responding to religion
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Responding to Religion: Facilitating a Spiritual Voice through
Response and Revision in the Composition Classroom
I have a confession to make. I teach at a religious university, but I cannot
5wmach students' religious writing. In fact, at the beginning of each semester, I tell my
composition students to avoid spiritual topics altogether I offer them the pretense that 1
do not want to be in the uncomfortable position of evaluating their testimonies,
confessions, and intimate beliefs. :'" f""r
This is true! I do feel uncomfOltable evaluating testimonies, I hate to think that in
rendering a C to Brittany's average paper about her faith in Christ that I might cause her
to think that she has average faith or that I do not value her ideals. I would he awake at
night thinking that I had thrust Brittany into a full-blown existential and spiritual crisis
While spiritual crises are certainly one reason for outlawing spiritual topics, at the
heart of this rule is my disdain for the way students render their religious fervor. My
students tend to write poorly when they discuss something as intimate as their religious
beliefs, and rather than confront this authentic issue, I sidestep the problem by telling
them to write about other topics.
Before I established this policy, the trouble would start right at the beginning of
the semester with our reflective essay. I would instruct the students to relate a personal
experience using narration with descriptive detail to help their readers experience the
story vicariously Equally important, they were to develop an insight for the reader in
relating the story, a surprising observation, a lesson learned, a comment on humanity,
life. etc. Invariably, a majority ofthe essays would relate a story, and then in the last paragraph or two
confess how their story instilled faith in them. I would attempt to preempt this problem with in class
discussion, examples. and prewriting. Still. students found the confessional form their church natural
and easy_
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For example. James tells the harrowing story of his near fatal traffic accident from which, Officer Bob
confirms. it's an absolute miracle that anyone walked away. He writes as ifhe is trying to create a movie
script, highlighting the action and adventure of the accident. James fills the essay with the minutia of
detail leading up to the wreck. and then bludgeons the reader with vivid descriptions of the damage to
his cherry red. 2003 Honda Civic. In an extended paragraph, James laments the loss of his beloved car,
the one his parents had given him as a pre-graduation present. The essay centers on the action of the
accident and the tragedy orthe wrecked car.
In the conclusion. James attempts to magically tie this all together with his testimony that the
experience helped him to see that his Heavenly Father watches over and protects him The accident
changed James forever because he knew in that moment that there was a kind God who managed his
life. I am left asking myself how to respond to an essay such as this without ridiculing his ideas or beliefs.
You can tell by my attitude in relating this anecdote that 1 had no business evaluating essays such as
James' because ( could not value the students' ideas in the way they presented them. The essays were
written poorly, but lately I have come back to this issue and questioned whether I made the right
decision in banning religion from their writing. I sympathize with Wendy Bishop when she says
Spirituality is a troubling word to me. I tend to shy away from spirit even as I'm drawn to it" (129). Atleast in terms of
teaching, I share her feelings, but in recent scholarship, J have found theorists who
comend that writing can be an excellent medium for students to explore their spiritual
identity, and in denying them the opportunity to explore, que~tion. and define their
spiritual selves, I am closing down a rich avenue for growth and maturation. In other
words, as a writing teacher I am sidestepping my obligation to help students share their
ideas effectively by mandating topics that will be easier for them to write about. Or, I tell
them not to write about spiritual topics because they make me feel uncomfortable. 1 have
concluded that the problem is not the spirituality in the writing, but the techniques novice
spiritual writers use to approach and persuade their audience. To remedy this audience ;l; , I
problem, l'suggest three techniques that I think will help students write effectively about
their spirituality.
The value of spiritual writing seems to counter current trends in composition and
rhetoric which promote a more liberal political agenda. Rather than contend with this
agenda for a composition course, I will explore scholars who feel that spirituality should
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simply be another voice in the classroom community, adding to diversity. In part, this
exploration is an effort to convince mysclfthat this is true.
Maxine Hairston., former chair ofCCCe. addresses this issue in her essay
"Diversity, Ideology, and Teaching Writing." She boldly attacks liberal agendas which
might exclude discussions of spirituality and religion .
... religion plays an important role in the lives of many of our students-
and many of us, I'm sure-but it's a dimension almost never mentioned
by those who talk about cultural diversity and difference. In most
classrooms in which there is an obvious political agenda, students-even
graduate students--are vel)' reluctant to reveal their religious beliefs_ sensing they may get a hostile
reception. But a teacher who believes in diversity must pay attention to and respect students with deep
religious convictions. not force them into silence_ (538)
Hairston links diversity with a willingness to allow spiritual and religious voices in student essays. Since
religion occupies such a central part of many of our students' experiences, excluding thaI voice from the
classroom constrains diversity.
Hairston's argument centers on the fact that in order to be truly diverse, we must hear all voices in the
classroom, but other scholars have gone further, suggesting that restricting a student's spiritual voice
actually does them harm_ Stephen Webb asserts that when
... teachers talk about moving their students ITom dogmatic and narrow positions to critical
openmindedness, they treat them as victims of their religious backgrounds, and student passivity in the
classroom is the inevitable result. Students lose faith in themselves when their beliefs are not taken
seriously by their teachers. (109)
If we force our students into silence about their beliefs, they become passive. They question themselves
in unhealthy ways resulting in a loss of self esteem. While teachers should help students to analyze their
beliefs critically, many critics assert that the most effective way to accomplish this is by allowing
students to write_
Spiritual explorations through writing can stimulate intellectual grov.rth_ Marti Singer observes that in
fact, the act of writing itself may provide a means of selffdiscovery for students and, consequently, self-
revelation, of which students are not
always conscious" (73). Writing can help students articulate, question, defend, and revise rheir own
views. This form of exploratory thinking assists our students in discovering who they are and critically
evaluating why they believe the way they do. Ifbroadening and maturing their views is part of our
intention, shutting them down with silence would actually hinder this development. By silencing
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students, we prevent the self discovery and self revelation that Singer discusses. Susan A. Schiller
confirms this slating that "Writing is a natural site for spirituality. Every time we pick up a pen to express
language. sometimes language that stretches our reach., we push inward to discover new realms of
experience" (36),
To facilitate this growth, we must empower students to write, finding their authentic voice through
language. Finding their voice requires courage because students take risks when they speak. especially
about spiritual matters. Parker Palmer. in his book The Courage 10 Teach, describes the fcar that keeps
students silent. Behind their fearful silence, our students find their voices, speak their voices, have
their voices heard. A good teacher is one who can listen to those voices even before they are spoken-so
that someday they can speak with truth and confidence" (46), Part of our responsibility to our students
is to empower them to speak and write within a diverse community. We accomplish this by creating an
open classroom where diverse ideas. even spiritual ones. are explored, and students are safe to speak.
For Webb, "Giving students the freedom to speak means not asking them to give up what they value
most highly in order to affirm a highly politicized vision of equality" (109),
If we can move students beyond fear to speech, we benefit as well. While Wendy Bishop explained her
reluctance to engage students' spiritual writing, she concludes that
when students address spiritual matters "they have connected to us, made our day more whole, more
human, more important_ We can wony over thcm and marvel at them-at their strength and survivor's
skills, at their excitement nght now, at the way they have rewoven the spirit through writing" (135)
Bishop describes a mutual engagement in the subject of student essays, and she suggests that even
though allowing spirituality is risky and uncomfortable, the writing invigorates both teacher and student.
Richard Graves also suggests that both writer and reader can be moved by grace, his term for
spirituality_ "Grace can be found in an open, accepting audience that can itself be moved by grace Grace
is a living reality, a force capable of teaching all aspects ofhurnan life" (22, 15), While I have yet to see
these results, I feel that the potential described here merits further exploration_ Given the current
climate in composition classrooms, valuing "affect. intuition, inner knowing, and connections to God, tothe earth and to human beings" (Schiller 35) is an act of reform.
Operating under the assumption that spiritual essays can help students evolve and develop. I return to
my original problem-responding to student essays in a way that motivates them to revise effectively.
This is no easy task. but it is an important one. Singer stresses our accountability in responding to essays
such as these saying "Just as student writing comcs ITom students' experiences and concerns. so
teachers' responses come from theirs. We must accept the responsibility and the challenges for the
kinds of writing we elicit ITom students, for the responses we make to students, and for the effects
these responses have for students" (75). This is where my hesitance comes ITom in responding to my
students' spiritual writing_ Intuitively I sense the heavy responsibility in coaching my students to share
their intimate beliefs effectively_ Rather than allowing
fear or aoprehension to dictate my course policy, I should accept the challenge of
engagmg students in their most sacred ideas and beliefs. Schiller suggests that to
accomplish this, "Teachers have to lead
by building flexibility and tolerance into our
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assignments, We also have to share our spiritual life with our students and be willing to
explore the oneness that can be found in learning from them as we teach them" (Schiller
38), While this pushes me outside of my teaching bubble where I feel comfortable, 1 see
the value in helping students to develop their spiritual voices.
To facilitate this development, I have devised three revision-based responses that
I might apply to student writing to help them convert their essays from \)'riter-centered to _/,
IT"'" "'i""'" A'( ""f"(~ b.r F !
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is clunky, I can see what she is trying to do. She sees the need to include some sort of a general thesis
which scts up the story and the insight.
Megan moves into the story which she describes as a "near death experience" when she was seven
years old., living in Colorado. Her father tells her not to go near the deep-end of the pool, but as she
begins playing, she forgets to monitor where she is at and slowly drifts close to the drop off Megan
occasionally uses powerful descriptions such as "The cool water wrapped around my little feel:' "One
slippery step sent me flailing into the deep end," and "That thin line where the air met the water
seemed within my reach." She laments not having obeyed her father, and when she is safe, she says that
"He just held and kept me close" rather than chastise her for not obeying him. She tries to use this as a
transition into her testimony and confession which I will now read
Our Heavenly Father held us close at one time. Through the plan of salvation he let us go into the world,
trusting that we would be okay and would listen to his words. I.ike young children. we slowly move
towards boundaries that should never be crossed. One false move we make can
send us into the darkness. As we try to move forward back to safety, Satan has pressures that constantly
push us down.
This is why our Father gave us someone who was willing to go in
after us "fully clothed" to save us from the "gulf of misery and endless woe." The Savior came to our
rescue. As we cling to him, sorry fix what we have done, he brings us back into the arms ofa loving
father; a Father who is happy that we arc now safe in his arms. He does not think of ollr mistakes, he just
holds us and says, "It's okay."
I wish I had realized the value of obedience my whole life.
learned obedience is not just doing what I am supposed to do, but it is trusting that what I am told is theright thing. I now know listening to my father's guidance can save me in a time oftear. Rather, it can save
me from having to learn a lesson the hard way_ From that small experience not only have I learned the
significance oflistening to my fathec but I have also grown and reached a personal understanding of the
atonement or Jesus Christ.
Now, one might contend that the writing is just bad, spiritual or not. This is true.
However, since Megan wrote about such an intimate subject, she could easily be shaken by comments
that seem to attack her confeSSIOn. Responding to her in a way that will be positive and revision
centered seems difficult, but I think it can be done.
Looking back now, f would give Megan three connected pieces of coaching. will refer to this advice in
general terms that might be applied to any essay with similar problems. In reworking this essay, Megan
should: rewrite fi)r an educated audience
oUlside her own religion or faith., rewrite 10 allow her story and description to illustrate her faith and
testimony, and rewrite to substitute religious rhetonc with her own personal
vOIce.
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h~l Rewrite for an educated audience outside your own faith or religion.
Part of the problem with MeganOs essay is that she makes huge assumptions because she knows that I
am of her faith. This oversimplifying of audience happens with novice writers regardless of the subject
or the audience_ In Megan's case, the result is that she tacks a testimony onto the end of her essay in
the same way she might at a church meeting. She fails to understand that the audience for a college-
level essay is entirely different than the congregation at a church service. By encouraging her to rewrite
for an audience outside her faith. she will be forced to really consider the reader she invokes. While this
may not convince her to eliminate the testimony altogether, it will certainly help her to tone down and
redirect the testimony.
?/,J Rewrile to allow your story and description to share your faith.
Schiller counsels that in spiritual writing, "The reception of the essence must result in a lived-through
experience for the reader if the writer is effective" (40)_ This is a version of the time-worn English
teacher advice to "show rather than tell" Megan wants to tell her readers her faith in the testimonial
format. She finds this easier than trying to pull the reader into the story and experience her faithvicariously through the events. It is far easier to simply tell her reader the moral to the story in the end
rather than developing her insight throughout by using carefully crafted descriptions in telling the story.
In rev.Titing
to allow her story to do the work, Megan will more than likely get rid of the didactic, testimonial
conclusion.
1~:r) Rewrite to substitute religious rhetoric with your own personal voice.
In relating her testimony, Megan uses borrowed rhetorical phrases which substitute her own unique
voice for the voice that she has heard in church over the years The result is language which tends toexclude individuals within a diverse audience. Examples are: 'the plan of salvation," "Our Heavenly
Father,"" the arms ofa loving falher." and "the atonement of Jesus Christ" While many of these will be
eliminated with the two previous revisions, calling these phrases to Megan's attention will help her find
her own voice rather than the voice of the pulpit.
The common thread nmning through all of these revision strategies is that Megan's writing becomes
more effective for a wider, more diverse audience. Maxine Hairston suggests that this is essential when
encouraging students to write about spiritual experiences because
As writing teachers, we can help students articulate and understand that experience, but we also have
the important job of helping every writer to understand that each of us sees the world through our own
particular lens. one shaped by unique experiences. (n order to communicate with others, we must learn
to see through their lenses as well as try to explain to them what we see through ours. (538)
Megan's writing will be more effective and powerful if she can approach a more diverse audience. She
will be more subtle. persua5ive, and powerful. These rC5ponse 5tratcgies
make me feel more comfortable in responding to spiritual essays because they turn the f{)CUS away
tram the beliefs of the students and towards questions of audience and rhetoric
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I wish I could have generated these responses a little sooner so that I might have more effectively
responded to Megan. In helping her to find a powerful spiritual voice. might have also helped her to
think through and analyze her beliefs. If we truly want students like Megan to broaden their
perspectives, we must work with them through their writing. While allowing spiritual essays creates
problems for me as a teacher, the potential benefits for my students outweigh the risks.
Works Cited
Bishop, Wendy "Teaching Lives: Thoughts on Reweaving Our Spirits" The .)1);I";I'lIal ,"'ide (!f Writing Eds.
Regina Paxton Foehr and Susan A. Schiller. Portsmouth. NI-I: Boynton/Cook Publishers, 1997. 129-135.
Graves, Richard L. "'Grace, in Pedagogy." The 5jJiriflial Side (~fWrit;flg. Eds. Regina Paxton faehr and
Susan A Schiller. Portsmouth, NH Boynton/Cook Publishers, 1997. 15-24.
Hairston, Maxine. "Diversity, Ideology, and Teaching Writing," Composition;1I FOllr Keys: Inquiring in10
the Field. Eds. Mark Wiley, Barbara Gleason, and Louise Wetherbee Phelps. Mountain View, CA:
Mayfield Publishing Co., 1996. 5300540,
Palmer, Parker 1 Ihe Courage (0 Teach Exploring the funer land' . cape (Jfa Teacher's Ule. San Francisco.
Jossey-Bass, 1998.
Schiller, Susan A. "Writing. A Natural Site for Spirituality." The '~J)irifllal Side (d' fVriling. Eds. Regina
Paxton Foehr and Susan A Schiller. POItsmouth, NH . Boynton/Cook Publishers, 1997. 34-43.
Singer, Marti "Responding to Intimacies and Crises in Students' Journals." Rng/ish Journal 79(1990),72-
75.
Webb, Stephen H. Taking Religion 10 Schoo/: Christian lheoloRV and Secular Felucation. Grand Rapids,MI Brazos Press, 2000.