It looks like we might have Dr. John Carlos as a featured speaker at CCCC 2013. Wow! He’s available and interested, and our illustratrious leader of this Las Vegas event is very interested as well. I sent Howard a note about this before leaving St. Louis, inspired by the CFP and the fabulousness of the CCCC 2012. We’ve been in conversaiton about it ever since.
Icing on the cake following a string of fabulousness lately: (1) our campus will be awarding this alumnus and icon for social justice an honorary doctorate in May 2012. (2) Our first remix from the Remixing Rural Texas project is set to be shown on campus next week, which explores desegregation on our campus and features an oral history interview I conducted with Dr. Carlos while he was here last November.
My argument for Dr. Carlos at CCCC 2013 follows:
–
The Silent Protest: Open Hands, Closed Fists,
and Composition’s Political Turn
In 1968, at the Mexico City Olympics, sprinters John Carlos and Tommie Smith called the world’s attention to the persistence of racism. That single iconic image of two Americans, black-gloved fists raised and heads bowed as the national anthem played and millions booed, remains indelibly etched in our collective memory.
In 2013, as Howard Tinberg calls upon us to consider “The Public Work of Composition,” it seems only fitting that we should return to this moment in conversation with one of the protesters: Dr. John Carlos. Indeed, the silent protest and its aftermath graphically illustrates both the power of what Edward Corbett called “the Closed Fist” and the excruciating limits of his “Open Hand” (CCC, 1969). It also calls upon us to consider our organization’s shifting position on the relationship between the composition classroom and the rest of society: our neighborhoods, communities, regions, America, and the world.
Yet for decades the individuals behind the Silent Protest have been rendered silent, effectively removed from any public discourse controlling the meaning of that powerful statement. Until very recently, the mass movements represented in that moment were largely absent from our public spaces and our conferences. We have been “civil”—our firsts closed, hands open. Silent. Compliant. As Nancy Welch has argued “civility functions to hold in check agitation against a social order that is undemocratic in access to decision-making voice and unequal in distribution of wealth” (“In Defense of Uncivil Rhetoric,” forthcoming).
No doubt our fists are closed again. Our fists raised together, we chant, “We are the 99%,” “We are Troy Davis,” and, most recently, “We are Trayvon Martin.” The Internet Boycott effectively shelves dangerous legislation. We “Occupy” every major city in the nation. We are writing democracy across the world as the Arab Spring gives way to the Occupy Moment, the Internet Boycott , recurring challenges to persistent racism. More than 40 years later, the Closed Fist of the Silent Protest resonates as never before. It is time for CCCC to return to this iconic moment and take stock.
On this occasion, against such a backdrop of collective resistance, it seems altogether crucial to consider the public work of composition. From improving expression of society’s values to improving ability to critique (cultural turn) and inevitability of intervention (social turn) to purposeful service of public (the public turn) and, right now, a possible intervention in the world to disrupt ongoing injustice (the public turn). As Richard Marback has suggested, CCCC may have contributed to that silencing that perpetuates what Catherine Prendergast would later call “the absent presence of race” in the classroom.
Composition appears to have taken a political turn. Together with this icon for social justice, we explore what this political turn might mean—for our discipline and for our democracy’s future.
Corbett, Edward. “The Rhetoric of the Open Hand and the Rhetoric of the Closed Fist.” CCC (1969).
Mardock, Richard. “Corbett’s Hand: A Rhetorical Figure for Composition Studies.” CCC (1996).
Welch, Nancy. “Informed, Passionate, and Disorderly: Uncivil Rhetoric in a New Gilded Age.” Community Literacy Journal. September 2012.



