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Why should we pay attention to the teaching of composition through the lens of disability studies? In part the answer to this question lies in Brenda Jo Brueggemann’s reminders—in department meetings, in collaborative projects, in our conversations—that what’s good for people with disabilities often ends up being good for everyone: curb cuts, for instance, and cell phones with bigger buttons, lower water fountains and handier automatic doors, computers that read text aloud and improved captioning software that allows us to access muddled audio, better traffic signals and ergonomic keyboards, even hand signals in baseball.
This article theorizes teaching as accommodation and argues for a centering of disability in writing pedagogy. It examines how universal design can improve composition classrooms, applying inclusive principles to the syllabus in particular.
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