What does it mean to “hold space”?
In the mid-nineties, I was assigned by my department chair to teach Advanced Expository Writing, a class designated for honors students with perhaps the least alluring title of any class in the curriculum. Each semester I taught that class, I would introduce the syllabus by quoting my thesis advisor who said, “Expository Writing sounds like something you’d purchase at a drug store.” This usually elicited a chuckle from at least a few of the students and launched a discussion of just what we might be up to in the class.
To compliment their extensive writing assignments, the students considered a number of literary models. As a capstone to becoming thoughtful, analytical readers, they were assigned to focus on one of the essayists in our anthology of brilliant writers. Each student would pick a writer and an essay by that writer, assign the essay to the class, and then present information about the author to supplement class discussion about the essay.
Nearly every semester in every class, the speech-like requirements of my syllabus would send a student spiraling into my office hours, panicked. “Professor Robin,” the student, most often a young woman, would say, “I can’t get up in front of your class and talk.”
This particular semester that student was a woman I’ll call “Leona.” Leona had delicate features, a small face, and a trim figure. She wore her long hair in a tight braid down her back. I hadn’t yet seen any writing from students in the class when she arrived at my office hours, hugging her books close to her body and looking scared.
When Leona sat timidly in my conference chair, I could see that she was a non-traditional student, closer to thirty than twenty. I sensed a story; even the most traditional students tended to enroll in community college because of their stories. Leona was no exception—married young to a man from a country where women had few rights, she was in a custody fight for her daughters who, in the same vein as the movie that was popular in the early nineties, were taken from her to live with their father’s family in his homeland.
“You have a lot to write about,” it was an understatement.
Leona looked hopeful, “I really do. But … do I have to speak to the class? I really don’t think I can do that.”
“Have you chosen an author yet?”
Leona had, Nancy Mairs. I smiled in recognition. The poet turned essayist struggled from her twenties on with depression and multiple sclerosis. She was confined to a wheelchair in her thirties, but wrote intense, wry, brilliant essays. “I think that’s a good fit. You’ll like her work.”
That day I struck a bargain with Leona that she’d go ahead and do the research on Mairs, we’d meet again before her date to present, and if she was still anxious about presenting, we’d come up with a solution together.
Leona submitted tightly written essay drafts that scratched the surface of a number of difficult narratives from her life. We had our work cut out for us as I coaxed her to move into and explore the stories more fully. In the class I encouraged peer review with lots of coaching, and Leona slowly opened up to her classmates as she did to me. Her writing started to grow in expression and emotion.
It was mid-semester by the time we were getting close to her Mairs presentation. Leona walked into my office, braid swinging, a huge smile lighting up her face. “I did it.” I looked up, wondering. “I called her.”
“Called who?” Perhaps I was thinking of her daughters.
“I called Nancy Mairs. In Tucson. Last night. I can’t believe it, but I did it! She talked to me for almost an hour.”
Leona’s brave dialing translated into a new willingness to present to her classmates—she had a story to share. When Leona arrived armed with her biographical information, direct from the author herself, she wore her hair in a shining tumble to her waist, the stunning mane of confidence. She spoke effortlessly, with an air of authority, about the author, her work, and the essay she had chosen for her classmates to read. Her presentation assignment was an unqualified success.
The myriad of challenges that Advanced Expository Writing offered to Leona gave her a measure of support combined with room to grow and—in her case—the impetus to take a giant leap toward the kind of academic success she wanted. As Leona’s teacher, it was my honor to create and hold the space where she could thrive. It is a critical component of teaching, but one I wouldn’t have been able to put into words in quite this way when I was an English professor in my twenties. I’ve learned that holding space for personal growth is a large part of what I do—whether on the page or on the yoga mat. More recently, it’s a phrase I’ve come to use in other scenarios as well—I can hold space for someone afar who is grieving. I can invite a friend to stay in my house and hold space for her to rest, to heal. I can hold space for my children to grow as I witness their accomplishments and failures too. When we carve out parameters and then give each other wiggle room, isn’t it possible we nurture and encourage growth into the next, more amazing iterations of ourselves, our talents, our relationships? Holding space for one another—family member, student, friend, stranger—is the best way I know to live organically and respectfully, to ease tension and stress, to sponsor buoyancy and breadth.
Leona’s story has two postscripts. The first is that several years later, after she had gone on to a four-year school and completed her bachelor’s degree, Leona came to see me to tell me that she had, in fact, retrieved her daughters from their father and had them at home with her full time. When she stopped by my office, she wore her hair loose and her mane sparkled. She was happy. The second postscript came when, shortly before I moved away from New York, I attended a conference where Nancy Mairs was the keynote speaker. After her talk, I introduced myself and was then able to tell her what a difference she had made in accepting a phone call from one troubled, scared young woman. She nodded at the memory, the stage lights illuminating a shiny angelic circle in her hair.
Once every twenty years, February has no full moon. Tonight’s new moon launches the Asian year of the Earth Dog, but it has no full counterpart in the western 2018 calendar. Sometimes called a black moon, this new moon in my imagination moves us a little closer to the coming change of seasons. Keeping the faith that spring will spring, as ever, thank you for you, Rxo