The Pennsylvania State University The Graduate School College of the Liberal Arts DYNAMIC DISCLOSURES: PERSONAL WRITING, RELATIONAL RHETORIC, AND INSTITUTIONAL NARRATIVES A Dissertation in English by Vicki C. Hsu © 2016 Vicki C. Hsu Submitted in Partial Fulfillment of the requirements for the degree of Doctor of Philosophy December 2016 The dissertation of Vicki C. Hsu was reviewed and approved* by the following: Debra Hawhee McCourtney Professor of Civic Deliberation Director of Graduate Studies Department of English Dissertation Adviser Chair of Committee Athelstan S. Canagarajah Edwin Erle Sparks Professor of Applied Linguistics and of English Ebony Coletu Assistant Professor of English Rosemary Jolly Weiss Chair of the Humanities in Literature and Human Rights Professor of Comparative Literature and of English *Signatures are on file in the Graduate School. ii Abstract This study explores how personal narratives are deployed in academic settings— at times as strategies of self-empowerment that shift institutional practices and procedures, and at others as evidence of multiculturalism in ways that continue to obscure systems of domination and institutional constraints on self-determination. Drawing from the work of sociologist Margaret R. Somers, I develop an approach to personal writing specifically attuned to how (re)contextualization can assign new value to one’s story in service of different individual or institutional goals—for example, how an autobiography that once changed a homogenous literary landscape might later be tokenized as evidence of multiculturalism in lieu of systemic change. Rather than speculating about the individual intents of authors and their stories, I examine how these narratives network into communal traditions, beliefs, and practices, and how their value is continually reassigned at different sociocultural moments. In examining personal writing as relational rhetoric, I build on rhetoric and composition’s historic commitment to deliberative democracy as well as its more recent return to issues of social justice. Through a commentary on the life writing of Gloria Anzaldúa and Richard Rodriguez, I examine how their (very different) narratives have been used to reshape normative conceptions of gender, ethnicity, sexuality, and spirituality— and how critical responses to these narratives continually refigure their value for public debates surrounding institutional practices and discrimination. Turning from the professional discourse of English studies to its pedagogical practice, the fourth chapter asks and answers: what is the work we ask students to do with their personal narratives, and how does that differ from the work we do as writers and scholars? Finally, I narrativize my iii own experience within different institutional contexts in order to explore first the limitations of the genres we are given for self-articulation, and second how a relational view of personal writing might allow us to expose those limitations, and to connect our experiences with others who have also been isolated by those barriers. My conclusion then reflects on how we might discuss, write, and teach personal writing with an eye toward its relationality—with an understanding that the value of any given story is less an inherent trait than a product of its deployment, continually (re)constituted by evolving sociocultural contexts and conversations. iv Table of Contents List of Figures vii Acknowledgments viii Chapter 1. INTRODUCTION: (RE)INVENTING THE “I”: THE RELATIONALITY OF PERSONAL WRITING 1 “They Will Clap Their Hands and Forget”: The Multicultural Imperative and the Neoliberal University 5 Personal Writing as Relational Rhetoric 12 A Turning Point in Composition 17 Beyond a Politics of Recognition 24 Relating Unwelcome Stories 26 Chapter 2. THE BURDEN OF PROOF: THE PERSONAL IN ACADEMIC DISCOURSE 35 Anthologizing as Activism 39 Becoming a Landmark 45 Telling Alternative Stories 48 Experience Becomes Evidence 60 Chapter 3.A SINGLE LIFE REINVENTED: THE MANY STORIES OF RICHARD RODRIGUEZ 66 Autobiography as Negotiation 68 Rodriguez Reinvented 83 Criticism and Communities of Fate 89 I am Invented 92 Chapter 4.CONVENIENT ARGUMENTS: THE (RE)INVENTION OF ACADEMIC DISCOURSE THROUGH CLASSROOM TEXTS 96 They Say/I Say 98 “Hidden Intellectualism” 101 The Containment of Academic Discourse 107 The Metalanguage of Genre 110 Rewriting Intellectualism 115 Chapter 5. IN OTHERS’ WORDS: AN (INTER)PERSONAL NARRATIVE 125 A (Partial) Auto-Bibliography 125 General Offense Report 136 A (Partial) CV 142 Medical History Form 147 Medication History Record 158 v CONCLUSION: MAKING MONSTERS 167 Writing Personal Narratives 168 Reading Personal Narratives 171 Teaching Personal Narratives 173 On Endings (or the lack thereof) 174 BIBLIOGRAPHY 176 vi List of Figures Figure 1: “Glenn 117” 113 Figure 2: “Bullock, Goggin, and Weinberg 190” 113 vii Acknowledgments Composing this dissertation has allowed me to experience writing and research as a collaborative process more so than any other stage of my education. Though the journey has taken many more twists and turns than I anticipated, I am grateful for each one and for all the help I had along the way. First and foremost, this project would not have been possible without my advisor, Debra Hawhee, who models the generosity I aspire to have as a teacher and a scholar. Debbie, your unwavering support and meticulous feedback helped me discover, explore, and eventually shape a project that I could not have imagined even one year ago. Thank you for always giving me confidence when mine falters. I must also thank my committee members, whose influence resonates across every one of these pages. In Suresh Canagarajah’s seminar on translingual writing, I began to think deeper about the ways our classrooms can help students negotiate the hegemonic forces that structure their lives. Suresh, your work continually inspires me to find new ways to configure my classroom as a site of linguistic and social change. To Toni Jensen, thank you for your compassion, your wisdom, and your understanding. Without you, I could not have made the transition from creative writing to rhetorical studies nor learned to bridge my two passions. To Rosemary Jolly, thank you for your enthusiasm and your faith in me, and for helping me navigate intellectual landscapes far outside my areas of expertise and comfort. To Ebony Coletu, thank you for giving me so much of your time – for reading so many drafts, offering so many suggestions, and for always pushing me to think longer and harder about the important and precarious cultural conditions that I am trying to engage. I also owe a great deal to the professors whose classrooms stimulated so viii many generative conversations and ideas. Mya Poe, Keith Gilyard, and Jack Selzer— thank you so much for providing classes that encouraged exploration and growth, and also to LuMing Mao and Arabella Lyon, thank you for leading a memorable and generative seminar at the RSA Institute in Kansas. I am extremely appreciative of the Jacob K. Javits Fellowship Program from the U.S. Department of Education, which supported me for my first five years of graduate school, and also of the Penn State Center for Humanities and Information, which provided funding and a stimulating intellectual community for my final year of dissertation writing. Thank you also to the writing group led by Debra Hawhee for your time, your camaraderie, and your thoughtful responses. Thank you, especially, to Kris Lotier for your support both emotional and intellectual and for undergoing everything before me and lending me the benefit of your experience. To Natalie Storey who remains my most trusted reader, thank you for your insight—the depth and breadth of which will always stagger me. And to Jayme Peacock, thank you for sharing my anger. Finally, I would not be here without my family. To those in State College who have been my village – Jenny Padilla, Laura Vrana, and Leslie Joblin – I am forever in your debt. To my parents, I hope that the work I do is worthy of your enduring patience and unconditional support. I know that the ability to spend six years in study is a rare privilege, and I feel lucky every day that you have put me in a position to do so. And to Mckenzie, you are my reason. Thank you for believing in my best self and for making State College my home. ix Chapter One (Re)Inventing the “I”: The Relationality of Personal Writing “For a long time I vowed I wouldn’t fall into writing ethnic stories, immigrant stories, etc. Then I realized that not only was I working against these expectations (market, self, literary, cultural), I was working against my kneejerk resistance to such expectations. How I see it now is no matter what or where I write about, I feel a responsibility to the subject matter. Not so much to get it right as to do it justice.” – Nam Le (“Knopf”) Before Nam Le became a student at the acclaimed Iowa Writers’ Workshop, he already had an exceptional biography—the sort of life that would make a sensational memoir. As a baby, Le escaped the Communist regime in Vietnam with his family. They landed first in Malaysia, then eventually Australia where Le attended Melbourne University. There, he completed his Arts/Law degree, which culminated in an honors thesis on W.H. Auden, composed in rhyming couplets (“When the Boat Comes In”). Next, Le became a corporate lawyer and was admitted to the Supreme Court of Victoria. This was not, however, the story he chose to tell. In 2008, Le’s debut publication was a work of fiction—a short story collection titled The Boat. The volume’s first story, “Love and Honor and Pity and Pride and Compassion and Sacrifice” opens with a metafictional prod at his readers. It features a narrator named Nam who was also born in Vietnam, who also grew up in Australia, and who also abandoned a law career to attend the Iowa Writers’ Workshop.