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students, students under the tutelage of those “successors” of
Post-Modernity and the schools of theory and criticism that it
gave rise to who, very well out of their zealous belief in the
justness of their perspectives and philosophies, put forth
Uncertainty as an undeniable and unremitting “Truth.” It is
upon the heads and the shoulders of those students that this
weight of the certainty of that Post-Modern Uncertainty
inevitably falls.
How do I try to explain that unfortunate irony: Certainty
promoted in the guise of Uncertainty? Perhaps two distinctions
have to be made. First, like Spellmeyer, it is not Uncertainty
itself about which my suspicions have become raised but its
“successors”: those who would bring it to their classrooms and
the students sitting, and writing, in them. Second, is this
reversal of perspective indeed the case, widespread yet
unheeded, like Hairston and Spellmeyer would seem to suggest in
their essays or is it simply a possibility, something that can
happen if that something like that “dialogue” or “dialectic”
that C. H. Knoblauch seems to hold as utterly critical is not
consciously and deliberately provoked? I lean towards the
latter here, in particular because I have not undertaken some
exhaustive study of writing classes that are constructed upon a
perspective of “reality” and “truth” rooted in Uncertainty and a
philosophy of education and writing flowing from it. With this
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