagement with the tradition. Students have become imaginatively engaged in questioning their own social assumptions and career aspirations by reading about the so-called “slum priests,” for example, whose commitment to “ritualism” was equaled by their commitment to working to challenge the economic, social, and political structures which created and justified the appalling living conditions suffered by the poor of British manufacturing cities. Students have learned how to connect social critique and advocacy for justice to Anglican theology through reading the works of the great reforming Archbishop of Canterbury, William Temple. Of course, exposure to works of Anglicans such as Pauli Murray and Bishop Desmond Tutu have expanded their conceptions of Anglicanism’s work for social justice beyond Anglo-Catholicism and the British Isles. One of the most fruitful resources I have found for retrieval within the tradition are the editions of the British Critic—the journal edited by John Henry Newman in the early days of the Tractarian controversies. Along with discussion of history, doctrine, and liturgy, the pages of this Christian socialist leaning journal are filled with essays of social critique and challenge. One of the essays, written in 1842, which has engaged and challenged my students the most is a long theological critique of the practice then common in British parishes of renting pews to the social elite. The author describes how the poor, walking in and seeing the great boxed pews lined along the front of the parish church, are confronted with an image of the priority of wealth and privilege which runs exactly opposite to Jesus’s message of the priority of the poor in the gospel. Rather than encountering “the image and pattern of heaven” in the church, they see “the world, the flesh, and the devil apparently in full possession.” As part of the Anglo-Catholic liturgical revival, the author calls for the removal of these pews and the restoration of the parish to the poor and needy whom Christ intends to possess it. Through this image, students begin to encounter the connection between the Anglo-Catholic tradition of beautiful worship and architecture with the beauty of justice and service. Over my time at Nashotah, I have realized that our tradition of choir stall seating incorporates not only seniority, but also service. At every service, one of the sacristans (the student-leaders with the most authority in worship) always forgoes sitting in choir to sit by the back door of the chapel—he or she is placed there by the tradition to greet, care for, and assist any guests who might join in the service. My hope for my students is that they leave our seminary having learned that Anglo Catholicism not only provides choir stalls, but also provides models and methods to emulate, just like the sacristans sitting at the back of the church ready to serve and care for others. Where you sit matters.

“The essence of metaphor is understanding and experiencing something unfamiliar or an abstraction in terms of something familiar and concrete. Thus, our language is an incredibly intricate web of definitions of one thing in terms of another.”[1] Mary Ylvisaker Nilsen’s expansive definition of metaphor applies to teaching—helping students understand unfamiliar subjects, defining one thing in terms of another, communicating abstract information. Good teaching, then, involves the use of good metaphors. So, let us apply an over-arching, controlling metaphor to the life of Martin Luther. It’s a metaphor intended to interpret the sixteenth-century German reformer for college and seminary students—learners who are aware of the Olympics and YouTube and need to know more about history and the history of theology. The metaphor comes with readily accessible videos, so the teacher can provide students, whether they snowboard or not, a visually impressive image with which to define “one thing in terms of another.” The hope here is to describe the Reformer’s life in terms of risk (edges are inherently dangerous) and unintended consequences (he did not intend to split the church). An edge can also be a threshold and an entry to something new (like the modern era). The presentation of Martin’s life, then, rises and falls, twisting and turning, carried forward by forces he did not create or foresee. There’s another connection here, for a creative teacher: our present time of pandemic, insurrection, and big lies. We confront dangers all around. Unforeseen outcomes startle us. Something new seems to be emerging in our world. If so, Martin Luther can help us. His remarkable life exemplifies wisdom and confusion, courage and cowardice, faith and doubt. A critical engagement with the life of Martin Luther is not simply a journey into the past of long ago and far away. Martin’s successes and failures have much to teach us now. “Martin Luther, Shaun White, and a Life on the Edge” Martin Luther and Olympic snowboarding—not often paired together. Or not often paired together enough. When an elite athlete drops into the half-pipe, there’s crazy risk everywhere, with no turning back. Picture Shaun White at the PyeongChang games in 2018.[2] He had to come down that mountain, one way or another. White’s incredible run ended in epic triumph, but it easily could’ve ended in the hospital or the morgue. No matter what, he had to come down. The whole business is fraught with peril. It takes no small amount of courage to seize such a moment, accept the risks, push through to the end. Edgy, on so many levels. Kind of like Luther’s life, when he came careening down the half-pipe of history. To survive, he pulled off some amazing stunts; improvising at break-neck speeds, keeping his balance (barely), figuring it out as he went. Crazy risk everywhere. He didn’t intend to shred the Reformation mountain, but once Luther dropped in, he could not not finish the run. A life on the edge if there ever was one. However, there’s a huge difference between Mr. White and Mr. Luther. Shaun intentionally did what he did that day. He practiced and trained—even invented a move for the occasion. Martin, however, had little or no idea what he was getting into. He spent much of his life doing what good Saxon boys from good Saxon families did in those days. A smart kid, he went to the schools chosen for him by his Dad. He went to college a couple of towns over, at the University of Erfurt. He studied law; a degree that would make his Papa proud. An obedient son if there ever was one. And Luther was also a dutiful son of the church—the only church in town, the Church of Rome. Eventually, Martin followed the lead of his Mother; his Mother Church, that is. He became an Augustinian Brother. And a priest. He sought comfort in the bosom of the Church—praying, studying, preaching, and teaching. All of that because he’d taken a vow to obey his superiors. The responsible Augustinian brother and junior professor dutifully put one foot in front of the other. He didn’t know he was getting close to any edge. He didn’t even know there was an edge. And then he walked off it. [1] Mary Ylvisaker Nilsen, Words that Sing (Des Moines, IA: Zion Publishing, 2012), Kindle Edition, location 2265ff. [2] https://www.youtube.com/watch?v=he03dVkhLTM  Photo by Philipp Kämmerer on Unsplash

Democracy is the principle of governance marked by every person’s fair and equal treatment. In democratic societies, everyone has the same unfettered access to public goods and shares fairly in public life. Trust undergirds and upholds systems of democracy and these systems disintegrate when the people no longer trust. Importantly, this dependent relationship between democracy and trust exists in the public square and in the seminary classroom. Before I reflect upon democracy and trust in the classroom, I must share a bit about myself. I come to the work of religious and theological education from a career in corporate marketing. My understanding of the teaching and learning experience stems from my years in consumer brand management, during which I developed “muscle memory” in identifying a need, determining how my product uniquely meets that need, and presenting my product in ways that encourage a particular action (usually a purchase). During my time at corporations like the Ford Motor Company, Nabisco, the Fort Howard Paper Company, and The Coca-Cola Company, I was rewarded for my ability to assess my product’s performance knowing market conditions change. As it was with automobiles, cookies, facial tissue, and carbonated beverages, so it is with religious education. As a seminary professor with an eye towards democracy in the classroom, I recognize that classroom environments have shifted in ways that make trust an even more critical part of my pedagogical offerings. Trust must undergird democracy in my classrooms. In what follows, I share my thoughts on some of the actions I take to help build democracy through trust in my classrooms. Trust in the Virtual Classroom This year my fall semester students operated with a heightened sense of anxiety; more of them fixated on the smallest details of the syllabus and their performance. At first, I thought this was a life-stage function as we had many students who matriculated directly from their undergraduate experience. Upon further reflection, I determined that life stage was not the primary driver of this anxious student behavior. This group of students began their seminary journey with no in-person learning; they were 100% online. The lack of in-person interactions brought on by COVID-19 safety protocols (let alone being unable to see or encounter professors or each other outside of the classroom) contributed to students’ anxiety and distrust. I am a Biblical studies professor, currently teaching introductory courses and specialized electives. Students in my introductory class—which is required for the MDiv degree—began online instead of in person. Many of these students applied and were accepted to seminary before the COVID-19 pandemic and had no intention of attending seminary online. My fall 2020 students were all new to the seminary, and I was one of their first seminary professors. Most were new to online learning and they were different when it came to trust in my course.  Their levels of trust were lower, and their levels of anxiety were higher than my former students’, who met in-person in traditional formats. Over the Christmas break, I was intentional about modifying my syllabus and reassessing some of my pedagogical practices to account for issues of student trust and anxiety. Consistency is critical when creating trust, allaying anxiety, and nurturing democracy in the classroom. Small details are essential in matters of classroom trust; therefore, I was careful to make sure the templates I used for lecture-discussion looked alike. While it is easier to repurpose material from other presentations, I converted presentation slides, so they matched visually. The title slide from my early “Ancient Near Eastern Context of the Hebrew Bible” presentation looks exactly like the title slide for my latter “Wisdom Literature” presentation. Something is comforting about seeing patterns.  I imagined my students thinking,  “I recognize this. Dr. Russaw has projected a slide that resonates with last week’s information presentation. This experience is not something new I have to manage in my day. I can relax and learn.” Secondly, I structured class sessions in the same way each week. Each session began with a centering moment and ended with “good words” of encouragement. My teaching assistant took responsibility for each week’s centering moment, and arranging for volunteers for the closing words. These consistent rituals did a couple of things. Students knew the centering moment signaled the official start of class. It was not uncommon to hear deep sighs at the end of the centering moment. It was as if students were saying, “Okay. I am in a (virtual) space where I feel comfortable. I can relax a bit and lean into the next couple of hours of learning.” Giving students a way to participate through volunteering to offer closing words helped build democracy because all students had an equal opportunity to participate, or not.  We all, professors and students, live in a time of great uncertainty, and that uncertainty makes for anxiousness and distrust in the classroom.  I hope that by attending to small actions we can take in our classrooms, our students will learn to trust and will be able to flourish in their learning.

[audio mp3="https://www.wabashcenter.wabash.edu/wp-content/uploads/2021/04/Perichoresis.mp3"][/audio] John of Damascus, one of the most important theologians of Eastern Orthodox Christianity, writes the following about the relationship between the three Persons of the Trinity: [They] dwell and are established firmly in one another. For they are inseparable and cannot part from one another, but keep to their separate courses within one another, without coalescing or mingling, but cleaving to each other. For the Son is in the Father and the Spirit: and the Spirit in the Father and the Son: and the Father in the Son and the Spirit, but there is no coalescence or commingling or confusion. And there is one and the same motion: for there is one impulse and one motion of the three subsistences, which is not to be observed in any created nature. The Greek word “perichoresis” has come to refer not only to this multi-dimensional, incomprehensible unity, but to a particular metaphor describing this relationship: that of a “divine dance” between/among/within the Trinity. My composition Perichoresis[1] is my musical impression of this “divine dance.” Its overall mood is joyous, an ecstatic whirling-about in which all three members become lost in the ecstasy of divine fellowship. At the exact moment of the dance when one member moves, the other fills in the spot left vacant. Seen from afar, the effect might be like looking at a spinning wheel whose spokes disappear from view, yet which retains its speed, energy, and power. Musically, this occurs through the technique of giving each of the five instruments their own, equally important roles to play. In the fast sections there is no clear melody that dominates the texture, relegating the other parts to mere accompaniment. Instead, each musical “voice” contributes its own unique and independent strand, each often winding around the others in a musical version of indwelling. The complementary rhythms and melodies often make it difficult to distinguish these layers, yet the absence of any one of them would leave an obvious hole in the musical fabric.  Musical textures create a sonic example of an ideal community: one body, many parts, and none more important or unique than the other. Unlike visual art-forms, music brings to life these types of complex relationships in ways that make sense to us humans. Music allows us to hear individual parts at the same time as we hear the whole that they create. The bassline of a Beyoncé track is 100% funky without anything else. Yet, when part of a family of horn riffs, drum loops, background singers, and lead vocals, that constituent element takes on a new identity. It is the same as it was, yet completely different: a new thing, yet not new at all. Its beginning is its ending, its Alpha already its Omega. The Trinity expands upon this idea by challenging us to imagine a mutual interpenetration of the parts and the whole. As a teacher, a composer, and member of the Body of Christ, this is the model of community for which I strive. In the classroom or the rehearsal studio my goal is to create an environment in which my students and I take turns leading the “dance.” But this only happens when I get out of the way, when I recognize that my students are not small-scale versions of myself, but rather young people whose lived experiences are fertile sources of knowledge. In the classroom, this happens when I allow a discussion to take on a life of its own, skipping down paths I didn’t even know were on the map. In orchestra rehearsals it happens when a French horn player’s phrasing opens up a new dimension of musical interpretation, changing the way I conduct an entire passage. In both situations, the requirement is that I stop trying to hear the content of my student’s ideas, and instead listen to the ways those ideas express their full humanity—when I listen through or beyond their words to understand who they are. When this happens, the space I vacate does not remain empty, but is immediately filled with a presence: a person whose life is both similar to mine and different, and with whom I can now collaborate as co-learner and co-teacher. As in the classroom and the rehearsal hall, however, there are many moments in Perichoresis when certain parts come to the fore and others step back. In the slow middle section, a lyrical melody ebbs and flows, sometimes played by one instrument and sometimes joined by a partner. But even in these moments we don’t lose sight of our ideal vision of community. The melodies only sing because the ground beneath them allows them to stand. Conversely, the accompanying chords draw their notes from the melody, taking a line and turning it into an object: something solid and substantial. When I’m lecturing or leading discussion, I try to remember that I don’t need to be the melody. While my voice may be the most prominent at those moments, thinking of myself as the accompaniment is a way for me to recontextualize my role. My words can be the fertile soil for my students’ nascent ideas, the ground on which they can learn how to stand. I don’t always get there. As a teacher, husband, father, or church member, I often find myself singing the melody before I’m even aware of it! As I learn how to undo years of uncritical acceptance of my importance as a white guy, it’s helpful for me to look to music as a model: it is, after all, the most evanescent of all artforms, a will-o’-the-wisp that disappears as quickly as we hear it. Its fundamental weakness, however, belies an extraordinary power: power that can change hearts and minds—but only if we allow it in, if we really listen to it. My hope is that listening to my composition will help you think in new ways about the Trinity. Perhaps it will help you imagine how three Persons can be One, or One Person can be Three. And perhaps, the next time you listen to music, you might even be inspired to take it as a model for your life as a teacher, leader, or community member: a model based on relationships, mutual indwelling, and the joy of the dance. [1] Composed by Delvyn Case, and premiered by Boston’s Triton Brass Quintet, Perichoresis has also been performed by the Grammy-winning Chestnut Brass Company. Of this piece, theologian Walter Brueggemann wrote, “I am not a great theologian but have pondered ‘perichoresis’ for a long time. This is the finest exposition of that thick idea that I have encountered.” The audio is available here: https://www.youtube.com/watch?v=4GoHExKMJLk. IMAGE: Photo by Sheng Dai (Chicago) on Unsplash

I teach a course on the ethics of world religions which takes a narrative approach. Rather than just focusing on the text and tenets of religions in relationship to ethics, the course also highlights the life stories of “exemplars” from various religious perspectives. These have included civil rights activist Malcolm X, Buddhist monk Thich Nhat Hanh, and Liberian Nobel Prize winner Leymah Gbowee. The advantage of using this approach is that it gives flesh to sometimes abstract principles, demonstrating that all ethics are situational and depend on one’s positionality. These are complete human beings, so they show both human potentiality and human frailty. One particularly thorny exemplar we focus on in the course is Mohandas Gandhi. Students study his life, from his early years to his education in Britain, work in South Africa, and finally his years of leading the movement for Indian independence. They also read selections from his writing, delving into his views on ahimsa or non-killing, satyagraha or “truth force,” the caste system, and his tactics of nonviolent noncooperation. Gandhi’s negative views of Black South Africans when he lived there are an issue in his history that cannot be ignored. Invariably the question arises, was Gandhi a racist? Throughout the course, I emphasize the value of dialogue over debate when discussing religious perspectives; I wanted to create a forum where students could engage this question in a way that developed their ability to give careful attention to others’ perspectives—a space where dialogue around these differences could lead to greater understanding. The process I use to accomplish this learning strategy begins with dividing the students into pairs and providing them with two short newspaper articles on the subject. While these are not opinion pieces, each article has a particular bias—one towards naming Gandhi as a racist and the other towards seeing him as evolving on issues of race over his lifetime. Each student in the pair is asked to read one of these articles, and to identify the “slant” of the author and the particular points that support the author’s perspective. Each student in the pair then presents this view to their partner as if the view was their own. In other words, one student presents the view that Gandhi had racist views and should be held accountable for them while the other student argues that his views on race evolved and he remains of role-model for social change. We then move to a large group discussion where I pose the following questions to the class: How did you feel about the position to which you were assigned? How did it impact your reading of the articles? Did any point made by your partner make you think differently about the topic? Every time I lead this activity, students are able to name various points made by their partners that provide fresh insights into the controversy. Finally, I create a continuum in the classroom, with one end being “Gandhi was racist” and the other end being “Gandhi is a role-model.” I invite students to stand up and place themselves somewhere on the continuum and share the reason they have placed themselves at that point. I use the continuum because it permits students to nuance their opinion, to move away from binary, either/or thinking on the issue. This past fall, the activity took on added significance given that our campus is only a few miles from the site of George Floyd’s murder at the hands of Minneapolis police. Since the student population of Augsburg University is nearly 60 percent BIPOC, questions of race and racial justice are not merely academic ones. This activity provided students with a space to explore the mixed history of religions on racial oppression in a manner that neither excuses that history nor uses it to dismiss the positive impact of religions on social justice movements. In the final analysis, students may not change their views about Gandhi’s legacy around race, but their views often become more nuanced and they increase their ability to recognize complexity and ambiguity around these issues. The ability to embrace complexity, ambiguity, and the humanity of all is important for understanding religions as well as for our current fraught and polarized political environment.   Photo by Claude Piché on Unsplash

I am consumed by grief. At home in Brazil, the situation is horrendous and bodies are piling up,  as it was here in the US last year.  We will soon surpass 3 million deaths around the world due to COVID-19. People who lived their lives in so many ways. So many people have been taken from us, dear friends that left us before their time. Just this week, the mother of a dear friend, Rosevarte, left us. His pain and mourning are raging rivers whose strength he does not yet fully understand. And David, who lost his entire family one by one, just like that. First it was his mother, then his sister, and then another sister. All in less than two weeks. His grief silenced him and today he struggles to find words that might stubbornly bring him back to life in the midst of death. We are a world mourning because of a virus. But more than that, we are a world mourning governments that deliberately seek out, create, and cause death. A world whose governance takes the form of genocide and whose ruler is the primary cause of death. We are a world mourning because of a virus. But more than that, for many the virus is just another wave of well-known histories of colonization. Everywhere, we hear about the death of poor people, everywhere. While we feel like this pandemic is subsiding in the US, it’s not the same around the world. I hear 85 countries don’t have access to vaccines or money to buy them. This is a third of the world and at least half of the world’s population! Unless the whole world is vaccinated, we will continue to wrestle with an endemic situation. In Latin America there are estimated 231 million people living in poverty due to COVID, without access to clean water or food security, who will become refugees in the coming winter. We are a world in mourning because of a virus. But more than that, we have lived fully into many forms of dominium over people, the earth, animals, and oceans. Dominium brought us COVID. Our mourning is our perpetual banishment and our historic undoing. In our grief we learn that we are not what we thought we were and know that we will not be what we want to be. Our desires are trapped in our interdictions and are sabotaged by stories that we did not want to read, an economic system that both alienates us and intensifies our desires until they’re impotent. We destroy the earth with myriad forms of extractivism depleting so many forms of life, while financial markets skyrocket. No coincidence: the growth of financial markets demands extinguishing jobs, exploitation of people, erasure of social welfare, extinction of animals, mountains, and human lives. Grief is undoing our social fabric of relationality, solidarity, and mutual sustenance. COVID-19 has taken away our rituals of death and mourning. We feel more alone, feeling that there’s no one else to see us, hear us, or feel our pain. Our cry is simultaneously trapped in our throats and also released, like the sound of a cannon inside our chest, metastasizing our spirit, causing necrosis of life tissues that used to animate us. With each daily announcement of the number of deaths we need a defibrillator to start feeling life pulsing in us again. When we teach, we are drenched by many forms of grief. The loss is too much. How do we keep our heads up? So many people have lost their jobs, universities and colleges cutting positions by the thousands, tenured positions dismantled, and adjunct faculty teach eight classes a semester to survive.  How can we not worry about losing jobs? How can we support our students when we ourselves are eroding inside? How can we have necessary discussions in the classroom when the world is falling apart and our students’ worlds are discretely crumbling? Capitalism has made us think individually, just as Social Darwinism made us think our cells were essentially selfish, fighting to survive. However, as we now know, our cells work together to sustain the whole body. If we could think and act like them, we could care for each other, instead of feeding a culture of merit and rank. Perhaps we could start thinking how absurd it is for a president of any school to get so much more money than teachers. Or for tenured teachers to get more money than adjuncts. I just heard from an adjunct professor who on top of teaching sells his blood every week to make ends meet. I am reminded of how my school, Union, once thought differently and its faculty donated 10 percent of their salaries to support an unknown scholar from Germany named Paul Tillich.  To think like this today is absurd. We are taught to fend for only ourselves: I care for me and you care for you! Perhaps I have COVID-19 and it is affecting my brain. In the same way that our mourning is a political act of resistance, as Judith Butler told us, our living together in mutual care could also be a collective act of political resistance. Our mourning is a gesture of continuity in the war against death in the midst of death itself! Our mourning is the refusal to accept what the governments want: that we forget about our dead, and our social structures. On the contrary, our mourning is a constant reminder, an announcement that, once and for all, we will not surrender to death and the neglect and normalization of sick and dying people! It is a reminder that we must care for each other somewhat somehow. It is good to say out loud that death will not kill us! At least not all of us! As my beloved Mercedes Sosa sings in Como la Cigarra So many times, they killed me So many times, I died And yet here I am coming back to life Thank you for your disgrace And your fisted hand Because you killed me so heartlessly   And I kept singing Singing in the sun like the cicada After a year under the earth Just like survivor What a war  As we walk around dead bodies, may we make mourning the death of our people our most subversive act!  Even in our teaching! For we fight for ourselves and also for our dead. If we lose, they lose too!

One of our most time-consuming and dreaded tasks as humanities faculty is grading student papers. We’re making it worse by writing too many comments. Some of my colleagues correct every single grammatical error. Others fill the margins with thoughtful suggestions, noting all the misunderstandings of the text, the lapses in logic, and the awkward expressions. Of course, extensive feedback is sometimes appropriate, for instance, in commenting on a draft of a strong students’ capstone thesis. But over the years, I’ve come to think that for a lot of undergraduate papers, especially in gen ed courses, it’s counterproductive. I understand the temptation to write a lot of comments because I used to do it myself. I fell into it while I was a teaching assistant at a big university. I was just a few years older than my students, and they kept challenging my grading. My extensive comments were armor, intended to prove to my more obnoxious students that their papers were ridden with errors and deserved an even lower grade than I had assigned. I continued writing extensive comments for many years afterwards. The colleagues that I admired the most did, so I assumed that it was good practice. If I don’t show the students their errors and to explain how to correct those errors, how will they ever learn? I wrote and I wrote. It took forever. And my students’ writing didn’t improve much. They kept making the same mistakes even though I had corrected them in previous papers. Judging from my colleagues’ complaints, they didn’t have better luck. I started understanding why extensive feedback doesn’t work at my Taekwondo dojang. I was watching two intermediate students show a beginner how to turn and do a low block. The beginner’s block was wobbly and weak, and the intermediate students kept shaking their heads and offering lots of helpful suggestions. The beginner kept trying, they gave more feedback, and he tried again. He was looking increasingly confused and his technique started getting worse. After a few minutes, Grandmaster Kim walked over. He quietly watched and then said: “When you turn, step 3 inches wider.” The student tried again and it worked. He wasn’t wobbling, and his block was much more powerful. The move suddenly looked OK. I laughed at the two student-teachers until I realized that as I was acting just like them. What usually happens when we write a lot on student papers? Most students don’t read the marginal comments, especially not in gen ed classes. At best, they read the end comment. If they do read extensive comments, they become overwhelmed and don’t know where to start. They focus on the wrong things. My students frequently focus their revisions on minor issues, ignoring the larger and more important ones. They do this even when I write that comment #1 is very important and that #2-5 are less important. Reflecting on the taekwondo experience made me realize that I was focusing on the wrong task. My job isn’t to provide a thorough critique of the paper; it is to help the students write better next time. A long list of errors won’t help them do that, but brief and simple feedback might. “When you turn, step 3 inches wider.” Focusing on helping the student and not on critiquing the paper is a fundamental shift. I’m no longer assessing an objective product. Instead, I’m interacting with a fellow human being who can get hurt, flattered, or angry, somebody who can listen or tune out. I aim to write so that they will hear, understand, and then choose to act on what I’m saying. It’s a delicate balance. My comments need to be brief and focused because if I overwhelm them with too much information, they’ll get confused and tune out. But if I say too little, they don’t get enough guidance. If I’m too harsh, they get defensive and they’ll stop hearing me altogether. But if I offer empty praise, they won’t understand that their writing needs work. After years of experimenting, I’ve landed on the following approach: I read the whole paper without writing any comments. Sometimes I sit on my hands to keep from writing. (Yes. Seriously. It helps!) I think: What is this person already doing well? What is the next thing they need to learn? And then I comment accordingly: I use their name I mention one specific thing they did well. I give them one or two specific things to work on, and I mark examples of those in the body of the paper. I offer my criticisms clearly but gently, favoring phrases like “I lost you here!” over “this is incoherent,” and “cool, say more about this!” over “poorly developed.” I offer encouragement. I ignore all the other problems in the paper. (Yes. Really.) Commenting on papers is still time consuming, but it takes less time and it’s more rewarding because I sometimes see that my comments help students improve their writing. They’re less likely to repeat the same mistakes in the next paper. And when they revise, they’re working on the more significant problems.

“Write your name, for me, please,” she asked, a sturdy index finger tapping on a piece of paper, on the table at my aunt’s house. She was my paternal grandmother, Johanna, or Teacher Kate, as many people called her, and she was visiting her family in Toronto from Guyana. She would have been in her sixties then, a compact Black woman with flawless skin, a kind, steady gaze, and a resonant alto speaking voice. You could hear the mixture of crisp and precise British-influenced English that would have been expected of schoolteachers of Teacher Kate’s generation, born before World War I, in a corner of Amazonia and at the edge of the British Empire. You could also hear the rhythms of Caribbean creole speech, reflecting Guyana’s cultural legacy of majority populations descended from enslaved Africans and indentured folk from the Indian subcontinent and China, among others. Teacher Kate’s work in classrooms with children began before 1930 as a pupil-teacher, a form of teaching apprenticeship of young teenagers that was regularly practiced in the English-speaking Caribbean, in the early decades of the twentieth century. “Write your name, for me, please.” It was a directive, an invitation, and a question all rolled into one as we gathered around my aunt’s dining table. This was the late 1970s, pre-Internet, and I was in my early teens and already in high school. At that point, I had attended school for almost a decade split between Antigua and Canada, having spent my infancy in England, the country of my birth, as a child of the Windrush migration. The late 1970s was a magical transitional time in Black musical cultures as it was the era of the earliest commercial hip hop recordings, disco, funk, and R n’ B. We also listened to reggae, dancehall, calypso, and soca, Caribbean popular musical genres as well, new wave, punk and pop and rock n’ roll on AM and FM radio—our musical choices reflecting our transnational existence between recent Caribbean memories, the larger social context of a rapidly changing Canadian cultural landscape, contemporary Black Toronto realities in the Caribbean diaspora with close sonic and familial ties to major urban centres in the US and England to which Caribbean people had migrated. My friends and I emulated the look of the Pointer Sisters, The Emotions, or women lead vocalists in Chic. In our stylistic ambitions, we existed on a continuum of retro 1940s, church, and our imagined Studio 54. Our looks were achieved through making our own clothes with Simplicity and Butterick patterns, and reworking and mending heavily discounted seconds (discarded mass-produced clothing with what we considered minor and correctible mistakes like crooked seams and missing buttons) purchased cheaply in the garment district in downtown Toronto. That day I wore a belted, light beige, cap-sleeved dress in a shimmery fabric. My hair was still natural, a few years away from its 1980s curly perm, and picked out into a ‘fro. This was the late 1970s and in Black diasporic girl stylistic cultures in my corner of Toronto afros, cornrows, and other natural styles still reigned supreme with the occasional hot comb pressed straight styles for special occasions. I wondered why Teacher Kate would want me to write my name as an introduction to who I was as a student and her granddaughter. Why not ask me to read out loud or to recite memorized passages of poetry, bible verses, or dramatic plays? I had already had lots of practice in public speaking at school and in church, in Canada, where my first recitation was Langston Hughes’ poem “Freedom.” I remembered the church assembly in the Jamaican Pentecostal congregation that met in the basement of a mainstream Protestant church in our Toronto neighbourhood, now called Little Jamaica. We were Anglicans but my mother insisted that we go to the church down the road and around the corner from our house that we could reach without crossing a major intersection, and where our friends from school, recently arrived kids from the Caribbean, also went to church. “Write your name for me, please.” So, I picked up the pen and I wrote my first name in cursive and print. “Write your whole name.” I wrote my first and last name. My grandmother inspected my writing and complimented it while also giving some pointers to improve the cursive. “Write it larger,” she said. I wrote my name several times and each time I did so with more confidence than earlier versions. Now, I wrote my name every day in school on assignments and had done so for years. My friends and I even practiced our autographs. I had written my name years ago in my British passport as an elementary school student. This occasion, however, felt different. In the analog world of the late 1970s, just a few years before the launch of the digital age, my grandmother was inviting me to come to the table of knowledge, to take up space, and to write myself into the narrative in my own hand, boldly and confidently and with style. Words mattered. I got it. I created my signature in that moment with its large cursive letters. Teacher Kate lived for over three decades after that night, in total just over a hundred years. By the late 1970s she had already taught several generations doing the hard work in the post-slavery and British colonial era of the first half of the twentieth century of teaching literacy. Many had entered Guyana and other Caribbean territories as transports of empire through the forced migrations of the slave trade and indentureship, without signature—perhaps an “x,” or even a thumbprint for the latter. I was only Teacher Kate’s student for that one evening but I learned a crucial lesson of accepting the invitation to take my place and to write my name and write myself into being. Photo by Kat Stokes on Unsplash