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Pinar goes on to say that in seeking to find the included and excluded we may be able, as Nietzsche said, “to experience the history of humanity as a whole as [our own] history” (Pinar et al., 1995, p. 494).
Although many question how autobiographic Julia's letters are and how ethical it is for me to publish this work, Luke gives full consent for the publication. Luke knew that Julia was writing an epistolary love story for her dissertation. He is adamant that Julia's love for him was always true, that the letters were all fictionally constructed, and that the work was a testament to Julia's imaginative writing and deep urge to present innovative research in accessible forms. He said Julia would have been proud to know her work reached beyond academic borders-that was her goal.
This collection is not only Julia's story of Red, of love, of desire, but of belief that “theory does not express, translate, or serve to apply practice: it is practice” (Hwu, 1993, p. 198). Through contemporary autobiography, poetry, and a/r/tographic practice (see Irwin, 2004) layered with arts-informed inquiry (see Cole & Knowles, 2001b), Julia uses relational entanglements between her living and scholarly studies to inform pedagogical practice. Her letters themselves are the intended “teacher,” interactively (by way of ambiguity and openness to interpretation) walking the reader through a year of learning in love through the passage of curriculum itself (see Daignault, 1988).