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Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community

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Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community by Emily Pohl-Weary A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Leadership, Higher and Adult Education Ontario Institute for Studies in Education University of Toronto © Copyright by Emily Pohl-Weary 2018 ii Writing to Transgress: Sharing Stories, Claiming Space, and Finding Community Emily Pohl-Weary Doctor of Philosophy Leadership, Higher and Adult Education Ontario Institute for Studies in Education University of Toronto 2018 Abstract My research has shown that community-based creative writing groups can be safer spaces for people who are under-represented in the English literary canon to craft and share their stories, poems, and other genres of writing. They can also put the act of cultural production into the hands of participants, redefine the notion of great literature, and provide a counterpoint to institutional learning. These groups are potential spaces for learning how to relate to one another with respect while acknowledging our own privileges, which can ultimately transform hegemonic social relations that exclude and oppress rather than connect and build support. Using iii critical arts-based inquiry and program evaluation methods, I employ a reflexive technique to investigate the benefits of a single group for youth, Toronto Street Writers (TSW), which I facilitated for six years in the neighbourhood where I grew up. TSW is positioned within a range of literacy and community writing groups across North America, transgressive and anti- oppressive theories around creative writing pedagogy are summarized, and interviews with former participants and staff of TSW are analyzed for insights into how to facilitate sustainable community-based creative writing groups that genuinely benefit members. Interview respondents reported several benefits, including: finding support and community, developing identity and a unique writerly voice, learning writing tools and leadership skills, discovering a more equal/safer learning environment than traditional schooling, and using writing as part of a healing process. These findings support the notion that creative writing groups promote personal and community healing and resilience for people who have been historically silenced. iv Acknowledgments I have been fortunate to work with two fantastic supervisors during my years at OISE: Dr. Jamie- Lynn Magnusson (as I completed my research and wrote my dissertation) and Dr. Jack Quarter (during my first years, when I thought I was going to be studying social enterprise). Dr. Quarter later joined my supervisory committee and Dr. Bonnie Burstow formed the third member. Thanks, also, to Dr. Darlene Clover at University of Victoria and Dr. Marcelo Vieta at OISE. The Department of Adult Education and Community Development, faculty, staff, and other students supported me in numerous ways: intellectually, financially, and even, sometimes, emotionally. I wouldn’t have written this dissertation without the incredible experience of working with the Toronto Street Writers (originally called the Parkdale Street Writers) for six years. Though they are not the subjects of this research, writers in the Sagatay Men’s Writing Group at Native Men’s Residence, which I facilitated for three years, as well as numerous other emerging writers who participated in my shorter-run workshops, inspired me immeasurably. By extension, I must also thank every administrator, funder, and community agency who supported these groups and invited me to work with their member/writers. Thanks are due to other important people. Dr. Elizabeth Anne Hull motivated, encouraged, and supported me tremendously in this process. Brian Paul hugged me and made me dinner when I was ready to give up. Ann Pohl, the original arts educator in my life, gave me copies of Paulo Freire and bell hooks when the writing group for teens wasn’t even a concept. Walter Weary cheered me on in both academic and creative pursuits. Juan, Maria, Maureen, Daniel, Julia, Dianah, Emily L, and Tobias regularly inquired about my progress and never lost faith in my ability to complete. Little Jesse, Maxwell and Sasha gave me a reason to think forward, into the future. Big Jesse supported me when I saw no end in sight. And, last but definitely not least, Dr. Sherida Ryan answered my panicked phone calls during Intro to Stats (and throughout the writing of this dissertation) and calmly helped me map out my next steps. v Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .............................................................................................................................v List of Tables ............................................................................................................................... viii List of Plates .................................................................................................................................. ix List of Appendices ......................................................................................................................... xi Chapter 1 Introduction and Background ..........................................................................................1 1.1 Introduction ..........................................................................................................................1 1.2 Background ..........................................................................................................................4 Chapter 2 History of the Toronto Street Writers .............................................................................9 2.1 The Early Years: Pilot Program and Year Two .................................................................11 2.2 The Middle Years: Hitting Our Stride ...............................................................................14 2.3 The Final Years: Too Big, Too Fast ..................................................................................17 2.4 Summary ............................................................................................................................21 Chapter 3 Creative Writing Groups: A Form of Arts-Based Community Development .............24 3.1 Community Development ..................................................................................................24 3.2 Arts-Based Community Development ...............................................................................26 3.3 Examples of Creative Writing Programs ...........................................................................28 3.4.1 Poetry for the People (New York/San Francisco)..................................................31 3.4.2 Thursdays Writing Collective (Vancouver) ...........................................................33 3.4.3 Lengua Latina (Toronto) ........................................................................................35 3.4.4 Freedom Writers (Los Angeles).............................................................................36 3.4.5 826 Valencia (San Francisco) and 826 National (USA) ........................................39 vi 3.4.6 Sister Writes (Toronto) ..........................................................................................39 3.5 Street Writers: Arts-Based Community Development ......................................................41 Chapter 4 Transgressive Pedagogies for Teaching Creative Writing ............................................43 4.1 Popular and Transgressive Educational Methods and Creative Writing ...........................43 4.2 Writing, Literacy and the Criminalization of Youth ..........................................................50 4.3 TSW’s Teaching/Learning Methods ..................................................................................53 Chapter 5 Research Methodology ..................................................................................................60 5.1 Critical Arts-Based Inquiry ................................................................................................61 5.2 Program Evaluation ...........................................................................................................63 5.3 Study of Participants’ Writing Over Several Years ...........................................................64 5.4 Sample Selection ................................................................................................................65 5.5 Interview Process ...............................................................................................................72 5.6 Data Categorization and Analysis ......................................................................................74 Chapter 6 Building Community and Developing Identity .............................................................79 6.1 Finding Support .................................................................................................................82 6.2 Developing Identity ...........................................................................................................86 6.3 Interacting with People from Other Walks of Life ............................................................90 Chapter 7 Skills Learning: Writing, Leadership, and Conflict Resolution ....................................95 7.1 Writing Tools .....................................................................................................................97
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